The read
By 1988, Frank Oz had spent twenty-five years being heard as other people — a diva pig, a blue monster, a nine-hundred-year-old Jedi — while his own voice stayed almost unknown. Measured as himself, it turns out to be the steadiest thing in his repertoire: volume steadiness optimal, with chest resonance, register, pitch variability and pause length all in-band — a voice that holds its footing without a wobble. Warmth and likeability read as the strongest qualities on his page — which, after a career spent making other characters lovable, seems only fair. The puppeteer’s own voice measures like the friendliest of them.