w&w

• DAREDEVIL
• BORN AGAIN
• THE VOICE OVER
• MARIE WESTBROOK
• O A 9.7.
• ACADEMY AWARDS

THE BEST MUSIC OF EDM IS HERE

MID MARCH-APRIL 2025 fusion

• FUSION MAGAZINE
• TEAM
• JAMES CUEVAS MATT SHULTZ AMANDA HARDY
• ADAM WARREN
• RICHARD CHANVEZ SARA HENDERSON HARUNA YAMADA
• JERRY CORIA ALEX MORIYAMA MONICA MAY
• RACHEL PETERSON LUNA STEVENS RACHEL BECK
• CHIEF EDITOR
• JERRY CORIA
• MARKETING
• JOEY MACLAREN CINDY MENDEZ
• MIKE ROGERS LARA ROLLINS
• CONTACTS
• EMAIL [email protected]
• PRODUCED BY JERRY CORIA
• HARUNA YAMADA
• MARCH-APRIL 2025

FASHION POP CULTURE LIFESTYLE & ENTERTAINMENT feson

• DAREDEVIL BORN AGAIN
• VOICE OVER
• ACADEMY AWARDS
• MARIE WESTBROOK

THE BEST MUSIC OF EDM IS HERE

• MID MARCH-APRIL 2025
• 02 TOP MOVIES OF EARLY 2025
• 04 TOP MUSIC FOR MARCH/APRIL
• BABYMONSTER
• BABYMONSTER

As BABYMONSTER embarks on their first U.S. tour, we take a closer look at the band and the reactions of their fans at the Kia Forum.

56 THE VOICE OVER

The new season of Daredevil has premiered. As we go into this season, we speak with the actors about their favorite aspects of filming and what fans can anticipate from them.

• FEATURED W&W
• DAVID HARBOUR
• 97th ACADAMY AWARDS
• SCA
• THUN BOL
• Copil by Micros

As we bring you up-to-date on the most stylish moments from the 97th Academy Awards, we also invite you to join us back- stage for exclusive interviews we had with several winners in the winner's c

From his views toward his fellow performers to his thoughts on being on set of his new picture, A Working Man, David Harbour delves into the experience of working alongside Jason Statham, the character he is currently playing, and what he hopes audi- ences will take away from the film.

• TOP
• MOVIE
• SELECTIONS
• MOVIES TOP PICKS
• UNTIL DAWN
• 3 UNTIL DAWN
• 5 FRIENDSHIP
• 1 HAVOC
• Release Date: April 25, 2025

Starring: Ella Rubin, Odessa A'Zion, Michael Cimino

• Release Date: May 9, 2025
• Starring: Paul Rudd, Tim Robinson
• 6 Thunderbolts

Release Date: May 2, 2025

Starring: David Harbour, Hannah John-Karmen, Julia Louis-Dreyfus, Sebastian Stan, Wyatt Rus- sell, Olga Kurylenko, Florence Pugh, Harrison Ford

Release Date: April 25th 2025

Starring: Tom Hardy, Timothy Olyphant, 2 Another Simple Favor

• Release Date: May 1, 2025
• Starring: Blake Lively, Anna Kendrick, Allison
• THE SURFER
• Release Date: May 2, 2025
• Starring: Nicolas Cage, Julian McMahon
• OUR SELECTIONS
• FREA TALES
• MINECRAFT

FREAKY TALES

Minecraft is a popular video game. Now live-action film is in development. Although plot elements are being kept un- der wraps, the world-building, survival-mode video game has never been about story, so film possibilities are infinite. The film will star Jason Momoa and Jennifer Coolidge, Steve (Jack Black), Dawn (Danielle Brooks), and Henry.

Freaky Tales, set in 1987 Oakland, California, explores four interrelated narratives that celebrate the city's diversity and culture. After its January 2024 Sundance picture Festival premiere, the picture gained popularity and excited spectators for its theatrical release.

SELECTIONS

MICKEY 17

This adaptation of Edward Ashton's science fiction novel Mickey7 is the second feature film by South Korean direc- tor Bong Joon Ho, following his Academy Award-winning picture Parasite. Join Robert Pattinson as he embarks on a journey to settle a faraway world in this film about a dis- posable employee. His body gets rebuilt with his previous memories intact every time he dies.

SNOW WHITE

Even though they've gotten mixed reviews from critics, Disney's live-action adaptations of their iconic animated features have been commercial successes, which may explain why Snow White is getting the same treatment 87 years after the original 1937 cartoon came out. Starring Rachel Zegler of West Side Story and Gal Gadot of Wonder Woman, the film is directed by Marc Webb of The Amazing Spider-Man and co-written by Gerta Gerwig. Gal plays the role of the Evil Queen.

THE ALTO KNIGHTS

THE ALTO KNIGHTS

In this Barry Levinson picture, Robert De Niro plays Vito Genovese and Frank Castello, two legendary Italian American mob bosses. As mid-20th-century New York mafia bosses vie for power, the pair's two crime families collide.

BLACK BAG

BLACK BAG

An forthcoming spy thriller directed by Steven Soderbergh, who won an Oscar, will combine suspense with mystery. Michael Fassbender and Cate Blanchett play an intelligence officer couple whose marital bliss is disrupted when Cate is accused of betraying her nation.

ASH

The sci-fi horror film Ash follows Eiza González's character as she uncovers the murder of her entire space crew. The film is reminiscent of Alien with director, Neil Blomkamp having previously worked on the science fiction film, District 9 and González's experience in 3 Body Problems and Aaron Paul's role in Westworld. Ash strives for detailed visuals to bring its plot to life.

AWORKING MAN

A WORKING MAN

A Working Man, based on Chuck Dixon's Levon's Trade, depicts an ex-marine who returns from retirement to rescue his boss's daughter after her kidnapping. Jason Statham, Michael Pena, David Harbour, and Jason Flemyng should star alongside Statham.

• PICKS
• JENNIE-RUBY
• TOKIMONSTA ETERNAL
• DO TIESTO
• I FOLLOW RIVERSREVERIE
• EST
• LADY GAGA - ABRACADABRA

SELENA GOMEZ & BENNY I SAID I LOVE YOU FIRST

• CON
• MARSHNELLE
• MAg
• MARSHMELLO & KANE-MILES ON IT

• MUSIC
• UDAGAWA GENERATION
• Sakurazaka46
• TOO BAD (FEAT. ANDERSON .PAAK
• G-Dragon
• DOTSORI NO UTA FEAT. ENKO INOUE
• Mrs. GREEN APPLE
• TIMELESS
• The Weeknd, Playboi Carti
• TOKYO LANDED GIRL ukka
• BARRIER
• SixTONES
• NOT LIKE US
• Kendrick Lamar
• OVERCOMPENSATE
• Twenty One Pilots
• TOP PICKS FOR MARCH 2025

BABYMONSTER.

IS ON THE RISE FOR THEIR SOLD OUT TOUR

PHOTOS ARE COURTESY OF YG ENTERTAINMENT

The seven-member girl group-consist- ing of Ruka, Pharita, Asa, Ahyeon, Rami, Rora, and Chiquita.

Held at the world-famous Kia forum in Los Angeles, the show took off as fans cheered as they eagerly anticipated the Hello Monsters World Tour. The concert kicked off with fans waving their red and white glow sticks, cheering for BABY- MONSTER arriving onstage in regal out- fits. YG Entertainment spared no expense for their fast-rising performers, investing heavily in the concert production. YG Entertainment treated MONSTIEZ to a Hollywood-worthy performance, com- plete with pyrotechnics, high-budget visuals, and four individually designed outfits.

As they performed their first few songs to get the crowd hyped and excited for the night, there was an in-between pause as BABYMONSTER did a little quick intro- duction of themselves to make sure that for the guests that came along for the ride to enjoy their music, they got a more personal experience to get to know. During BABYMONSTER's brief introduc- tion, you can hear fans enthusiastically applauding their favorite member as they present themselves. As members of BABYMONSTER continue to exclaim, "wow, this is a dream come true," the re- alization that they are truly performing in the City of Angels was simply too much for them.

With a full set list, the group had a lot in store for the night. Many of the songs they performed were their top hits: SHEESH, FOREVER, DRIP, CLICK CLAK, and WOKE UP IN TOKYO, to name a few.

• BABYMONSTER HELLO MONSTERS
• LOS ANGELES
• MARCH 2, 2025 KIA FORUM
• NEWARK
• FEBRUARY 28, 2025 PRUDENTIAL CENTER
• CREWSING
• 2025 BABYMONSTER 1ST WORLD TOUR
• PRESENTED BY LIVE NATION
• ©2024 YG ENTERTAINMENT INC.

ENTERTAINMENT

YG entertainment has done a fantastic produc- tion when it comes to introducing new talents to overseas fans.

lenges. The production value is high because YG entertainment, known for creating high-energy shows, put a lot of effort into all their live perfor- mances, as they have done with all other artists on the YGE roster.

Additionally, fans watched and shouted as an intro- ductory movie showcased the immense effort and sacrifices made by the members of BABYMON- STER to achieve their suc- cess. For these members, joining BABYMONSTER was a lifelong dream. BABYMONSTER wants to show how far they've come despite the chal-

All things considered, more is on the way for those who enjoy BABY- MONSTER-style music. Both YG Entertainment and K-pop are just at the beginning of their mete- oric rise to fame.

BABYMONSTER AT KIA FORUM

see.

HELLO

PHOTOS ARE COURTESY OF YG ENTERTAINMENT

More activities and more artists are now com- ing to Los Angeles to offer more performances and to do fan service to all the fans that yearn and to see them in live concerts and that's not all BABYMONTER is still on a world tour which is being held throughout August and September so if you're debating whether or not you should check them out we highly recommend BABY- MONSTER if you're a fan of K pop this is a must

BABYMONSTER WORLD TOUR

Every year, more and more artists and events are popping up in Los Angeles, so fans can enjoy more performances, meet their favorite per- formers, and attend live concerts. However, it is not all. If you are still on the fence about seeing BABYMONSTER live, you can still see them on tour during their August and September globe tour dates. Anyone who enjoys K-pop should definitely check out BABYMONSTER.

