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InterviewPeople

by Alexandra Mansilla

You Have Heard His Voice — But Never Seen His Face. Meet Elie Iskandar

20 Jun 2025

If you live in Dubai or anywhere in the GCC, you have definitely heard Elie Iskandar. He is the voice behind countless commercials (think Talabat ads, and you will know exactly what I mean). Elie can snap into perfect impressions of Morgan Freeman, Optimus Prime, Scooby-Doo, Elmo from Sesame Street — you name it. And when he does, you genuinely feel like you are listening to the real character, not just a parody.
His knack for mimicking voices began in his childhood. There is even a story! When Elie was eight, he used to visit his elderly neighbour (he would often bring her food since she lived alone). She was this tiny, fragile-looking lady, but her voice was incredibly deep. One day, after dropping off some food, Elie came home and, just for fun, perfectly imitated her voice for his mom. And nailed it. That is really when it all began.
The main thing I wanted to know from Elie was: how does he do it? And also: how does he take care of his voice? With AI making waves in the voice acting industry, does he feel its impact? And with his combined talents for art and voice acting, is he thinking of creating his own cartoon one day?
— Elie, let’s start with your background — what was your family like growing up?
— I have very supportive parents. They were there for me no matter what I wanted to pursue, and they truly understood the importance of art and self-expression.
My father, who passed away a few years ago, took a real interest in my sculpting when I was a child. I started with basic clay sculptures when I was around three or four years old. My parents noticed early on that what I was making weren’t just random shapes — there was intention behind them and clear characters and shapes. My father would take me on tours in Lebanon, introducing me to sculptors, artists, and craftspeople, showing me incredible works of art from a young age. He always encouraged me to keep going.
My mother was just as supportive. When I received a project that required a lot of time to sculpt, she spoke to my school, arranged for me to take a week off, and let me dedicate myself fully to my work. That experience is a perfect example of the kind of encouragement I received from both of my parents — they always stood by me and supported my creative journey.
I had my first exhibition when I was about ten years old, and even gave a TV interview about my sculptures. That early experience with creating characters in sculpture led me naturally into illustration and animation, where I began giving voices to the characters I created. Whenever I came up with a new character, I would bring it to life with a voice of its own.
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Elie Iskandar, 10 years old

— Were your parents involved in the creative world in any way?
— Both of my parents were creative in their own ways. My mother is a talented writer — she writes poetry and beautiful stories. For a while, I was a published illustrator for children’s books; she would write the stories, and I would illustrate them. We still have some of those books — now sit on the shelf in my son’s room here in Dubai!
My father was an electrician by profession, but he also loved working with his hands. Around Christmas, he would build tiny wooden houses, decorating them with small stones he had collected from the beach. These miniature homes became our family’s Christmas decorations, filling the house with warmth and creativity. Eventually, friends and neighbours began to request his creations, and he started making them for others as well.
— I know the story: when you were eight, you visited your neighbour, the woman with a very low voice. You came home, and your mom noticed you could copy her perfectly. What happened after that? What came next?
— Oh yes, I remember that neighbour — a truly kind woman who lived alone. I used to bring her food sometimes and was always struck by her deep, robust voice, the result of years of heavy smoking. It fascinated me that such a powerful sound could come from someone so small and elderly — she was barely bigger than a raisin. It made me realise just how varied and unexpected people’s voices can be.
The first time I copied her voice for my mom was the moment I discovered I could actually change my voice. Suddenly, this new sound came out of me, and I was amazed at how low I could go — how much I could shift my tone and style. It made me wonder: what else could I do with my voice? Could I mimic characters? Cartoons? How far could I take this?
As an only child, I spent a lot of time home alone. I would mute the TV and try voicing all the characters myself, switching between different personalities and holding entire conversations.
Later, I started experimenting with accents, curious about how people from different countries or backgrounds spoke. I didn’t enjoy accents quite as much, but I loved discovering new voices, creating entirely different personas and seeing how far I could push the boundaries of sound.
So, when I was sixteen, I became curious about voice acting after listening to a U.S. radio host who worked in Beirut, whose voice was deep and memorable. I wondered if voice acting could really be a job, so I tracked him down, recorded an impression of his style, and sent it to him. He actually replied, telling me, “Kid, you’ve got the pipes. This is something you can do. Go for it.” That encouragement was all I needed — I bought a small microphone and started recording ads just for fun, writing my own scripts and sharing them online.
