Rod, Todd, this is God.

What are you doing on our radio?

I invented the universe, stupid kid.

I've got a job for thee.

Bring forth all the cookies.

But those are our parents cookies.

Do you a happy god or a vengeful god?

Happy god, happy god.

- Ay, caramba.

- I'm learneding.

- My house, my house.

- Ha ha.

- Hi, I'm Nancy Cartwright and you may recognize my voice.

Hi, I'm Bart Simpson.

Who the hell are you?

Ralph Wiggum.

I'm Idaho.

Nelson Muntz.

Ha ha.

Todd Flanders.

I get to anoint their feet.

Chuckie from "The Rugrats."

Oh no, it's clowns.

I don't like clowns.

[wails]

[laughs]

And one more, doesn't talk much,

Rufus the naked mole rat from "Kim Possible."

[mimics rat]

Did you get all that?

I'm here today with "Vanity Fair"

and I'm gonna listen to some up and coming artists

do some impressions of the characters that I do.

Let's check it out.

- Why, where's he working?

- The Kwik-E-Mart.

[Bart laughs]

- Maggie.

[laughs]

I don't mean to be bad.

I don't know why I do the things that I do.

[laughs]

- That's pretty good.

You know, the challenging thing about

doing a voice is that there has to be a consistency.

She touches on it just a little bit

and she's got the ability to do...

To do that sound.

But you have to be able to maintain a consistency

in a certain sound.

Even--

[laughs]

when you're laughing.

I've never really thought about the placement of my voice

when I do Bart Simpson.

He's really easy to just slip into

and I think it's kind of in the back of my throat.

It's not nasal.

If it was nasal, it would be like that.

She had an open

but again, it's just that finding the exact, right placement

for it so she can maintain that sound

throughout the show.

You go all the way back to the beginning of "The Simpsons,"

we had no idea we were still gonna be on the air

after all these years.

And some of my characters have evolved.

And Dan doing Homer, same thing.

When you're on as long as we've been on,

it becomes an evolution.

Bart at the beginning was one note.

He's like,

"Lisa, come on, man--"

and he was angry

he was a rascal.

But as it developed into a half hour show,

there was more opportunity for him

to become a fleshed out character.

So I had more range and freedom in

like the sound of it.

So instead of being like, down here

and being like that all the time,

there was like,

"Mom, aww."

♪ Happy birthday Lisa ♪

And you know, and you got to see a softer side

of Bart Simpson, which was great.

So Mom, what's our plan?

- What are you doing up there?

- Looking through peoples' luggage.

I'm the mascot of an evil corporation.

- So Mom, what's our plan?

- What are you doing up there?

- Looking through peoples' luggage.

I'm the mascot of an evil corporation.

[laughs]

- Oh wow.

You could tell immediately that she loves

what she's doing.

She is having so much fun.

Various characters here.

She's doing Bart, she's doing Marge.

Even putting the nose on to help her out.

The first thing she did, it sounded a little--

it did sound a little bit like Bart.

Her Marge, I think, was the best

of the ones that she did.

Her enthusiasm and her passion

to be able to have the opportunity to entertain people

on YouTube, you gotta admire that.

Practice, practice, practice.

The more that you do, the better that you will get.

I believe that there's innate talent

and there's also talent that you can develop.

You don't necessarily have to have innate talent

in order to succeed in what it is that you're doing.

You know, it's interesting, people have asked me

this question before about the difference between

doing voiceover work and doing on camera work.

In terms of development of a character,

I don't see a whole lot of difference.

The biggest difference is that in voiceovers,

you don't have to do makeup unless you're doing

a photo shoot or a video shoot for "Vanity Fair,"

and then you have to like, doll yourself up.

But when you go to do a regular job,

there's no makeup, there's no hair,

you don't have to hit your mark for the camera.

In that regard, it's a lot less pressure.

But in terms of development of the characters,

honestly, I don't really see a whole lot of difference.

You have to commit 100% to what it is

that you're doing, the decision that you made.

So for you, again,

consistency and commitment to that particular sound.

[dramatic music]

- Did you replace me with this tinker toy?

- Replace is such an ugly word.

We upgraded.

- Bart, we can be friends.

- Eat my shorts.

- Here we go.

Ay, caramba eat my shorts.

Oh.

- Oh my gosh, are you kidding?

She is such a fan.

She's got a lot of enthusiasm,

she's got a lot of passion in what she's doing,

she's cute as a button.

I think she's got the makings of doing

a Bart Simpson impression.

Bart Simpson, his normal voice is like this.

I'm gonna make him go down to two years old.

So this is Bart Simpson age 10 years old.

What's happening, man?

Now this is Bart Simpson at eight years old.

Hi, hi.

As we get a little bit younger,

you can hear my voice it's getting,

it's getting a little bit like a helium balloon

so when I get to be like two years old,

this is Bart Simpson.

Mommy.

Bart at 40.

Okay, we bring it way down into a low register.

You can get a bass.

And if I'm doing Bart Simpson and I decide

to do another character like that.

Hey Ma,

ma, what's going on?

Where's the grits?

I'm hungry.

That would be Bart Simpson, you know, from Tennessee.

It's all the same voice.

In order to build a house,

you have to have a good foundation.

And right now, I don't quite see the foundation.