• KIA FOR BA
• NYTH
• PHOTOS ARE COURTESY OF YG ENTERTAINMENT
• HELLO
• 2025 BABYMONSTER 1ST WORLD TOUR
• MONSTERS
• Sel in
• PHOTOS ARE COURTESY OF YG ENTERTAINMENT

THRY

• KIA FORUM
• BABYMONSTER WORLD TOUR
• PHOTOS ARE COURTESY OF YG ENTERTAINMENT

MARIE

WESTBROOK

AUTHOR AMANDA HARDY // PHOTOGRAPHY: JERRY COROA

• A SPOTLIGHT
• FOR ALL THE VIEWERS READ-
• ING, PLEASE KINDLY INTRODUCE YOURSELF.

Marie: Hi everyone, my name is Marie Westbrook.

HOW DID YOU GET YOUR START IN THE VOICE OVER INDUSTRY?

Marie: Well, I guess I can take it back to just after college. As I was scrolling through jobs online, I saw an open position for a fill-in traffic reporter at a local radio station. I ended up working there for a few months. Even after that experience, voiceover still wasn't quite on my radar yet.

WHAT MADE YOU GET STARTED IN THE VOICE OVER INDUSTRY?

Marie: Voice over came my way in the beginning. I had previously been an 8th-grade science teacher (waiting tables on the weekends to make extra money) but left that career after the first year. I decided I could keep waiting tables and pursue acting. I got my SAG card and then made a move to Seattle. There isn't a lot of film work there, so clearly that was for other rea- sons, but it was where I booked my first voice over gig. My on-camera agent sent me an audition for a Nintendo Nintendogs game trailer. I had no idea what I was doing and had to find a friend of a friend to record it for me. As I was driving over to hand-deliver the cd to my agent, I thought, I can't believe I even took the time to do this.

There's no way I'll book it. A couple of weeks later, just as I was packing up to move to LA, I got the call from my agent that I booked the job! I was com- pletely shocked!

PLEASE SHARE A MOMENT WHERE YOU FELT INSPIRED TO BE A PART OF THE VOICE OVER INDUSTRY.

Marie: I still had my eye on the on-camera side of things when I first moved to LA.

I considered the Nintendo book- ing in Seattle a fluke. After about a year with my LA agent, they sent me a voice over audition. I went to an in-person audition at Margarita Mix studios. I had fun but left without giving it a sec- ond thought. I didn't think there was any chance I'd book it.

Well, when I got the call from my agent, he seemed as taken aback as I was. He said, "remem- ber that voice over audition you did about a month ago?

Well, they want you to come in and read for it." I said, "you mean I booked it?" and he said, "yup, maybe you should con- sider getting a voice over agent.

MARIE WESTBROOK VOICE OVER ACTRESS

I didn't initially choose voice over, it chose me. I'm so glad it did.

So, that role was Sergeant Jaxo in Star Wars: The Old Republic. I was so nervous and unsure of myself during the process but also loved it so much. The director I worked with was absolutely amazing. That was the point I decided to really turn my focus in the direction of voice over. I enrolled in classes soon after.

TALK ABOUT THE CHALLENGES YOU FACE IN THIS INDUSTRY AND HOW YOU OVERCOME THOSE CHALLENGES.

I think something I can speak to specifically would be working in the male-dominated genre of promo and trailer. When I took my first VO class, I was told to not even bother trying to work in that area. It was all male voices and only a handful of them, at that.

Honestly, I don't know what it was that triggered me to eventually say, "I want to do this." A A few years later, as a growing number of women be- gan to work in the promotion industry, I decided to take a risk and see if I could succeed. I started with a couple of spots working for Vh1 and loved it, so I kept working at it.

Thanks to my agents at Atlas, I eventually started working for Sundance Channel, which taught me so much. They threw a lot my way, and I loved every second of it. At that point, another friend urged me to get a manager. She told me I was ready to dive in deeper into the trailer and promo world. She introduced me to the team at Jason Marks Talent, and they brought so many promo and trailer opportunities my way. Book- ing the campaign for the Oscar-winning movie, "Women Talking," will forever be a huge point of pride for me.

"YOU NEED TO BE

AN ACTOR, FIRST AND FOREMOST.

I THINK THAT IS SOMETHING SOME DON'T CONSIDER

OR REALIZE. THEY THINK VOICE OVER IS ONLY

READING.

I have since worked for many other great movies and shows that I am so proud to be a part of and continue to try to break through those barriers in the male-dominated side of the business. I also have to say that my male counterparts have been nothing but supportive, along with countless producers and agents. The trailer world is still a very niche area, but I really believe once we start getting used to not just hearing the booming Don LaFontaine "In a World voice" (all the respect to him, by the way) and hear more female voices on some of these trailers, it will start to become a lot more common- place. I hope to be in the mix when that happens.

JAPAN IS KNOWN FOR SO MANY GREAT ICONIC VOICE OVER PEOPLE, SUCH AS CHARACTERS FROM ANIME OR MOVIES AND DUBBED TV SHOWS. WHO ARE SOME THAT YOU ADMIRE IN THIS INDUSTRY?

Marie: I always feel a kinship with the Japa- nese voices of the characters I voice. The late and wonderful Atsuko Tanaka was the original voice for Hanami in Jujutsu Kaisen. Michiko Kaiden is my Japanese Dorio coun- terpart in Cyberpunk: Edgerunners. I have so much admiration and respect for them.

IS THERE ANY PROJECT OR PEOPLE THAT YOU WOULD LIKE TO WORK WITH OR COLLABORATE WITH?

Marie: I mean, I feel incredibly lucky to have been able to work for two different Star Wars franchises, with a character in SWTOR and the promo campaign for Ahsoka. I would love to do more trailer work. An animated series that my kids love to watch would also be pretty incredible. There are a lot of things that fall under that umbrella. It's a lot of fun to be able to share this world with them. It's extra exciting when I get to work on something that they can connect with.

TALK ABOUT WHAT TYPE OF WORK YOU ARE CURRENTLY FOCUSED ON.

Marie: My list has been promo and trailer, but I am also setting my focus on more animation work this year. I have enjoyed be- ing able to branch out into different types of voice over work throughout my career. It is fun to narrate a documentary in the morning and then voice a badass video game charac- ter in the afternoon.

TALK ABOUT WHAT YOU LIKE ABOUT HOLLYWOOD ENTERTAINMENT.

Marie: There is such an allure and mystery to Hollywood. There is a magic about not knowing what could be around the corner. I think that is what brings a lot of people into this world. A sense of excitement. I now have friends who have reached a lot of success. It is fun to watch them. I am also just a fan of good television and movies.

WHAT VOICE OVERS DO YOU ADMIRE THE MOST FROM HOLLYWOOD?

Marie: If you mean celebrity actors that also do voice over work, I think there are a lot that really transition well into voice over. Jack Black, for example, is larger than life, and he really brings that to his animated characters. James Earl Jones is prolific, and I think all of us have mad respect for his work in voiceover. Kristin Bell and Idina Menzel make a fabulous duo! There are a lot of celebrities that voice commercial campaigns. One of my favorites is Alison Janney. She just has such a down-to-earth but powerful connection in her reads.

WHAT MAKES A GOOD VOICE ACTOR?

Marie: You need to be an actor, first and foremost. I think that is something some don't consider or realize. They think voice over is just reading. It is so much more than that! You can also be a good voice acter but not successful. There is certainly a good amount of business sense and hard work that goes into being in this business. It is very competitive and there are so many incredible voices out there. Believe me, I consider myself so fortunate to be able to be a working voice actor.

IN TODAY'S SOCIETY, EVERYTHING IS DONE BY REMOTE WORK. DO YOU EN- JOY THIS PROCESS, OR DO YOU PREFER TO SHOW UP AT THE STUDIO?

Marie: Ha, not everything. I have been go- ing into the studio a lot these days. During the pandemic, yes, everything was remote pretty much. Things have shifted back, particularly for character work, like video games and animation, as well as live- action dubbing and anime. I honestly like having the mix of both. It's great to get to connect with the people you are working with and not worry about the technical aspect, but I'm also busy and have a fam- ily, and it's so nice to just hop in my booth and get stuff done. No hair or makeup is required, and pajamas are completely acceptable, ha.

VOICE OVER

THIS MONTH AND NEXT MONTH IS VOICE OVER

AWARNESS GIVING VOICE TO THE VOICES BEHIND THE CAMERAS

Marie: A lot of my sessions are unsupervised, which means they just send me the script and I record and send back. This happens often in the promo world, but also for training videos and even some commer- cials. Sometimes those kinds of bookings are tight turnarounds, so if I am ever further than a few miles from home I bring my travel gear with me in case I need to do a quick read for a client. I have family time and dinner in the late afternoons, then often record auditions in the evening. I like to have down time though. It is important for me to have some time to relax at the end of the day and catch up on shows I'm watching, go- ing out to dinner, or even hav- ing a glass of wine and listening to music while I make dinner.

WHAT DO YOU RECOMMEND FOR ANYONE WHO IS INTER- ESTED IN VOICE OVER WORK?

Marie: The first thing I always recommend is taking a group

WHAT TYPE OF SPECIALTY VOICE OVER WORK DO YOU LIKE TO FOCUS ON, OR DO YOU HAVE SEVERAL TYPES?

Marie: I really like to work in all areas. Video games will always have a special place in my heart, as that's where it all began for me. Promo and trailer really drives and pushes me. Commercial work, animation, anime, narration, all so much fun in their own individual ways. I love it all.

WHATS A TYPICAL DAY IN THE DAY OF A VOICE OVER ACTOR?

Marie: I get up around 6 and every other day have a session at 7. I then get my kids off to school, get a workout in (that is such a vital part of my day) and either have an in-studio session I need to drive to, or I work in my home studio on anything from auditions, to paperwork, to sessions.

class. Not only do you learn so much by listening to your class- mates, but there is a comradery that is made. It's great to stick together and help each other navigate the voice over world. It's also a great way to really de- termine if voice over is for you.

