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Liliana Sorrentino

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Liliana Sorrentino (born 1953) is an Italian Italian actress, voice actor and dubbing director.

Quotes

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  • I voiced Gloria Guida in five films (between 1974 and 1980), partly because she was initially embarrassed about being dubbed, partly because it would objectively have been very difficult for her, given that in erotic comedies the actors often didn't have the slightest idea of their lines [...].
  • Quoted in Susanna Schimperna, Liliana Sorrentino. Con l'aiuto di nonno Zeus!, in Anime Cult n°. 3, pp. 14-19, Sprea, Cernusco sul Naviglio, Jaanuary 2023. ISBN 9788862671071.
  • Walt Disney's brother, Roy Oliver, who co-founded the Walt Disney Company with Walt, was present at the dubbing (of Lady and the Tramp). I can tell you that when he left, after listening to the dubbing, he said, "The Italian version is much better than the American one."
  • Susanna Schimperna, Liliana Sorrentino. Con l'aiuto di nonno Zeus!, in Anime Cult n. 3, pp. 14-19, Sprea, Cernusco sul Naviglio, January 2023. ISBN 9788862671071.
  • In the end, the animated character is fun; I enjoy it because I get to create their voice, because I get to create their laugh, because I get to create any expression at all, but it's much more tiring because, unfortunately, there are no real lip movements. It's almost always a continuous beat, and that's where the issue of adaptation comes in: if the adaptation isn't good, there's not much you can do, just like when you dub human characters... If the adaptation is bad, you can work yourself blue, yellow and green with effort, but there's not much you can achieve.
  • In the past, dubbing was much more selective and much more carefully done; there was much more time to work, and there was a pool of voices that we no longer have, from Peppino Rinaldi to Pino Locchi to Rita Savagnone and so on: they were absolutely fantastic voice actors. These days, everything is rushed. I go to the cinema because I love going to the cinema, and I don't pay attention to the dubbing because I become a member of the audience and I'm not thinking about work at that moment. In any case, sadly, I've noticed that there's no longer – or at least there's very little – dubbing that's done with heart and soul, because unfortunately, we have to rush; there's not much time. In the past, a film would be dubbed in two weeks, if not three; now, it takes four or five days – dubbing has changed in this respect too.
  • Every morning, before I go to work, I've always had a routine: I start by warming up my voice, doing exercises by reading or speaking aloud, then speaking more quietly...The work I do for the character I'm going to dub is very much on the fly; the only thing I make sure of, but not obsessively, is to work on my voice a lot. Over the years, my voice has changed. It used to be much lighter; I had a much more youthful voice, not because of my age but because of the way I produced it. Then I worked on it – I warmed up my voice and made it sound more mature – but if I want to, I can still do young, high-pitched voices. Every time, I just do this: I warm up my voice, I prepare it, and then when I go into the studio, it does everything by itself.
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