Craft, Resilience, and What it Really Means to Keep Going

Some careers are built loudly. Others are built steadily — through curiosity, collaboration, and a deep respect for the craft. Matt Fogarty’s professional voice over career journey is very much the latter.

Matt and I first crossed paths on LinkedIn about a decade ago, when he was already well established and still very much in motion. Even without having worked together directly, it’s been a genuine pleasure to watch his career expand from award-winning creative director to a voice heard on major global stages, including the World Series. His path reflects something I deeply admire in this industry: growth that comes from showing up, learning every side of the process, and doing the work with care.

In this conversation, Matt shares how early experiences in teaching and radio shaped his instincts, how years behind the scenes as a creative director inform his work behind the mic, and why clarity, collaboration, and preparation matter just as much as talent. We also talk about big-brand campaigns, nuanced sessions like Race Face, his advocacy work with CAVA, and the long view required to build a sustainable voice acting career.

This is an interview about craft, resilience, and what it really means to keep going — even when the road gets winding. So you and I first encountered each other on LinkedIn, about 10 years ago, and at that time you were about 10 years into your career. Just from seeing your posts, it’s been really great to watch your career grow! It’s silly, but I feel proud just for knowing you!

Going way back, surely you were something before becoming Creative Director at Pattison Media, where you scored a BCAB and Crystal Awards. What did you do in your past life? Was it always your goal to transition into voice over? When did you first realize, “Okay… this is really happening. I’m a working voice actor”?

My first job at 16 years old was a lifeguard and swimming instructor. I worked at pools and beaches all through high school and college/university. Fun fact: before I decided to go to radio school, I was in a Teacher education program (BEd) at Bishop’s University. Both my parents were teachers, so I thought that’s what I should do, too. I did really enjoy teaching swimming lessons! While I was in that program, I discovered the campus radio station CJMQ 88.9 and started a punk rock show with my roommate Mike. It was so much fun. I mean, it was uhh, umm, pretty bad, but like, uhhh, also super like uhh really fun, too. I got to meet a lot of cool people and bands through the relationships I made in those early days, and saw a lot of awesome punk rock shows. So, it was after that experience that I started looking at radio as a possible career. During my 14 years as a creative writer/director, I slowly built up my voiceover clients. I think on some level, I knew it was going to be where I ended up after radio, but it didn’t start that way. When I got my first “big” job as a voice actor, something clicked and I was like, ok…we need to explore this further.

What are some special insights you picked up by being a CD before going after VO? How did your experience behind the scenes inform your work behind the mic?

I feel like working as a creative director you develop a pretty well-rounded view of the entire creative/production process. From initial client meetings, to scripting, approval, production, revisions, final approval, revisions, final FINAL approval (haha), and then the finished mix. It’s a long process sometimes with lots of different people involved, but it’s all necessary. The best projects are the ones where everyone is invested and brings their A-game…the writer, producer, voice talent, the agency team, account reps, and the client. I think my background helps me see things from all perspectives, and that can really help in a session.

Are there qualities you think make a good casting director or producer to work with? What helps the voice actor deliver their best work?

Because creative work is so subjective, for me, the best producers and casting directors have an expert level of understanding of A) what the client wants and B) what the finished spot should look and sound like. That understanding, and the ability to effectively communicate that understanding to the voice talent is key. Of course we need to have a level of flexibility and adaptability, too. But clarity and communication are some of our best tools.

Your demos offer a great variety of genres. It seems there’ s nothing you don’t do! Is there one that you feel dovetails perfectly with your signature sound? How long did it take to find it, and what did you do to identify it?

Well, initially, I was voicing mostly radio commercials for local and regional clients at the radio station where I worked. That’s actually how I discovered voiceover was its own thing outside of radio. I voiced a spot for a restaurant chain and their marketing manager then wanted me to do the spots for all of their locations which ended up being like 10 or 15 markets across the country. This was that first ‘big’ job I mentioned earlier. So, to answer your question, commercial is probably what I work most in – still to this day – but I do promo and video games and all kinds of narration. In terms of a signature sound? I like to adapt to whatever the script calls for, but generally speaking – and I think it’s more about point of view than “sound” - a grounded, connected real guy / kinda-used-to-be cool Dad is sort of the natural placement for me. Ha. I’m still cool though, right?

Your client list includes major brands — McDonald’s, Subaru, UPS, and more. What are the challenges (and rewards) of voicing for big-brand campaigns compared with projects that have a smaller scale of visibility?

I treat every client and every session the same. No matter who the brand is or where the spot is running or what the rate is. And I’m not just saying that, it’s true. My job as a voice actor is to bring my experience and training and point of view to the job, interpret the script and deliver the best performance I can to create the most effective and successful piece of creative for the client. I prep ahead of every session, big or small. I listen to the producer and client, and I aim to leave the session with everyone feeling really good about the work.