YOU ARE CURRENTLY WORK- ING IN VOICE OVER; WHAT ARE YOUR PLANS FOR 2025? WHAT CAN WE EXPECT FROM YOU FOR 2025?

Marie: I hope to reprise some pro- mo campaigns for shows that will be in their second seasons. Clearly more trailer work is also on my radar. I'll be heading to NYC to hear a cold open I do for a WWE/ Netflix Monday Night RAW event. It will be so amazing to experience in person with a packed stadium. I'll be presenting at VO Atlanta and back on the convention circuit here and there. As I said, you never know what's around the corner, so I look forward to seeing what other opportunities come my way.

CAN YOU SHARE ANY EXCITING PROJECTS THAT YOU ARE CUR- RENTLY WORKING ON NOW?

Marie: I have an animated film that will be coming out, hopefully by the end of this year but it may be 2026 before it's released. Also, another anime I worked on will be released soon.

IF SOMEONE WANTS TO HIRE YOU FOR ANY VOICE OVER WORK, HOW PEOPLE CAN REACH YOU?

Marie: mariewestbrook.com. My agents can be reached at atlastal- ent.com, my managers at jmtalent. com and my convention agents at celebworx.com.

ANY LAST MESSAGE YOU LIKE TO SAY TO ALL THE READERS?

Marie: Just a big, huge thank you for reading and letting us infiltrate Fusion with the voice over world. We are often working alone in our booths and don't get the same kind of celebration that on-camera celebrities get (which is also kind of nice). It also feels good to be able to have a platform to speak about what we do in our business and bring some awareness to our spectacular community.

MARIE WESTBROOK

Marie Westbrook was raised in the small town of Soda Springs, Idaho where she began dance and gymnastics at the age of seven. She initially enrolled at Utah State University as a dance major but eventually pivoted, earning a degree in Phys- ics/Chemistry Education. Along the way, she waited tables, worked as a physics teaching assistant, operated laser beams, and even taught 8th-grade science for a year.

From a young age, Marie was drawn to performing, creat- ing spoof commercials, mock talk shows, and plays with her friends. A family friend encouraged her to try modeling, lead- ing to a local claim to fame as the face of Provo Girl Pilsner, beloved by beer drinkers across Utah, Idaho, and Colorado.

While finishing her degree, Marie began studying acting and immersing herself in the local performance community. She appeared in several student and independent short films before landing a small role in Paradise alongside David Strathairn. After working on a number of independent films, she found her true calling in voice-over.

FROM ACTING TO VO

What started as a journey in science—ma- joring in physics, serving as a Space Camp counselor, and teaching middle school science-evolved into a thriving acting career. Marie began her voice-over work in Seattle in 2005 and later moved to Los An- geles, where her breakout role in Star Wars: The Old Republic led her to fully transition into voice-over. Since then, her voice has become a fixture across video games, commercials, anime, animation, narration, promos, and trailers. With standout roles in Microsoft Flight Simulator, Jujutsu Kaisen, and Cyberpunk: Edgerunners, Marie has recently stepped into the convention world as well. She can be heard in countless commercial and promo campaigns, i ncluding Star Wars: Ahsoka. Marie is also one of the few women making waves in the trailer world, with credits including Light- year and the Oscar-winning Women Talk- ing. Despite her impressive resume, one of her most cherished roles is being a mom to her two children. She continues to pursue a meaningful balance between career and family life, grateful to show her kids that it's possible to thrive doing what you love.

THE BEST OF EDM MUSIC IS HERE!

OUR EXPLORATION OF W&W MUSIC IS EXTENSIVE. DURING OUR CONVERSA- TION WITH THE DUO, WE DISCUSSED THEIR RECENT BEGINNINGS, EVERY- THING THAT THEY ARE DOING AT THE MOMENT, AS WELL AS THEIR NEW MU- SIC AND THE CAT THAT BROUGHT THEM TO THE PATH OF GLOBAL RENOWN, WHICH HAS NOW LEAD TO ARENAS THAT ARE COMPLETELY SOLD OUT.

AUTHOR JERRY CORIA

For all our readers, please introduce yourselves and share a bit about your back- ground.

Hey! We're W&W, com- prised of Ward van der Harst and Willem van Hanegem. We're elec- tronic music DJs and producers, born in the Netherlands.

RAVE

S Na A WE CRIME

How did this journey begin for you? What were your initial steps in the music industry?

When we were younger, we were re- ally inspired by the rich Dutch electronic dance culture. This shaped our passion and started our journey into pro- ducing and DJing.

GET

Once we realized that, we decided to focus fully on our project together, W&W.

DJing and producing separately.

After a while, we figured out that all the music we made togeth- er was better received than our solo projects.

Our journey began in 2007 when we decided to make music together after already

• DHOW IT LIT
• D DOT
• DIDOY
• KNOW
• How NOW
• O DONT LTD DDY KNOW

WHAT KIND OF MUSIC BACKGROUND DO YOU HAVE, AND WHAT KIND OF MU- SIC DID YOU GROW UP LISTENING TO?

We both have diverse backgrounds; we grew up listening to a range of genres. Willem's dad listened to blues rock, and his mom listened to Nirvana.

Ward's dad makes Selmer acoustic gui- tars and his grand- parents were both full-time musicians, so growing up, music was all around us. However, neither of us has had any classical music training, we are both self-taught.

The first CD Willem bought for himself was Eiffel 65 - Blue (Da Be Dee). After that, he was totally hooked on NO DRINKS

AIRBEAT ONE everything dance mu- sic related. For Ward, that CD was Trance The Ultimate Collec- tion 2001, and before that he enjoyed Mauro Picotto Komodo which was always on the radio.

What are your main inspirations, and what keeps you going?

Our main inspirations would be being able to move people with our music and seeing the joy it brings them, both on social media platforms and at our shows in person.

There's nothing more rewarding than being able to give people a unforgettable experi- ence. What keeps us going is the fact that we truly enjoy what we do, every week we try to get better and evolve our craft.

All the feedback and love from the people that our music reaches is a huge motivation to keep going.

What are the chal- lenges you face as W&W, and how do you overcome them?

One challenge that we think is prominent in entertainment in gen- eral, is staying relevant without losing your identity and what you stand for in a rap- idly changing industry. With the constant rise of new social media apps, marketing techniques, and ways to reach people, you need to evolve quickly.

We try to overcome this by continuously evolving our sound and exploring new technologies in music production. This journey can be difficult because you may lose people along the way, and it can be very scary to shed what's normally expected of you. But sometimes we feel we don't have a choice because we've personally evolved and lost con- nection with certain things of the past.

Could you share how W&W was conceived and explain the sig- nificance behind the name?

W&W was born from our first name initials, Willem and Ward. When we made our first track and sent it to Armin van Buuren, we didn't have a project name or anything. It was so last minute that we just used our ini- tials and named the track, 'W&W - Mustang!

What comes to mind when you think of performing for a massive crowd at an EDM festival? Do you have any memorable experiences?

Nothing compares to the experience of playing in front of a super energetic crowd. We are lucky enough to have plenty of memories of those moments, and are still making new ones! The adrenaline we get is unmatched when you're in sync with such a big mass of people it can create a special connection. There's no better feeling than hearing a crowd singing along and reacting to a track that you've spent months creating.

What is the best live EDM event you have ever experienced?

In 2010, we experienced our first Tomor- rowland together when we played on one of the smallest stages the festival has to offer. After our set, we walked to the Main Stage and were overwhelmed by the full valley of people with this in- sane stage and production, fully in sync. We were looking at each other and said, "Imagine if we could ever play there?" obviously thinking that it could never happen, it was just a silly thought. Fast forward four years later, we played that MainStage for the very first time in 2014. With name-dropping some events we don't do all of them justice, each event has its unique audience. The global big brands like Tomorrowland, Ultra, and EDC, are always an honor to play for, but almost every single country has its own festivals that shine and capture the unity that dance music brings to people.

We weren't expecting anything from this project or song, and we were not seriously considering continuing the project together, it was sort of a placeholder name. It started from being friends, going to different elec- tronic music events together, talking, and MOST COMMOM MISTAKES & MORE

What is one mistake you see many up-and-coming DJs mak- ing? What advice would you give to aspiring DJs?

A common mistake made by up- and-coming DJs is doing some- thing identical to someone who is already suc- cessful in the same field. Being inspired can kickstart your musi- cal journey and exploration of your own musical taste and self, but try to create your own musi- cal identity after that. Once that's been reached, perseverance is everything, and working hard for your own vision can be key.

We are cat lovers! How did the cat become part of your market- ing and promotion strategy?

Willem and his girlfriend Sarina, both being big cat lovers, have been sharing the OIIA meme back and forth with each other since July 2024. While it was funny, they thought it was a small niche meme. Once we saw how popular the cat was getting, we had the idea to remix the sound and put Ethel (the official cat from the meme), on the LED screen for our next set. We played it for the first time at Countdown NYE in Los Angeles, and as soon as the green screen with Ethel popped up, the crowd went crazy. We created it just as a fun moment to share with fans, but once the initial video was uploaded, it skyrocketed to over 90 million views across platforms in less than 48 hours.

The reception surprised us so much, and when we saw that Eth- el and her owner never received any royalties for her usage all over the internet, we decided to release it as an official track. Proceeds from the song go directly to Ethel, the blind Ohio cat behind the trend, as well as a portion donated to the Cat Welfare Association, the non-profit shelter that gave her a second chance. Since the release, the trend has exploded further and Ethel even made it to massive billboards in NYC, LA, China, and beyond.

sharing a passion for trance music at the time. After Armin actually played the song on his radio show, A State Of Trance, and his label Armada wanted to sign it, we thought "Oh, this is serious!"

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Your big commercial breakthrough came with the release of Bigfoot. Can you talk about that day and the expectations that followed?

