Beginning in the late 1960s, American Dan Keller not only found himself in Rome, but he also found himself in the dubbing studio, lending his voice to the English-language soundtracks of a variety of international films. In the English dub of the South Korean monster movie Yongary, Monster from the Deep (1967), Mr. Keller played the part of Icho, the young child who becomes fond of the giant creature. For fans of Asian science fiction films, this would prove to be his most notable voiceover role. In January 2024, Dan Keller answered Brett Homenick’s questions about his dubbing career in Rome.

Brett Homenick: Going back to the very beginning, when and where were you born, and where did you grow up?

Dan Keller: New York. My first seven years were at Danskammer Farm. 

BH: Before moving to Rome, what were your hobbies and interests?

DK: I was just a child. I liked to ride my bike.

BH: When did you move to Rome?

DK: [It was in] 1961.

BH: What prompted your family to move there?

DK: Politics and art.

BH: How did your life change after the move?

DK: New culture, new language, new everything!

BH: Where did you go to school?

DK: American Overseas School of Rome, Notre Dame International, and St. Stephens School. All were American. Notre Dame no longer exists.

BH: How did you get involved in dubbing?

DK: I auditioned for a dubbing job, got the job, and more followed.

BH: Around what year was it?

DK: [It was in] 1968.

BH: Could you describe the process of dubbing?

DK: Dubbing means recording a new voice track on a movie’s soundtrack, often for the purpose of changing its language to sell it in a new market.

BH: How would you get hired for dubbing jobs?

DK: I received calls from the dubber’s union — ELDA, [the] English Language Dubbers Association — office when a young male American English-speaking voice was needed.

BH: I understand that some dubbing outfits would pay their actors under the table to avoid taxation. How was it done in your experience?

DK: I never encountered that. My payments came from ELDA and adhered to Italian legal requirements.

BH: Where were most of your sessions recorded?

DK: There were numerous recording studios in Rome. Over the years, I worked in many of them. Alas, I don’t remember most of their names.

BH: How long would looping sessions last?

DK: Depends on how many lines I had. Sometimes, I had just one or a few. A big part — dubbing job — could have dozens. Recording a line could take five minutes or a half hour, depending on how hard it was to get it right. Sometimes many takes were needed before the director was satisfied.

BH: Usually, in a typical dubbing session, how many takes would there be?

DK: Rarely, one — when I nailed it on the first try. When it was a hard line, a couple dozen.

BH: How long would an average dubbing session last each day?

DK: Minutes or hours, depending on the size of the part.

BH: Could you finish an entire movie in a day, or would it take longer?

DK: Usually, yes, unless the part was big. Might have to return the next day to finish up.

BH: How many times per month would you usually work?

DK: Often zero, five or six in a good month.

BH: Do you have any memories of recording the dub track for Yongary, Monster from the Deep (1967)?

DK: Yes, there was one scene in which I danced with the monster. I had to laugh and make happy sounds. This wasn’t so easy in a silent, dead room. So the assistant director came into the studio from the control booth and danced around with me so I could get the right feel.

BH: Having watched Yongary recently for the first time, what’s your reaction to it?

DK: Charming! I can see why it became a cult classic.

BH: Could you identify any of the other voice actors in Yongary?

DK: No, sorry. Wish I’d kept a log.

BH: Would you happen to remember any other Asian films you dubbed?

DK: Yikes, again, no. Sorry!

BH: What did you find most challenging about dubbing?

DK: Getting the lip-sync timing right was sometimes challenging. Getting the emotional expressions to sound spontaneous and sincere could also sometimes be a little difficult. But good directors help a lot.

BH: In a typical session, were you given much direction, or were you allowed to act freely?

DK: It was never improvised. Often, I could see what was required without being told; I just emulated the performance of the original actor. At other times, the director would give specific instructions. 

BH: Did you ever do a voice, or did you always use your normal voice to dub?

DK: Normal voice only. I have never acquired those special voice skills.

BH: You also appear in front of the camera in the Rock Hudson World War II film Hornets’ Nest (1970). What was that experience like?

DK: Shooting a movie has a few exciting moments, but mostly you are sitting around waiting to be called to do a scene. I wasn’t in many scenes, so I did a lot of sitting around. Still, I would love the opportunity to do more of that!

BH: When you weren’t dubbing, what else were you doing in Rome?

DK: Being a schoolboy, playing my guitar, riding my motorbike. Normal kid stuff.

BH: How would you compare your childhoods in the U.S. and Rome?

DK: Italy was a great place to grow up. Though I am American, and America is my home, Italy, Italians, Italian, and above all the food are deep in my heart. And belly.

BH: Why did you stop dubbing?

DK: I was called only for kids’ parts. With adolescence, my voice changed. That was the end of dubbing for me!

BH: When did you move back to the U.S.?

DK: [It was in] 1973 to go to college.

BH: What have you done since you returned to the States?

DK: A lot! Three college degrees, several careers, a marriage, a couple of kids, and lots more. Life has been good.

Thanks for your interest, and best wishes to you, Brett!