You have lots of samples posted but I’m curious about “Race Face”. (seriously, guys, watch it!) It seems like you very nearly voiced that twice, with different reads? It’s fascinating how the persona shifts along with the slowed down voiceover. All I could think was, “What a challenge!” Could you tell us about that voice over session?

Yeah, absolutely. So, first thing I’ll say about that session is that it was an in-studio, in-person session. Not to say the performance couldn’t have been captured remotely, but for such a nuanced piece, it did really help to be in the studio face to face with everyone. They flew me in for the session which was like…whoah, ok, let’s go! And then we did a lot of takes, a lot of fine tuning, I was voicing to picture, which also helped. I had the cinematographer, the director, and the clients in the room, and everyone contributed. I think we ended up being in session for close to 4 hours – but the attention to detail was everything in this spot. I think everyone was pretty stoked about the finished project. It’s on my website if you want to check it out (www.mattfogartyvo.com)

You were all over the World Series! That’s a huge win! How did that opportunity come about, and what did it mean to you personally? Are your kids old enough to appreciate that dad had a part in the world series, making you, obviously, a hero? (Sorry, BTW, I was rooting for Toronto.)

Oh, I was also rooting for Toronto, you can be certain of that! They have been my favorite team since I started watching baseball with my Dad as a kid. Joe Carter, Devon White, Pat Borders…I played baseball as a kid, too, on the travel teams, all that stuff, so those guys were my baseball heroes! So, yes, it was awesome to have I think 2 or maybe 3 spots that all aired at some point during the World Series with the Jays in it for the first time in a long time. My kids do love hearing me on the TV, they are 10 and 7, so it’s still a pretty cool thing for them. We watched every game together and it was really special. My daughter Everley is also doing VO and we hear her national spot for Best Western all the time, too. My youngest daughter Lynley is just starting to audition for some things too, but she is quite the character and I can see her doing theatre and film work work one day!

Do you stick with one demo producer or use several because they sound amazingly consistent…like they could have all been from the same session! Do you have go-to’s for different genres? (That is brilliant and leaves visitors with the subconscious message that there is but one sound. Way to subliminally plant consistency. My demos were professionally produced, but I’m now questioning if they have that effect!)

I think the most important thing with demos is working with someone who knows the genre inside and out, and secondly, is someone you work well with. So the person who did your commercial demo is not necessarily going to be the same person who did your promo demo or imaging demo etc. I have worked with a variety of producers, each of whom I would say are the experts in those genres. Some demo producers also coach, which can be a plus, because after having coached with them for a while they get to know which reads are well suited for you, your strengths, and what should go on the demo. Good demo producers are also friendly and can work collaboratively with your coaches to ensure you’re prepared, offer feedback etc.

Ah, but you’re more than a pretty voice. You’re an advisory board member of CAVA: Canadian Association of Voice Actors (CAVA) / Association Canadienne des Artistes en Voix Hors Champ. Tell us about the work they do, your role within it, and what kind of impact you hope your involvement has?

CAVA is a Canadian non-profit organization that educates, supports and advocates for the sustainability and advancement of the voice acting industry. Similar to what NAVA is doing in the US. Though CAVA is Canadian-focused, membership is open to anyone, from anywhere. Right now we are putting a lot of our focus on AI education for voice actors and working alongside ACTRA to get AI regulations in place with the Canadian government. But we do find time for fun! Our first GALA is coming up on June 11^th in Toronto. Come celebrate! You can learn more about CAVA and the GALA at https://www.cavavoices.org/ 

Everyone hits rough patches. What’s something that once felt like a setback but later turned into a turning point? Is there something you’re most proud of — not just résumé-wise, but in terms of how you’ve grown as a person and an artist?

Business comes and business goes. How we respond to various setbacks is the most important. Do we let it eat us up inside? Get down on ourselves? Or do we use it as motivation to stoke the fires within us and keep going stronger than ever? My suggestion is use every setback as motivation for progress; adapt strategies, pivot, and most importantly…KEEP GOING.

Do you have a dream project yet to voice?

I have a list of brands, networks, stations, and video games I’d love to work with, for sure. It’s so important to have goals for yourself to work toward. I think one of the best things I learned while working in corporate radio was goal setting. My company was big on setting goals, but even more importantly, defining the ‘lead measures’ that are essentially the steps you need to take to make progress toward the end goal. Very helpful to plan it out, see the steps you need to take, and then start implementing those steps into your daily planning.

I’ll close this out with a weird and random question that I’d say most have an opinion on: Coyote or Roadrunner? Why?

Hmmm. I can honestly say I have never been asked this question before! I’m going to say Coyote because despite all his failures and setbacks, he keeps grinding! Keeps putting in the work. I respect the tenacity. It’s a good trait to have, in any business, especially voiceover.

mattfogarty.com

https://www.cavavoices.org/