The process of creating 'Bigfoot' took us almost half a year! We tried to fuse our signature MainStage bigroom sound with elements from the emerging trap scene at the time. There was a lot of back and forth to get the mix and blend sorted out in a way that worked for us. We were really surprised the day it came out that it had actually charted commercially since we were not ex- pecting that at all! Having a commercial breakthrough

If you mean a track of our own, Rave After Rave is a song that we don't get bored of.

The live reception when we play it over the years has been increasing, which is insane since it's turning 10 years old in 2025. A song not by us would probably be Tiësto - Flight 643, it's been almost 25 years since that song came out and you can still play it today.

Or Tiësto's remix of Delirium - Silence, hence why we remix that song every few years to be able to play it in our sets again!

What do you think is cool about Japan? What do you like most about it?

For us, Japan is an amazing blend of tradition and futuris- tic technology. The culture, food, and the warm reception www track is amazing, but it also brings in a lot of pressure for your next projects. You always want every track to be as successful or more successful than the one before. But throughout the years we figured out that that is close to impossible, and that's why a lot of artists get stuck and don't want to share the music they're making because they're afraid of not living up to the success and expectations of their previous work.

What is one track that never gets old for you, no matter how many times you hear it?

preciate how respectful the people and culture of Japan are, which makes us feel extremely comfortable and welcome. Another thing we like about Japanese people is that whatever their craft is, they're very dedicated and truly work until they are a master which is very inspiring for us to always go the extra mile. Also, both of us are huge Sushi lovers, and Japan has, in our opinion, by far the best in the world! Every year, we're looking forward to our next trip to Japan.

We are based in Japan-do you have any plans to relocate here in the future?

We're coming back to Japan for a special Back to Back set with R3hab at World DJ Festival on the 28th of June this year! It's the first time we play B2B with R3hab in Japan, and both of us are really excited, we're going to make it a very special show! About living there—we could defiwe receive from fans there is incomparable! We really ap- nitely see ourselves living in Japan! But we have no plans to do that yet, haha.

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How do you choose the tracks you play during a set?

We try to read the crowd's energy and mood and take it from there. We also learned over the years which tracks usually work well in certain countries or cities. We actually have a database of every tracklist we've ever played. When we return to a specific place or event, we try to do our homework and play favorites from our last show there but also bring 50-70% of new material to keep things interesting and fresh for the crowd. For every set, we fully prepare what we think would be the best track selection, but we often find ourselves having to change it on the fly because we cannot fully predict the crowd's vibe beforehand.

Can you describe your creative process when mixing tracks?

When it comes to mixing tracks while live DJ'ing, we try to keep the energy constantly flowing. We call our mixing technique a 'power mix', because we try to blend in the most important parts of tracks in a very dynamic mix, which consists of quick and short transitions without losing the crowd's attention. When it comes to mixing our produc- tions in the studio, we prefer a loud dynamic, and powerful mixdown. A producer's mixdown is like a signature, a lot of times, you can hear who a song is pro- duced by purely off of that.

What do you think is the most challenging aspect of mixing live?

Reading the crowd and main- taining the right energy can be challenging. You have to adapt quickly to their reactions while staying true to your style. Some- times you feel like a song has to be played at a certain time even though you know it doesn't fit where you currently are in the set because of its tempo or key. Trying to find a creative way to make it work can be challeng- ing!

How do you read and respond to a crowd during a perfor- mance?

We look at people and if they're singing along, if they dance or smile, then we know we're on the right track. If not, then we have to try something else! Ward looks more at the individual people and selects them to see if they're enjoying themselves. Willem looks more at the overall energy of the crowd to see if the connection to the music is stay- ing strong. It's another example of how we work together during our live performance to keep the energy flowing. We've seen a big change in the way people react to our performance in recent years! Even though people are jumping, dancing, and smiling, there are a lot more moments when phones come out. But we remind ourselves that these are moments that people want to re-live over and over, and if they're filming it means it's a moment they want to keep.

How do you handle difficult situations, like technical issues during a set?

We stay calm and remember that unforeseen issues happen. Anything can go wrong, espe- cially with larger productions, and we are lucky enough to work with professional people and teams that are usually quick to identify the problem and help sort it out. Often, engaging with the crowd and keeping the energy up can override technical difficulties.

What do you think have been the biggest changes in the DJ industry over the past few years?

Technology has transformed how we produce music and perform shows, all these inven- tions in software and hardware is making it easier for new artists to enter the scene, which creates more competition and can also cause over-saturation.

But this can also be a good thing, forcing people to in- novate and push things to new limits, since it's harder to stand out. The rise of social media makes it easier than ever before to reach new people, making it an extremely powerful tool to showcase your art.

How do you think you can shape and influence the EDM world? What impact do you hope to make with your music?

We aim to make dance music fun for people, to make our shows a time to really live in the moment and enjoy. We hope to spread positivity and unity, we understand that people come to our shows to let go and escape their nor- mal lives. Our purpose is to make them feel that in every moment that they are there, they are having the best time they possibly can.

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WHO ARE SOME PRODUCERS OR DJS YOU WOULD LOVE TO COLLABORATE WITH?

To be honest, any DJ or producer that we have a creative click with is inspirational to us. We really don't look at the name or profile too much, if the music is fun and the vibes are great that's what's most important to us.

What's next for W&W, and what can fans expect from you in the near future?

After the success of OIIA and our last several releases, we'll be looking out for a fun follow- up to that one. We have a lot of new music ready to be released, some of it we have been slowly testing out in our sets. We're also look- ing at how to enhance our live performance to be more visually stimulating and how to make it more interactive. Currently, we're also spend- ing a lot of time on our label Rave Culture and our side project NWYR, which we have exciting things in store for this year.

Are you currently working on any new music that you can share with us?

Absolutely! Whenever we are not touring we are producing new tracks, experimenting with different genres and sounds. In the studio, we're focusing on some solo W&W singles as we've had a few years of big collaborations, but those will continue as well. While we can't give away too much just yet, we can confirm that there will be new releases in the following months with Dimitri Vegas & Like Mike, Steve Aoki, and KSHMR, just to name a few. There will be some new original tracks and remixes coming out very soon.

You are the main feature for Fusion maga- zine, and you're on the front cover. What message do you want to share with your fans?

First of all, it's an honor to be the main feature and be on the cover of Fusion! Thanks a lot for all the love and support! Let's keep spread- ing positivity and good vibes through music. Remember to chase your dreams, and never forget that music unites us all.

Any final words or a special message?

Thank you so much for all the love and sup- port over the years, and for making our dreams come true every day! We're incredibly excited about what's coming next and can't wait to share it with you. Stay tuned, keep dancing, and let's make more unforgettable memories together!

Demi Moore's statuesque silver and gold beaded dress had a plunging neckline, spa- ghetti straps, a dramatic train, and ruching along the hips to highlight her waist. The actress continued the multi-watt look with a silver cuff bracelet and crystal chandelier earrings. Moore maintained her usual glam for her Oscars presentation, styling her raven black hair in long loose waves and highlighting her features with a delicate smokey eye and a mauve lip.

2025 OSCARS FASHION

LISA

The singer wore a Markgong dress with tuxedo-inspired details, including a black coat with satin lapels, a carnation brooch, and a collared white shirtdress. Lisa accessorized with stylish patent leather boots, delicate gold hoop earrings, and a diamond-encrusted ring.

SELENA GOMEZ

Selena Gomez wore one of the most unforgettable costumes to the 2025 Academy Awards. The pink-hued, bedazzled Ralph Lauren gown, which had over 16,000 drops of glass, was created as a tribute to Italian actress Sofia Loren. Perhaps surprisingly, such an extravagant appearance was difficult to carry off.

Miley Cyrus wore McQueen's beaded high- neck gown with a drop waist that led to a sheer skirt and matching beaded sheer gloves. She completed the look with diamond fringe earrings and a bracelet from Boucheron Fine Jewelry. She finished her look with bleached brows and smokey eyeliner.

DOJA CAT

Doja Cat is wearing a plunging leopard-print corset dress embel- lished with hand-sewn sequins.

The singer's mermaid gown was custom-made by Olivier Rouste- ing and was inspired by a nearly identical Pierre Balmain design from 1953.

ARIANA GRANDE

Arina donned a baby pink dress that coordi- nated with the pastel looks. It had architec- tural embellishment that juts out from the waistline and airy, sparkly layers of tulle that drift to the ground. The molded bodice feels like a second skin, while corset detailing on the back adds texture and visual intrigue.

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A little fashion question. I'm just wondering about the brooch.

if there's any significance you want to share.

Adrien Brody: Of course, well, it's just beautiful. You know there was a lot of significance tonight. it's Elsa Jin, who's a friend of mine and a wonderful artist, and I'm very grateful to get to wear something so beautiful.

Your speech was so moving, so powerful. Can you tell us why you felt that it was such an important time to mention anti-Semitism and hate and racism? Why did you want to highlight that in your speech today specifically?

Adrien Brody: I think we all know that it's an im- portant time to recognize that there's no place for OSCARS intolerance, and as I had mentioned in my speech, I'm, oddly, receiving recognition for representing a time in history. That we witness unchecked anti- Semitism. and that hatred and oppression have no place in this world and that we must learn from the past.

I want to ask you a bit about what you were ask- ing before. Do you feel that the issues that you show in the film are something that people are forgetting? Is that another reason you feel that this film is important? And secondly, you seem to talk about your journey. your journey that maybe was a bit of a roller coaster, and almost like, you maybe never thought you would get back to this point again. Can you talk about that as well?

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Adrien Brody: No, you are not mis- taken; it has been a long and beau- tiful journey, and an artistic path, and I've. As you try to navigate creative choices, There are many variables, and there are wonderful ones; there's an enormous number of talented indi- viduals all vying for very few great opportunities, and that's the bottom line. I have been working very hard for the past 22 years, but nothing quite connects. I'm aware of this, and I'm grateful for the good fortune I've had of being selected by Brady and Mona to be a part of a very meaning- ful story, one that speaks to injustice and not just along the lines of what we had discussed, it's also important to consider the lives of others, people who hope and dream of being free from oppres- sion and very difficult circumstances abroad, like my grandparents' struggles, loss, and resilience. paved the way for my own positive fortune, and I had an opportunity to honor them in this film, and the truths and the insight that I've gained from these hardships of so many people of many different backgrounds and ethnicities have made me aware of We need to be empathetic.

