German actor Thomas Dannenberg worked on some 1,500 dubbed films, playing men such as Arnold Schwarzenegger and John Cleese
is ready for his close-up, of sorts. In a Los Angeles sound studio, a television monitor is showing a scene from a new Brazilian thriller series in which a headmaster is chasing away a loitering ne’er-do-well. Words stream across a purple band running below the action: “Get out of here! You graduated two years ago!” Reading them out at the precise moment they arrive at the centre of the frame, at just the right speed, takes several takes.
In English-speaking countries, the problem of watching a film made in a foreign country was mostly solved either with subtitles or by not bothering to do so. With the world’s largest film industry in America, an English-speaking audience wanting to be entertained rarely troubled itself with foreign languages.
There is also a desire for known quantities. In dubbing-dominated markets, voice artists stay with the same actor, often across decades. This makes stars out of those who voice the stars, or at least provides them with steady work. Take the recently retired Thomas Danneberg. Germany dubs more films than any other country, and over his career Mr Danneberg worked on some 1,500 of them.
Part of the scorn with which dubbing is treated in the Anglophone world is down to the fact that dubbing into English has rarely been done well. In countries more invested in the art, it is done with care and skill. Adapting the script for a new language offers both technical and aesthetic challenges. A crucial first step is to annotate the film in terms of the mouth movements, so the new voices look as though they come from the existing faces. It is not just the number of mouth-movements—Joe Lynch, director of the “Spectros” dub, calls them “flaps”—which matters. So does their type. A b-sound, with the lips together, in the original should ideally correspond to a similar-looking sound in the dub.
Netflix’s in-house data show that, in America, 36% of viewers watched its most popular non-English show, “Money Heist” from Spain, with dubbing only, and 48% with a mixture of dubbing and subtitles. This probably has something to do with setting. Those who have paid to go to an art-house cinema for the latest French arrival might not mind reading subtitles; indeed, it may be part of the experience that they cherish.
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