“You spoke with me from the sky, the trees, before I loved you, believed in you.” Jack’s (Sean Penn) revelation at the end of the creation sequence in The Tree of Life (2011) could be an apologetic for all of Terrence Malick’s films, especially considering its delivery in voice-over. Since his first film, 1973’s Badlands, Malick has used voice-over in a variety of unconventional ways for a number of different effects. While scholars have often considered the female voice-overs in Badlands and Days of Heaven (1978), the role of voiceover has remained largely untreated in his later three films: The Thin Red Line (1998), The New World (2005), and, due to its recent release, The Tree of Life. In this article, I will chart how Malick’s use of the voice-over has evolved over his filmography, especially in the twenty years between Days of Heaven and The Thin Red Line. I will argue that the shifts in Malick’s employment of the voice-over have created a unique auditory perspective in The Tree of Life, wherein Malick positions the audience in the place of God, able to hear the questions and objections of the soul.