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What it was like for you to work with Mona Fastvold and what you would like to say about her script.

Adrien Brody: Mona Fastvold and Brady Corbet co-wrote a remarkable script and one of vast storytelling and tremendous intimacy and nuance and frailty, so I'm truly grateful for their contribution to cinema and their own brav- ery. and for believing in me and for giving me an opportunity to be a part of something of such importance and against all odds.

This is a, this has been a seven-year journey for them. and I'm truly grateful to have helped them tell a story. of great meaning and to be included as part of this very special project.

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MIKEY

MADISON

What does it mean to you to not only win this best actress in a leading role Oscar but also for Sean to win four Oscars in one night for the same movie?

Mikey Madison: Oh my gosh, it's an I, for lack of a better word, just incredibly surreal. I never thought anything like this would happen in my life. I just-I love making movies, and I've dreamed of being an actress that would be able to be in a film like Anora my entire career as an actress.

it's a huge honor, one that I think will soak again later down the line hopefully um I really did not expect it at all, and I mean, Sean is such a wonderful, incredible filmmaker he is an incredible writer and amazing editor he is a true lover of cinema, a kind person he has dedi-

OSCOS cated so much of his career to telling really important stories.

I'm so happy for him because he's been, you know, he's just a true indie filmmaker like we went off and just made this weird, crazy movie and had fun and poured our hearts into it, and you know, all of this started at Cannes, which was just a dream come true for me, a career-long dream, to even just go to a Film Festival specifically Cannes, and so everything that has fol- lowed has been wonderful.

I'm just so happy for him. I adore him, and I adore Sammy Quan and Alex Coco and the entire team, and so I could keep talking about them forever, but I'm so, so happy for them.

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You've starred in less than 10 feature films so far in your career how do you hope this win will influence your ca- reer going forward?

Mikey Madison: yeah it's interesting. I've been thinking about the future a lot and also the past, and I've been really trying to remind myself to stay as pres- ent as possible throughout all of this, so I don't know. I really don't know what will happen in the future. I just want to keep making movies and, you know, con- tinue to work with people who inspire me and play interesting characters, tell stories that are compelling, and so that's just what I hope to do, and I really don't know what will happen. I just know that tonight I'm going to go home to my new puppies and probably, you know, clean up their mess, and it's going to bring me right down to earth, yeah.

WINNER FOR ACTRESS IN A LEADING ROLE

OSCARS

You've previously stated that Anora helped you come out of your shell and gain confidence, so now that you've received this honor, what would you tell Anora?

Mikey Madiso: Oh gosh, I don't know you know I think that making this film gave me confidence as an actor and as a creative. I think that it really inspired me, reinvigorated my love of cinema, and reminded me of the kind of work that I want to do, so I don't know what I would say to the character.

I still have so much love for her, and it was really one of the first charac- ters that I don't know. was sorry I've my mind is all over the place, and my heart's about to explode right now, but

I don't know. I don't know what I would say.

I would just say that I'm grateful that I was able to portray you for a short period of time, and there will always be a small part of me that carries around the experience of making the film and the character because it has changed my life in so many ways, you know, not just because of all of this that's happen- ing right now, but just the experience of being able to work with Sean Baker. the experience of learning and meeting incredible people from the sex work community has been such a wonderful part of this, and I've met and made so many incredible friends, so I would just say thank you.

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Congratulations.

Kieran Culkin: Thank you.

You went from almost saying no to being a first time Oscar winner. So knowing all this hard work that you put in, how does this win feel?

Kieran Culkin: I don't know. I've already been asked that about three or four times in whatever span of minutes it's been. I'm not fully inside my body right now. I'm trying my best to be present. I don't know. But like I, the thing is with almost saying no to the movie was, it wasn't for any creative reason. It was just the way the schedule changed right before we started, it was taking me away from my kids for almost a month, and I was like, well, I don't want to do that. And then I got talked into it, which, obviously I'm very glad that I was. I have no idea how I'm feeling is the answer to that question.

when you were filming this role, did it feel any different to any other role you've done or like did it feel a bit more special?

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Kieran Culkin: It definitely, it felt different, in the, like the, the script was incredibly tight that I didn't want to rehearse it or talk about it or anything.

It just felt like it was the first time I ever read something and went, I fully understand this guy.I don't even want to read it again. I wanna show up on the day and go, what scene are we doing?

Oh yes, this one. And the words got in here really quickly because they were so well written. So that was, that was a fun new approach.

And it felt like I knew who this guy was, but I couldn't identify it and I didn't want to analyze it because right away upon reading it, I went, I know who this guy is. I'm just gonna leave it and just do it. It wasn't until almost a year later when I watched it that I was like, oh my God, I know someone exactly like this, and I didn't realize I was doing that.

And the moment I realized it my wife leaned over-it was at like a the- ater-

OSCOERS she leaned over and said his name in my ear. And I was like, you're right, I'm totally doing him and I didn't even know. Oh, that kind of unusual experi- ence, I've never had that before.

What did this role and movie teach you about yourself?

that's too heavy a question. I don't know. I feel like whenever I've worked on something important I end up taking things with me. Like sometimes people will say like, oh you're a lot like that character. I'm like I wasn't until I did it, and now

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I feel like I took something with me. But I'd like to think that I'm a little more together than that guy. I'd like to think that I've figured some stuff out, but I don't, I got, that's too, that's my terrible answer to your otherwise excellent question. Sorry.

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Now you're standing here with your first Oscar if you could go back to any moment of your life and let that version of Zoe know this is only going to make you stronger and pre- pare you for this moment, when would it be?

Zoe Saldaya: I think it's every time that I went after a part and I didn't get it, and I cared so much, and I was so heartbroken for sometimes a day, sometimes a week, but I got up again so at the end of the day, if I don't act, if I don't do my art, then what am I who am I and realizing that it's not about the win when you learn to let that go, and it is about the work day in and day out, the day that you do when you just have a deeper appreciation for it, and you feel that you have appreciated every experience and every moment that has led you here.

There's a musical song in the movie Emilia Perez that says let the people talk. How would you sing this song to someone, and how would you react to the politics in South America when the movie Emilia Perez was released?

Zoe Saldaya: You know that the art that is created doesn't have a manual with instructions; it was created with love, hope, and prosperity, and art is a form. It creates topics that sometimes people wouldn't understand right away, and to create these movies, it's to bring more voices to the table for discussion, and that's precisely what the director intended in doing by making this film.

This movie is not inspired by a true story. If I had to make this film again, I would do it 1000 times. This film holds immense importance, is visually stunning, and was created with a great deal of love and sacrifice.

I can only talk about it in this light because that was my personal experience; of course, all the politics that happened with the film really hurt a lot because you, as an actor, create

IT'S NOT ABOUT THE WIN

WHEN YOU LEARN TO LET THAT GO, AND IT'S ABOUT THE WORK

DAY IN AND DAY OUT THAT YOU DO WHEN YOU JUST HAVE A DEEPER

APPRECIATION FOR IT, THAT EVERY MOMENT HAS LET YOU HERE.

a film with a lot of love and with your heart wide open. When the film doesn't receive positive reviews, you begin to question why, what transpired, and what went wrong.

But after you take a deep dive, explore, and process the film, you have to come to an ultimatum decision.

and with that i always follow my heart, and i stay true to myself because I know during this film I did it with a noble conscience, and I know that this film that I created as an ac- tress was in noble art, so therefore i don't regret being a part of this film.

What would you say was the largest obstacle you've had to overcome to get here tonight?

Zoe Saldaya: I think it was myself, you know; there's so many external factors that can impede you moving forward if you stop moving forward, you know, I had a hard time sometimes getting out of my own way and, you know, self-sabotaging and thinking that, oh, trying to believe what others wanted me to believe or trying to believe what others saw in me and not listening to my voice.

we have an instinct, and that instinct that keeps us from fall- ing or helps us put our hands, you know, in front of our face to protect us when we fall, that's the same instinct that when you're reading a script or you're meeting someone and you just know that you're right for that part and you know that you being a part of that will be something exceptional, and you just have to listen to that, so I can spend so much thinking about all the things that I don't have that I should acquire, but I can also think about Fuck it let me just, like my husband says, throw myself into the unknown and see what comes of it, and I'm having a lot more fun when i do that.

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DAREDEVIL

BORN AGA

AGAIN

Charlie Cox: At the beginning of born again is something has happened in his life, something significant, something that changes everything for him and changes who he is, and, um, what he's trying to do is refine an identity, rediscover who he is, um, make amends where possible for past mistakes, um, and also deny an element of himself um however that becomes impossible for a number of reasons, and one of those reasons is Wilson Fisk.

Vincent D'Onofrio: there's a couple of different ways to look at that, I think, like, as if you—I'll just step out of my role in this whole thing for a moment-you know, the idea is that it's two men that sort of need each other to exist in a way, and that's how it's been so far they motivate each other in the most dark ways. I think that that's a big deal the easiest example is when you bring the two characters together we do it as little as possible because it's so intense when we do it. it means something, saying earlier that it has to be the beginning of something we need to have a scene with the two of them together it has to be the beginning of something we are going to use throughout or some of the way, or it's the end of something, and sometimes it's both and so their planned well, and this season especially, Dario did a wonderful job when he put them in. I think Charlie and I have a little bit to do with that, but it's mostly Dario's way. His writing structure is really good, and I think that they, um, you know, there's im- mediate tension; there's immediate interest when the two of them are facing each other. I think they kind of wish each other didn't exist but sort of know that they need each other.

