You have worked in stand-up comedy, worked as a professional vocalist, as well as in theater on stage. Which came first in your entertainment career, and how did the job influence your aspirations?
The first career move I made was in live theater. I worked as a child in San Jose Children's Music Theater and moved on to Theme Parks at sixteen years old--becoming the youngest performer hired. I did eight shows a day, six days a week. That discipline taught me early to respect my instrument and understand its limitations.
Who was the most instrumental individual to your success early in your entertainment career?
My father, Tony Milo, was the most instrumental person in my career. He had an amazing child star history and imparted many words of wisdom, praise, and honest criticism for my talent.
What is it that people find most intimidating about the entertainment industry?
Thinking that they somehow missed the handout--that everybody else knows something that they do not. And that just isn't true. We are all fumbling around trying to figure it out.
How did you venture into voice acting? What was your first audition like for an animation voice-over?
I was told by agents at the William Morris agency that I had a singing voice perfect for animation. Uh… ok… after I stopped crying… My first audition was for Tiny Toon Adventures
for WB, produced by Steven Spielberg and I read "The Three Little Pigs." Only I changed it up some. The three pigs were kamikaze and wolf was kosher. Go figure.
You are involved in a variety of voice roles that are crucial to internationally recognized titles. From your work as "Astro" in Astro Boy, to "Mrs. Wakeman" in I Was A Teenage Robot, to your work in Jimmy Neutron: Boy Genius, and Mucha Lucha amongst several others. How close are the majority of your roles, including those unmentioned, close to your own personality?
All my beautifully strange characters illuminate a certain part of my human condition. They are all a little beacon of some aspect of my personality. They come from within me and reflect my childhood, my adulthood, and the choices and sensibilities that make me--me!
Currently working on a wide amount of programs, your voice is incredibly flexible. How important is confidence and flexibility for you?
It is the difference between being one specific character for kids to enjoy--and a thousand. Being flexible allows me to stretch my imagination--and to dig deep into my soul to become whomever or WHAT
ever I want to be. It is also the reason I get hired a lot. People know that they can fill three or four jobs on a show with my voices.
One of your most popular roles as of recent, is "Madame Foster" of Foster's Home For Imaginary Friends. How did you come to work and voice as this sweet little lady? She's quite a character.
She's INSANE and I love her. I have always admired June Foray--and I consider that strong dame who worked with Mel Blanc--when ONLY Mel Blanc was getting the kudos--to be our Phyllis Diller. And I was in love, not only with her, Natasha, and Rocky from the Rocky and Bullwinkle show--but with her granny as well. Her granny was sweet, loving and mad as a March hare.