Eventually, I was discovered by a university radio station in the U.S., which helped me take my work to the next level. I started recording real scripts, building a proper demo, and sending it out to studios. That was the start of my voice acting career. What began as a side project grew into something much bigger — I sometimes found myself recording multiple projects a day.
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— Let’s dive into the voices you do — for example, Optimus Prime. Can you describe what you do physically to mimic that kind of voice? How does the process actually work?
— When I am doing a character like Optimus Prime, I usually lean back a bit and lower my voice, projecting from deep in my chest: “I am Optimus Prime.” That physical shift helps me get into the character.
I have also noticed that whenever I draw a character with a certain expression, I unconsciously mimic that face myself. If the character looks a certain way, I end up looking like that too. People have looked at me strangely for it, but it just happens naturally.
It is the same with voices. If I am doing Morgan Freeman, I tend to get this wise look on my face without even realising it. Or if I am doing David Attenborough, my face tightens up automatically, and I find myself slipping into the role. You really do become part of the character, physically as well as vocally.
So there is definitely a physical aspect to voiceover work that people don’t always see. Behind the scenes, there is a lot of hand movement, and sometimes you even have to put on a fake smile while performing. If you want something to sound positive, you can’t say it with a tense face — you have to actually smile, and it really changes the sound of your voice.
— You often mimic Morgan Freeman’s voice — how would you describe it?
— I have always loved his voice. It is one of the most difficult, nuanced, and interesting voices out there, not just deep for the sake of being deep. There are so many factors that make his voice unique, which is why trying to capture or mimic it is always a challenge.
His voice has layers. There is a deep, gravelly tone as the foundation, but on top of that, he is a bit nasally and doesn’t fully pronounce every word, giving it a slight lisp. He also has this incredibly specific way of phrasing sentences — his intonation is different from anyone else’s. Many of us grew up listening to his voice, whether in documentaries or films, and it always had that “voice of God” quality — a kind of warmth and wisdom that is instantly recognisable.
— Are there any other voices you still find difficult to do?
— One that always comes to mind is the animated Joker. Heath Ledger’s take on the Joker is iconic and fun to imitate — you just have to adjust your voice a bit, widen your sound, lower your tone, and add a slightly drunken cadence. It is a great character, but the technique is pretty straightforward.
But then there is the animated Joker, voiced by Mark Hamill. His Joker is especially tricky because the voice is both low and high at the same time. It is a deep, gravelly tone, but it is also pitched way up, which puts a lot of strain on your vocal cords. Pulling off that combination of roughness and pitch isn’t easy.
Another tough one is the Cave of Wonders from Aladdin — it is basically all throat. That voice is incredibly demanding and puts a lot of strain on the vocal cords.
Funnily enough, sometimes the hardest voices to imitate are the ones that sound the most “normal.” If a voice doesn’t have any unique qualities or quirks, you have to study the person for a long time to pick up on subtle patterns. Otherwise, they just sound like any regular person, which can actually be the hardest kind of voice to get right.
— Do you do anything specific to take care of your voice?
— I smoke a lot, haha! But when I have a recording session or any voiceover work, I become more careful. I avoid certain foods — like chocolate, for instance — because it really wears out your voice. If I have saved a nice piece of chocolate for later, I will remind myself: finish the session first, then enjoy it.
I also steer clear of highly acidic foods — lemon, tomato, spices — because they can trigger acid reflux, and that can completely wipe out your voice.
Earlier in my career, I was more focused on vocal care. I would take a spoon of honey, have some tea, and do something to soothe the vocal cords. These days, it is simpler — I just avoid the things that might cause issues, and that is usually enough.
Whenever possible, I schedule my recordings early in the morning — around 9 or 10 am. That way, I am fresh, haven’t had any calls or meetings yet, and my voice is at full strength. It is the best time to perform.
— I am curious — is mimicking voices a skill that can be learned through practice, or does it mostly come down to natural talent?
— Talent definitely helps, but there is a real training process involved, too. If you are born with a natural gift, it makes things easier, but that doesn’t mean you can’t learn the craft. Acting and voice acting are skills you can develop with practice. It is like a muscle — you have to train it in a certain way and put in a lot of practice.
The thing is that a lot of voiceover courses just cover the basics. I wanted to go further and explore things like impressions, character acting, and the subtleties of character voice work, not just commercial reads. I have put off launching my own course because I have been busy, but it is definitely on my list.
When I started writing lessons, I realised how much of what I do is intuitive. But when you have to break it down for someone else, you see just how many steps are involved — knowing where to pause, how to stop, how to make your delivery interesting and your voice truly engaging. That whole process made me appreciate how much goes into it, but it is absolutely something you can learn if you put in the effort.