Charlie Cox: it's such an honor to work with some of the actors in this show, Deborah Ann Woll and John, particularly. Um, you know, I don't think that the show daredevil would have had the emotional impact that it has had without Deborah and Elden, who have played the characters foggy and Karen they are the heartbeat of this world that we exist in; they remind us of the audience. I mean, they remind us of what it is to be human in a world of superheroes, and they're just phenomenal actors and people, you know, so it's such an honor that they're back, that they do such a beautiful job with those char- acters. John's frank castle is the best there has ever been, in my opinion he's an extraordinary actor with the most infectious charisma, and I love working with him he's always bringing something unexpected to a scene, and I think that, you know frank castle and daredevil kind of push each other in a direction, which is always fun and always unexpected.

Vincent D'Onofrio: Unfortunately, my character disappeared without giving Vanessa a reason. This occurred in the timeline while I was dealing with the Echo character. After this disappear- ance, demonstrating Ayelet's incred- ible acting skills.

I say that as a her peer but also as a good friend of hers so I know the way she works I know how much she puts into it and you can just see when you're working with her there were times when we were working together that there was no acting needed I was reacting completely just receiving everything that she was doing and saying and just reacting off of it I think this is similar to similar to Charlie and like we get to know each other so well and Ayelet and I know each other so well for so long now it's an incred- ible thing it's a very intense relation- ship she is trying to understand her husband the best she can because she loves him very much and Ayelet you know has feelings for me because we're like really close buddies and have been for a while and I feel the same about her and it's it's just you know I can't not include that when it comes to me talking about her perfor- mance because we are really taking each other in and receiving each other and reacting to receiving each other and it's it makes for a really fun scenes to do even though we're going through pain or emotion sometimes during the scenes it's a lot of fun so I think that you know she's comes the idea that Dario had and we loved and we all know that Ayelet is the stronger one of the two at this moment and she's really kept things together but he has a plan and he needs and he has he asks her to forgive him and come along with the plan

SEL

HAT YOU OTS SE

DOREJEW she is trying to understand her husband the best she can be- cause she loves him very much, and Ayelet, you know, has feel- ings for me because we're like re- ally close buddies and have been for a while, and I feel the same about her, and it's just, you know, I wanted to include that when it comes to me talking about her performance because we are really taking each other in and receiving each other and reacting to receiving each other.

it's it makes for a really fun scene to do even though we're going through pain or emotion some- times during the scenes it's a lot of fun, so I think that, you know, she comes up with the idea that Dario had, and we loved it, and we all know that Ayelet is the stronger one of the two at this moment, and she's really kept things together, but he has a plan, and he needs it, and he asks her to forgive him and come along with the plan.

In this new life that matters, build- ing and constructing for himself, he meets someone new who doesn't know him; he's not from his past. Heather Glenn is played by the THE IDEA OF SHOOTING HERE IN NEW YORK WAS A MUST.

WE MADE SURE THAT IS WHERE WE WANTED TO SHOOT.

EW ar in this new life that matters, build- ing and constructing for himself, he meets someone new who doesn't know him; he's not from his past. Heather Glenn is played by the amazing Margarita, and he attempts to have a relationship with someone where he is vulnerable and open and honest to an extent, but what he doesn't tell her is probably the biggest secret, which is that he has had an alter ego, and a byproduct of that is that he doesn't let her know.

AT PHOTO BY JAMIE MCCARTHY/GETTY IMAGES amazing Margarita, and he attempts to have a relationship with someone where he is vulnerable and open and honest to an extent, but what he doesn't tell her is probably the biggest secret, which is that he has had an alter ego, and a byproduct of that is that he doesn't let her know.

He doesn't explain to her that he has heightened senses and, despite being visually impaired, he is able to func- tion without the need for a cane. This is a significant aspect of his withhold- ing, and it's fascinating to observe how difficult it is to understand why someone would choose to conceal this from the world, especially when they struggle to maintain an honest and open relationship.

it's probably doomed from the start, but it's very tender at times it's very supportive he moves in with some- one for the first time we've never seen Matt live with someone, co- habitate, and Margarita brings such a-she's so there's such a humanity to it and such a kind of sexiness and a vulnerability to her performance she's I think she's a bit of a big break- out from Season.

I mean, she's an amazing character actress like she's good; she could do leading parts, obviously, because she's so beautiful, but her style is

Daredevil: Born Again was created by Dario Scardapa- ne and Matt Corman & Chris Ord for the streaming service Disney+, based on Marvel Comics featuring the character Daredevil. It is the 13th television series in the Marvel Cin- ematic Universe (MCU) produced by Marvel Studios, via its Marvel Television label, sharing continuity with the films and television series of the franchise. Born Again is a revival and continuation of Daredevil (2015-2018), an earlier se- ries produced by the previous Marvel Television production company and originally released on Netflix. Scardapane serves as showrunner with Justin Benson and Aaron Moor- head as lead directors.

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I mean it's very imposing I have to say those three are incredible actors yeah it's it's a good way to ask the question in New York City is a character in our show it's it more in this show more than even the Netflix show I mean we've go even further that the film makers go even further with the way they use New York and I think that this way that Daria has written this show and is just New York he's made New York a big part of it the I think that for Charlie right but if I may say that the idea of shooting here in New York was a must you know we kind of made sure that it was where we wanted it to shoot I think as a team we both wanted very much so it's New York is very important to us I think if when you watch this series you'll see how exactly it is important to our story

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ART BY DAREDEVILSHOTS three actresses how lucky are we? I think about it when I work with them individually, but if you group them all together, this is the first time I've ever said out loud group- ing those three people together and the talent and the gutsy way that they're so different yeah it's amazing.

very much, I think, a very specific kind of charac- teristic she builds these characters, and if you see in her other work, what she does is nothing like what she's doing in our show.

it's amazing. I was just thinking, if I may add, I don't know if this matters or anything, but it's amaz- ing how we have these

What is it about the franchise and these characters that make them so popular?

Dario Scardapane: I think it's vulnerability. I think that Matt Murdock is a hero he deals with the disability; he deals with the world that is hard, and he has a really deep kind of spiritual and internal code, and that makes him vulner- able so you write to the parts of him that are in conflict with himself, the parts of him that are insecure, the parts of him that are, for lack of a better word, a challenge to be a better person than his nature may allow him to be, and that makes it super interesting and not easy, but there are places to go writing-wise with a char- acter like that.

Sana Amanat: you know the elements from the old show that we felt like were really important to include were really about the characters themselves and what the core principles of them are, and you know Matt constantly being a tortured and complicated individual and Fisk being someone who constantly wants more and his affection and love for Vanessa being really a guiding force for him.

Of course having, the character interactions with Karen and foggy but also understanding that there are a lot of dynamics that Matt and Fisk have had with other characters that they constantly influence in the same way that they influence them and having them in the show, having new characters in the show was, I think, a really good sort of testament to that fact, so we have some new players that I think are going to challenge our characters in some fun and exciting ways.

who is Matt Murdock how did he become Darrell daredevil?

Dario Scardapane: well who is Matt Murdock? it's the big question. I mean, isn't that the ques- tion that we've all been wrestling with since the moment he came onto the page in 1964 and since he came onto the screen with the earlier show in this iteration in this version?

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Matt Murdock is the person we saw at the end of the Netflix show 7-8 years later he he's whole and happy and in a place of, kind of, for lack of a better word, as close as he gets to peace, and then rapidly that's torn apart, and he has to once again kind of rise from the wreckage, and that's the joy of daredevil for me he is that character who takes the punch and gets back up to use all the boxing metaphors, but yeah, you hate to see him get hit, but you love to watch him come back.

what is Wilson Fisk taking on in the new series?

Sana Amanat: well I think this is a whole new adventure for him um adven- ture is such a software for Wilson, actually. I think pondering the question, and I know Vincent has a very specific take on this, but as an audience, as someone watching him, I always wonder, has he changed he is in a new position and a position of a different kind of power, and he's in the public eye now in a way that he hadn't been before.

He was hiding in the shadows and making moves, and now he has to do it publicly, so for me, I don't know; sometimes I want to believe that he's changed, and maybe ultimately he hasn't, but I think that's an intriguing question, and seeing his relation- ship to New York and how that, um, and what events transpire based on that is going to be the intriguing question, but I just can't help but, like, I kind of want him sometimes to win, which is crazy.

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Dario Scardapane: I always write his stuff as sincere, yeah, like as if he's and that's the cool thing about Vincent: you write it straight; he's not a liar no he's telling you what he wants and who he is, yeah, well.

Sana Amana: I think Charlie and Vincent have been doing this for a very long time, and they know these characters better than anyone, and the smart thing for us is to listen to them and kind of let them roll they embody them both in terms of their physical manifestations and their overall presence it's really transfor- mative when they walk on set.

I love seeing you know there was one moment where Charlie, when we do action sequences, we have our stunt doubles, and when Charlie comes on, I just always know it's Charlie in the mask it's hard to tell, AIN but I know when it is because he just has a Polish and a swagger to the way that he does his court, his fight choreography, and there's like one move he did in the opening it was just so cool he like just stopped his legs and screamed, and it was just so, so awesome but I feel for me as a fan, it's just really awesome to see these characters come alive through these amazing actors.

Dario Scardapane: yes Matt has a new love interest in Heather Glenn, played by Margarita Levieva, and it's a new place for Matt. I think that this is, like, for lack of a better word, a grown-up relationship, and he's trying to be—it's that same struggle he's trying to be the best man he can and be the best person he can in this relationship, and part of the fun is watching that fall apart, for lack of a better word.

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It's like watching the struggles he has to maintain a normal relationship, and it's just going 8 different kinds of sideways, so credit to Margarita Levieva for kind of creating this really interesting character that is carried along by events that she's really trying hard to wrap her head around until she gets to a moment where it's like no more shell; she draws a line in the sand, I think.

Sana Amana: you know what I love about marvel in general is that New York is a ma- jor character, especially in the comics, and for daredevil fans people know that New York and Hell's Kitchen are a big part of his story it was so awesome to shoot here in the streets of New York.

we got to shoot in Hell's Kitchen we actu- ally shot across the street from my old apartment building, which was a crazy and weird feeling, just like the places I used to go to were right there, and then you see Matt, Karen, and foggy walking around it

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PHOTO BY JAMIE MCCARTHY/GETTY IMAGES was very surreal, so it was nice to have that backdrop and to make people know that this is a grounded and gritty New York, a New York that you recog- nize, and the people were real feel that this is not a New York that was shot on a back lot or not a New York that was kind of crafted in To- ronto this is New York, and the people in it are New Yorkers, yeah, and that's important.

there's a thing that we did to kind of bring the streets of New York into our story where two friends of our directors, Justin and Shawn, who are documentary filmmakers, did these interstitials that are as far away from establishing shots as you could ever get.

Daredevil: Born Again is now stream- ing on Disneyplus catch the latest episodes now.

it's people and places that just feel like real New York they don't feel like moving New York, and we threaded that, for lack of a better word, vibe throughout the entire season so you

What i love about Marvel is that New York is a major character, especially in the comics, and for daredevil fans.

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David Harbour: Ghani is a friend of Jason's Levin character. I think gunning might call him levon but Ghani is a guy who's been on several, you know, sort of teams with him and has served with him on various tours, so they're military buddies they're sort of brothers in arms. gunny functions in several different ways, but the biggest way that he func- tions that I think is a mirror to Gunny functions in several different ways, but the biggest way that he functions that I think is a mirror to Levon's limitations is that I think, in the scene, we talk about him wanting permission to do things, but I think also Denny's been a product of levon's failure to a certain degree. blindness he's blind because Levin wasn't able to save him from being hit with this thing, and I think he reminds him constantly of his sort of vulnerabil- ity and his limitations as a man.

I think that's part of the reason for the character there-to check him, to tell him that he's not immortal and that he's not perfect and that there is col- lateral damage to his actions.

Why did you want to be involved in this film?

David Harbour: I just really like Jason Statham movies, so I wanted to do one of those before I die, and then the other thing was I wanted to do an- other David Ayer movie because we've worked together in the past twice on a movie called end of watch with them, and I did a little bit in Suicide Squad as well, and Dave and I have known each other for years, and I think he's a really great writer/director and has a very specific point of view and a very specific deep flavor take on the world you know it's nice to dip into that.

How was It working with Jason Statham?

David Harbour: you know he's been very gracious it's always interest- ing to me, you know, big stars, and see what they're really like behind the curtain, and I think he's pretty

PHOTOGRAPHY: Emma McIntyre/Getty much as he appears he's seems pretty grounded and real and yet has a cer- tain vulnerability, which I find admi- rable for somebody who makes action movies.

I sort of think I was like, maybe that's the reason why we like watching Jason Statham movies, because he's just very human and very engaged in a way that I really like, and you know, he's really game to play around. I mean, we've been trying to decon- struct the scenes, and that's David's big thing, as he likes to go in and really pick him apart and see what's really important or what's vital to the story of the character we're going to reveal, and you know, Jason wants to get in there as well and wants to play around and dig around for some of the depths, and so that's been a lot of fun. I really enjoy being around him off camera, you know, and I enjoy working with him on camera.

How was it working with Director/ Co-writer David Ayer?

he's a real searcher, David, like I think he's really, um, searching always to try to deepen, and he's not precious, which I really like, but he really wants collaboration; he really wants the actors to bring things; he wants the prop guys to bring to the light. I mean, he really wants other people to enliven this world, um, you know, as I say that, it can sometimes be rare with writer-directors, but I re- ally like that, so it's always a bit of an adventure with him.

How did you prepare for this film?

David Harbour: it's an odd thing, like being an instrument in a band. I don't necessarily know that me understanding the meaning of the song makes me a better guitarist. I sort of feel like the chords that I have to play sometimes are based on story dynamics as opposed to the actual histories of something, and my relationship to a military situa- tion is not going to be a military guy's relationship to a military situation, so a lot of times I'm having to work with my own internal metaphors around stuff as opposed to actual content.

occasionally it's useful to have just the language of, like, it's been useful to have good military advisors on this to talk us through, you know, a

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PHOTOGRAPHY: Frazer Harrison/Getty lot of the language of the weaponry or the teams these guys were on or how they work together or why they work together, and what, to me, is most important is not always the content of that research but more to see the fire that it ignites in another person when they speak about it, and so that's always very valuable to see what draws people like I know nothing about cooking, but when I watch a chef talk about what sour tastes like, it gives me a real clear indication of how to play a chef.

Talk a little more about your character and their role in this story

David Harbour My character sort of enters early in the movie and then kind of finishes the movie as well, um, and so we're starting very early when levon comes here to try to figure out whether or not he's going to be able to accomplish the task and sort of view me as this mirror said to his limitations and to see if it's you know, if he's able to let go of some of the guilt of what's happened between us to be able to be called to action.

I believe that this movie requires you to approach it in a certain way, incorporat- ing metaphors. However, as I continue to research, I've discovered that stories are deeply personal. I believe that the more personal your work becomes, the more effective it can be.

we're also shooting the end; there he comes back, and we sort of wonder if he's ever going to be rid of this drama in his life, so we've been shooting that we're out in this beautiful cabin; it's like a fire pit, and there's some lovely woods and stuff the production value is amaz- ing; it's a pain in the ass to get here, which is always great for production value, but it's

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IM beautiful, and you know, we're sort of trying to carve out what this brotherhood is between these guys and trying to find that.

WHAT IS THE STORY OF THE UNBREAK- ABLE BOY, AND WHO DO YOU PLAY IN THE FILM?

ZACK: I play Scott Laurette, and the story of the unbreakable boy is a true story about Scott and Teresa Laurette and their two sons, Austin and Logan. Scott and Theresa meet and know they start falling in love on their third date. they get pregnant with Austin, which is definitely a curveball, but they're like hey let's do this let's figure this out as we go. Austin is, as they come to find out, born with osteogenesis imper- fecta, which is brittle bone disease, which is yet another curveball, but they keep, you know, journeying and walking with that, and then they have their second son, Logan, who is born seemingly healthy, and then a few years go by, and Austin is behaving in some atypical ways, and then they have him tested, and they find out that he is on the autistic spectrum, so the movie is re- ally about a family kind of navigating those waters while, you know, Scott and Teresa are still navigating figuring out their own internal conflict in themselves, figuring out their relationship, and figuring out how best to love their children.

Can you talk about meeting your real-life counterparts?

Zack: I met the real Austin the first time I met him, about a week into filming, he sent me a message on Instagram and said hey I hear you're portraying me in the movie. I'm really excited to meet you. Our family thinks that you're going to do great, and so I mes- saged him back, and very quickly we got on the call together, and I was really excited to meet him he was incredible, and then a month later he and his family came down to the set actually it wasn't a month later, but around 2 weeks later, he and his family came down to the set, and we were able to meet them in person, and it was incredible they're lovely people.

Zack: I think initially I had a phone call with them, so I got to kind of pick his brain about their story you know Scott was very brave, and Theresa was both in Scott writing their story in the book the unbreakable boy that the film was based on, and so I was able to kind of glean, you know, a little bit from those conversa- tions, and then ultimately when they came to visit us on set, we got to, you know, spend more time with them and learn more about their dynamic and their energy.

obviously you know when you're making a film, there are some artistic liberties that are taken, and you know how to piece all that together, but the script that John Gunn wrote was really such a beautiful script and a great blueprint for us to follow ultimately in making sure that we were, you know, honoring them, honoring their story, but yeah, we got to spend some really good quality time with them while we were making the film.

What was it like working with your incredible co- stars and your director, Jon Gunn?

Zack: yeah I mean, it was a beautiful family that was really God-breathed. I mean, you know, the movie came

together quite fast and in the height of the pandemic, so we weren't really sure how it was all going to come together, if it was going to come together, and yet all of the right and perfect souls, you know, collected in our cast and our crew, we spent really quality time off cam- era together having meals, breaking bread, having fun, just leaning into the charac- ters when we were actually on camera. I think really doing right by the script that we were given, yeah, it was really a magical experience.

Can you describe the film in 3 words?

Zack: Love, acceptance, and redemption.

why do you think this is a film for audiences to need now?

Zack: yeah you know, the world is a hard place, and there's a lot of pain there's a lot of suffering in the world all the time, and we all have these ideas of the way that our life is supposed to go you know we have these idealized versions of ourselves that we see of the life that we think we're sup- posed to be living.

when those things aren't adding up when our ex- pectations are not being met, that can lead to a lot of suffering, internal tur- moil, anxiety, fear, anger, and things like that, and I think that this film is a really beautiful example of radi- cally accepting the life that you're given and, in doing so, finding so much beauty on the other side of that, figur- ing out more how to love yourself better, and therefore having those around you even more.

ZACHARY LEVI

The voice over taking over Japan to Hollywood!

After working for a Japanese TV station as an announcer, anchor, and re- porter for about 8 years, Yukiko is now doing voiceover and, in addition, has started her company, Yukiko is the founder of Voiceover Japan, the first online school for Japanese voiceover artists who want to work in the international markets. She has taught over 250 voice talents at Voiceover Japan, connecting the world one step closer to Hollywood.

FUSION: For all the viewers please talk a little about yourself and talk about your background.

Yukiko: My name is Yukiko Fu- jimura, and I've been using my voice to deliver impactful informa- tion and meaningful messages for over 25 years. My career began as a television announcer, where I worked as a news anchor, enter- tainment show host, reporter, and voiceover artist for various pro- grams. After becoming a mother, I set up a professional home stu- dio, allowing me to collaborate with clients from both Japan and around the world.

In 2019, I founded Voiceover Japan, the first online school in Japan dedicated to teaching voiceover artists how to market themselves internationally. Since then, I've had the privilege of mentoring over 250 students, helping them expand their careers across borders. In 2023, I was honored to be appoint- ed as an international ambassador for SOVAS, the Society of Voice Arts and Sciences, where I actively support Japanese voiceover artists in gaining global recognition.

On a personal note, I'm also a proud mother to a 16-year-old high schooler, balancing my career with the joys of parenting.

Through my work, I aim to not only inspire and empower others in the industry but also create au- thentic connections that resonate globally.