— I am sure you have used your voice for pranks — is there a specific one you would love to share?
— Yes, it has happened! Recently, I managed to prank my wife, even though she has known me for 15 years. I was doing an interview, and they asked if I thought I could fool her by calling and changing my voice. I was sure she would recognise me right away — after all, she hears me doing voices all the time. But since we were in the middle of moving and looking for a new place, I decided to call her pretending to be a real estate agent, complete with a different voice and accent.
— Wait, what does the real estate agent sound like in your mind?
— For some reason, I went with a really bright, overly British character. I spoke to her in this hesitant, very proper tone. It was completely out of character for me.
And she actually fell for it! I was pretty pleased with myself for pulling it off. It was fun to see her genuinely confused.
Back in the day, I used to pull a lot of pranks like that. If someone called me, I would answer as an automated system: “Thank you for calling BMW Automotive. If you know the extension of the person you are calling, please dial it now.” People would hang up, call back, and I would switch to a different company: “Thank you for calling Mercedes.” They would be completely thrown off, wondering if they had the wrong number. It was always a good time messing with them like that.
— Now, your characters! Let’s start with Guru Sikambar. How did you create him? What is the story behind that character?
— The original idea was for him to give really bad advice — that was the plan. But then I thought, maybe I can have more fun with him in a different way. I wanted to modernise this classic “guru” figure — someone who is completely fed up, yet still tossing out advice, almost carelessly.
One day, I was on Temu and I saw these super cheap, oversized beards. I ordered a bunch of them, along with long wigs and random props. I even found an old bed cover at home. I told my wife, “I’m using this now.” She asked why, and I said, “It’s mine.” I wrapped it around myself like a robe, went out to the backyard, and just started filming. I didn’t have a script. I sat down, hit record, and the character came to life. Later, I filmed the second character and had fun piecing the whole thing together in the edit.
I want to bring Guru Sikambar back and do more episodes with him. I am just waiting for the weather to cool down, and then I will bring him back for sure.
I also have a bunch of characters I haven’t introduced yet. For example, I have got this Italian-American mafia type — I even bought a giant cross for him, and a fake knife that looks real until you open it.
— Another character I am really curious about is the young creative guy who comes to you with client briefs. Is he based on real situations you have experienced?
— This character is based on an amalgam of agency people I have met — most of them are Lebanese. They tend to speak with this exaggerated, fake sophistication.
Also, in Lebanon, the creative industry is largely French-speaking, so a lot of people try to fit in by mimicking that, even if their French is limited or awkward. It ends up being this odd blend of broken phrases and theatrical flair. One guy actually once said something that literally translated to “I am a grapefruit.” That kind of energy.
So I built the character around those real experiences, especially the absurd briefs and feedback I have received from agencies. Things that make no sense whatsoever, but you just have to work through them to get the project done.
In the sketch, I play it in a way where the character is clearly doing a terrible copywriting job, and the flaw only becomes obvious once we get to the voiceover session. I am the one who notices it, and he remains oblivious. For example, a line like, “I’m gonna poo my pants (Puma-pants) for new pants by Puma” — which is just plain bad copy.
Having been in advertising for years, I have seen so many of these moments where I honestly wonder, “How did this even get approved?” So this character is my way of highlighting that absurdity — and making it fun.
— Your drawings are amazing, and your voice is just wow. Have you ever thought about creating your own cartoon?
— Yes, I have always wanted to do something more with my drawings.
Whenever I get bored in meetings, I start doodling. What you are seeing now [Elie is showing his drawing] are different versions of me — characters I have created over time. There is a kind of Cronenberg-style monster version of me, one where I am a teddy bear, another where I have a spider body — a whole range of strange, exaggerated takes on myself.
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Different versions of Elie

I doodle quickly, usually during long meetings or conversations, just as a way to keep my hands busy. But over time, I have developed a whole set of original characters. I always wanted to turn them into an animated series. They are still just in black and white, but each one is based on real people I have met or real-life experiences.
I have always loved drawing, but the challenge is that it demands time, and time is something I have to manage carefully. Still, whenever I can, I sit down and create.
One of the things I have always wanted to do is make a children’s book for my son, with a character based on him. I also had plans for animated shows and series, and I even started working on a few. But since I do everything myself — the writing, animation, design, voices — it takes a lot of time and energy.
Still, it is something I always return to when I can. It is deeply personal, and I would love to bring it all to life one day.