FUSION: Talk about how did you get started on this industry?

Yukiko: The inspiration to pursue a career in voiceover work and join the television industry came from my high school teacher. During a one-on-one meeting, she told me, "Yukiko, you have such a beautiful voice." At the time, I was unsure of my strengths and felt uncertain about my future. Her kind words sparked my interest in becoming a TV announcer and working in broadcasting.

I decided to attend an announcer training school, where I discovered the depth, complexity, and joy of using my voice to communicate and express. It was both challeng- ing and fascinating, and it fueled

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my desire to turn this passion into a career. I applied to numerous television stations across Japan and, after a lot of hard work, I landed my first job at Miyagi Television, a TV station in the Tohoku region

Starting my career there was an exciting and fulfilling experience. As a news an- chor and host, I loved every busy, vibrant moment. However, after getting married and having a child, I made the difficult decision to leave the station. At the time, I was anchoring a morning news pro- gram, which required me to be at the TV station by 4:30 AM-a schedule that felt incompatible with raising my daughter.

My daughter was born prematurely and spent time in the NICU, which made me realize how important it was for me to be close to her during those early years. That's when I became interested in build- ing a home recording studio, which al- lowed me to transition into the voiceover industry full-time. This path not only enabled me to balance my personal and professional life but also deepened my appreciation for the art of voice work.

FUSION: What do you love the most of this industry?

What I love most about the VO industry, especially since I began working on a global scale, is the warmth, kindness, and welcoming nature of the people in it. When I first participated in online VO conferences during the pandemic as a Japanese voiceover artist, I was deeply touched by how supportive and encour- aging everyone was.

Even though my English isn't perfect and I sometimes struggle to express myself clearly, people were incredibly patient, often waiting for me to find the right words and cheering me on. They gener- ously shared their knowledge about the international VO industry and welcomed me in the community.

What struck me even more was how many of these relationships con- tinued long after the conferences. Whether it was reconnecting at another event or staying in touch online, ΤΟ

View the full story Please visit our website fusiontvmedia.com/ yukikofujimura the sense of cama- derie and mutual respect was always there. Despite living far apart, we all share the same pas- sion as voiceover artists, and I've been inspired by the dedication, openness, and genuine kindness of so many in this industry. That sense of community is what I love most about being a part of the VO world.

FUSION: What has been your main inspiration towards entertainment?

When I was a child, my parents were concerned about me watching too much TV, so they only allowed me to watch a limited selection of programs, such as news and a few well-known animated shows. Perhaps because of this restric- tion, I developed a deep fascination and admiration for television. As I grew older and gained the freedom to watch more, I became captivated by entertainment programs, dramas, and movies. Their ability to transport me into different worlds and evoke a wide range of emo- tions inspired me to pursue a career in the entertainment industry.

It was through these programs that I experienced not just information, but profound human stories, the subtleties of human emotion, and the full spectrum of joy, anger, sorrow, and excitement. They expanded my perspective, enriched my knowledge, and deepened my emo- tional capacity. I owe this growth to the talented individuals who have contrib- uted to the entertainment industry.

I have a deep respect for voiceover artists who can move audiences with just a slight pause or a subtle change in tone-moments that inspire reflection or bring tears to the eyes. To be part of this incredible world as a voiceover artist myself is a privilege beyond words. Collaborating with such extraordinary talent in the entertainment industry motivates me every day to refine my craft and continue striving for excellence.

FUSION: Talk about your challenges in this industry and how do you overcome this obstacle?

One of the challenges in the Japanese voiceover industry has been the limited ac- cess to opportunities unless you belong to a major agency. Additionally, living outside of major cities like Tokyo often means missing out on big projects, as auditions and op- portunities rarely make their way to smaller markets.

After leaving the TV station, I lived in Sendai, a city in the Tohoku region of Japan. I felt that working with major companies was nearly impossible without relocating to Tokyo. As I was raising my child in Sendai, I often worried whether I would be limited to only local projects for the rest of my career.

However, stepping into the international market changed everything. Through learn- ing from voiceover artists overseas, I realized that even while living in a regional city and raising a child, it was entirely possible to connect with global markets, work with major companies, and take part in large- scale projects—all from my home recording studio.

The global voiceover industry taught me that by taking initiative, stepping outside of my comfort zone, and exploring opportuni- ties beyond traditional boundaries, I could significantly expand my career. Simply doing what has always been done rarely leads to change. But by embracing challenges, ex- ploring uncharted territory, and doing what others might hesitate to try, I've discovered that new doors will always open. For this realization, I am deeply grateful to the global VO community, and I carry these lessons with me as I continue to grow and take on new opportunities.

FUSION: What experience do you have in voice-over work?

My first experience in the VO industry was narrating for Japanese television programs. I voiced segments introducing local restau- rants, ranking the most popular songs of the time, and providing narration for news pro- grams. Going into the studio every day and being part of the creative process was incred- ibly exciting. While I sometimes struggled to express myself the way I envisioned early

the sense of collaboration with direc- tors and staff as we worked together to create a program was truly thrilling.

When I started recording from my home studio, I began working with a diverse range of clients, including companies, organizations, and museums both in Japan and internationally. These experi- ences not only expanded my knowledge of different countries and cultures but also broadened my perspective as a voiceover artist.

Around 20 years ago, when I first started collaborating with international clients, I often received scripts that had been poorly translated using basic machine translation tools, leading to many surprising and sometimes amusing errors. Luckily, with my background in translation and interpretation, I could request the original text, refine the translation myself, and deliver a polished voiceover. This approach delighted clients and strengthened my skills in both linguistics and storytelling. While Al translation tools have since improved significantly, I still occasionally encoun- ter scripts that need adjustments. In such cases, I provide suggestions to ensure the Japanese language feels natural and engaging for the audience. After all, ev- ery project represents the hard work and dedication of the production team, and as a voiceover artist, I see myself as part of that team, striving to make the final product as impactful as possible.

Having started my career in televi- sion, I was fortunate to work alongside highly skilled audio engineers for years. Their expertise sharpened my ability to distinguish sound quality, which has been invaluable since moving to home recording. Thanks to this foundation, I have never had a project rejected due to sound quality, and I remain committed to delivering audio of the highest caliber for every client.

FUSION: What type of voice-over proj- ects have you worked on?

Yukiko: Over the years, I've had the privilege of providing voiceover work for numerous global companies, including Apple, Google, Tesla, IBM, Microsoft, PRADA, Amazon, and American Express. My work spans commercials, audio guides for iconic landmarks such as the Palace of Versailles, narrations for books and textbooks, and TV programs. Some of the projects I've been involved in have received international recognition, with nominations in prestigious competi- tions like the Voice Arts Awards and One Voice Awards. I've also won accolades such as the Asian Academy Creative Awards - Best Voice Artist, representing not only Japan but earning the top prize. Additionally, I ranked as the most popular voice in the English Soundbyte Contest, showcas- ing how my voice resonates across languages and cultures even I am not an English native speaker. It's an honor to contribute to enhancing the brand value and driving sales for world-class clients by deliver- ing "the voice they need now." Each genre | work in has unique demands, which makes every

project both exciting and fulfilling. Moving forward, my goal is to continue providing trusted, impactful voiceovers that leave a lasting impression and help brands connect meaningfully with their audiences.

FUSION: What is your process for creat- ing a voice-over?

Yukiko: My voiceover process begins as soon as I receive the script or video. I start by thoroughly reviewing the materials to understand the overall vision, the key mes- sage, and the desired tone. To ensure I align with the client's values and goals, I often research the company by visiting their website and exploring their philosophy and brand identity.

Next, I dive deeper into the script, care- fully checking the pronunciation of proper nouns, the reading of kanji, and any poten- tial tricky phrases. I practice these exten- sively to ensure they sound natural and effectively convey the intended message. This preparation allows me to deliver a performance that resonates with the target audience.

Before recording, I take time to physically prepare-stretching to release tension, warming up my body, and doing exercises to loosen my mouth for clear articulation.

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Proper rest and hydration are also part of my routine to ensure I'm in top form for every session.

During the recording itself, especially when working from my home studio without a director present, I record mul- tiple takes for any sections I feel could be improved or might offer a different nuance. After completing the session, I carefully listen to the recordings and edit them to deliver the highest-quality final product.

Although I rarely receive requests for retakes, I always remain flexible to accom- modate script revisions or feedback from the client. My goal is to provide a seamless experience and deliver a polished perfor- mance that exceeds expectations.

Fusion: Talk about your background we understand you have a big organization of voice over actors, and you build a community how did that get started?

When I first started recording from home and working with international clients, I began writing a blog to share my experi- ences. I wrote about the countries I was collaborating with, how remote sessions were conducted, and strategies for market- ing in international markets.

To my surprise, I started receiving numerous inquiries from other voiceover artists asking, "Can you teach me how to do this?" Initially, I conducted one-on-one ses- sions via Skype, but I quickly realized that I was covering the same topics repeatedly. It wasn't an efficient use of time, so I decided to turn the process into a structured course and create Voiceover Japan, the first Japanese online school to teach global marketing for voiceover artists.

I created video modules to provide foundational knowledge and combined them with weekly online group coaching sessions to address questions and offer additional guidance. When I launched the first course, I was nervous about whether people would sign up. How- ever, by the end of the introductory webinar, the course was already overbooked.

In the program, I taught students how to set up home studios, edit recordings, and navigate the international voiceover market as Japanese artists. Many of them suc- cessfully launched their global careers, which inspired others to inquire about joining future sessions. The demand grew so much that the course became an an- nual event.

Today, I run a three-month foundational course once a year. Thanks to word-of-mouth from past students, the program fills up quickly without the need for any adver- tising. Beyond the course, I've built a community where participants can continue to exchange ideas, seek advice, and share opportunities.

I'm incredibly fortunate to work with such passionate, hardworking, and kind students. Their dedication and success stories are truly inspiring, and I consider each of them to be a priceless treasure. Helping them achieve their dreams has been one of the most rewarding as- pects of my career.

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