— I remember when you started your Instagram years ago — you used to share your drawings, and there was a lot of raw emotion in them, even some anger. Now, there has been a clear shift. Your work feels softer, more grounded, even kinder.
You have also mentioned how grateful you are to your wife, even calling her the reason you are who you are today. Can you tell me more about how she has influenced you and helped shape your journey, both personally and creatively?
— That is true. Back then, before we moved here, I had never actually released any videos of myself doing impressions. All the voices and characters I used to do were just for fun — something I would do around friends and family.
At one point, I even incorporated them into my stand-up comedy routines, and people really enjoyed it. It was always a good time. But I never thought about putting that content online.
Then one day, my wife said, “Why don’t you film yourself and post it on social media?” I immediately pushed back — “Who’d want to watch that? Who cares?” I was pretty pessimistic about the whole idea, especially being back in Beirut at the time.
But she kept encouraging me. She believed there was something worth sharing. So I took a fake sick day off from work, gave it a shot. I took out our camera, filmed a quick sketch, and posted it a few days later — just so it wouldn’t look like I filmed it while off “on sick leave”.
And then — it went viral overnight. It got featured on TV and in the biggest magazines in the country. An executive at Leo Burnett, where I worked then, read about it on a flight and realised, “Wait, this guy works with us?” That moment gave me visibility inside the company too. Until then, I had just been quietly doing my work in the background.
That video opened the door to bigger voiceover opportunities. And it taught me something: no matter how good you are, if you don’t show people what you do — if you don’t talk about it, share it, or remind them — you will just fade into the background.
So I started making more videos of myself doing impressions. That is how it all began — just voices. Then I shifted into what I truly love: sketches. I started applying everything I know about filmmaking — even when shooting on my phone — from scriptwriting, to comedic structure, to character work, to editing.
That is what I love most: taking all those disciplines and building something from scratch. I even animate some of my characters myself — like the Oryx. I didn’t use AI. I took photos, cut them out, and created old-school paper cutout animations. It was a very hands-on, classical process, and I loved every part of it.
I am lucky to have such a supportive wife. She has believed in me from the beginning.
— I have two final questions for you. First — do you feel that AI has started to impact your work?
— Veo 3 by Google can carry full hyperrealistic video productions using incredibly realistic, human-like voices. If you look it up, you will even find street interviews with people who don’t actually exist — but they look and sound so real, it is genuinely unsettling.
Soon, they will likely be able to control every aspect of what is happening in those clips. And that is going to impact the production industry significantly. Content will be generated in seconds, and it will be almost indistinguishable from real people. What is scary is how good it already is — and we are still at the early stage of the AI era.
Now we are at a point where AI can mimic tone, character, and voice with stunning realism. And voice-over work is heading in the same direction. Companies are already starting to use AI to cut costs. Fortunately, in our region, the technology hasn’t yet mastered the nuances, like switching between English and Arabic, or pronouncing names correctly.
I have tested most of the new systems just to understand the competition. Some emotions still fall short; there is a level of authenticity AI can't quite reach yet. But eventually, the model is clear: people will start licensing their voices to AI programs. Every time their voice is used, they will get paid.
It is similar to what is happening with models. Many are licensing their image so that AI can generate photos in various outfits and poses, without them ever going to a photoshoot. It is efficient, but also precarious. The top talent will keep working, but for everyone else, opportunities will shrink. One AI can effectively do the job of a thousand people.
— And lastly — as a true Simpsons fan, what do you think about their so-called “predictions”? For example, when they mentioned Trump becoming president, how do you see that? Coincidence, clever writing, or something else?
— I have been watching The Simpsons almost religiously for years. I know the episodes by heart — I used to have them on repeat constantly. Recently, there has been a wave of clips circulating online claiming to show Simpsons predictions, but many of those are AI-generated or completely fake.
That said, The Simpsons did have real moments where they genuinely predicted future events. The reason for that, I think, is that the writers behind the show are incredibly smart. Many of them are Harvard graduates — it is almost a requirement. They specifically look for writers with academic backgrounds in things like physics, mathematics, and other specialised fields.
So these "predictions" aren’t mystical or conspiratorial — they are just the result of clever, insightful writing. These are people with a deep understanding of how the world works, and they apply that knowledge to the show in subtle ways.
Yes, I remember that episode with Trump. But there is another striking example — the Higgs boson, the so-called "God particle." In one episode, Homer is shown writing an equation on a blackboard. At first glance, it seems like just a joke. But later, physicists analysed it and found that the formula he wrote closely resembles the actual equation used to predict the mass of the Higgs boson, 10 years before it was officially discovered.