How We Role: A Podcast for Actors by Casting Networks
How We Role: A Podcast for Actors by Casting Networks, breaks down an actor's journey, one topic at a time. Join award-winning actor, writer and host Robert Peterpaul alongside industry talent and experts as they discuss how to build a successful career as a performer and beyond in the entertainment industry. From inspirational casting stories to practical advice on the craft of acting, tune in to expand your skill set and book that role.
Get cast today at castingnetworks.com.
How We Role: A Podcast for Actors by Casting Networks
Voice Over Acting Advice from Casting Director Danielle Pretsfelder Demchick, CSA
Mic check! As a former Casting Director at Nickelodeon and the founder of DPD Casting, Danielle shares her expertise on everything from the importance of training and finding an agent, to debunking common voiceover misconceptions (hint: it's all about the acting!). She also dives into the technical necessities of a home setup, the evolving impact of AI in the industry and her passion for promoting diversity in casting. Tune in for practical tips and insights to kickstart or advance your voiceover career.
The episode covers:
- Essential advice for actors on how to successfully break into and navigate the voiceover industry, including training, securing representation, and setting up your home studio.
- Insider perspectives on common voiceover misconceptions, the impact of AI, and the importance of diversity in casting.
- Practical tips and strategies for warming up, preparing slates, and understanding key casting terminology to enhance their voiceover auditions.
This is - How We Role. Get cast today at castingnetworks.com.
Follow Host, Actor and Producer Robert Peterpaul (Amazon's Sitting in Bars with Cake, The Art of Kindness podcast) on Instagram @robpeterpaul and learn more at robertpeterpaul.com.
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So I am Danielle Pretzfelder-Damczyk. I am 5'4.5" 5'5". My driver's license says 5'5", but I think I'm now 5'4.5". I lost a little bit of height. Anyway, this is how we roll.
Speaker 2:I love that. That's amazing. I'm going to do that in my next slate. Okay, when it comes to working in entertainment, there's a lot of hows, and they all boil down to how we navigate this wild industry. While how we follow our dreams is uncertain, how we roll along the way is in our hands. Welcome to how we Roll a podcast for actors by Casting Networks. Podcasting Networks.
Speaker 2:Hi actors, it's your friend, robert Peterpaul, coming to you from my mini studio on the sunny East Coast. I don't know about you, but allergy season it's coming for me hard. I'm doing everything I can to try to maintain vocal health, from tea to steaming. If you have any ideas, please DM me on social media at RobPeterPawler at Casting Networks. Also send us your questions. By the way, we would love to feature you. I was really grateful to find even more vocal wisdom in today's conversation. We're diving into the world of voice acting from breaking in to booking jobs to building vocal stamina with the dynamic casting director, danielle Pretzfelder.
Speaker 2:Demchik, csa is a powerhouse casting director whose work spans live-action, animation, theater and more. A fixture in the New York casting scene since 2004, danielle spent 14 years at Nickelodeon shaping iconic shows like Blue's Clues and you, dora the Explorer and the Astronauts, now running her own casting office. Some of her recent favorite work includes American Girl, Corinne Tan for HBO, or Max or HBO Max, whatever it is now. You Are so Not Invited to my Bat Mitzvah for Netflix and Matt Rogers' have you Heard of Christmas? For Showtime. Over the years, danielle has also been fortunate to collaborate with most major studios, from Netflix to Sony to Disney, to PBS to Sesame Workshop. She even has worked in the theater with Broadway shows like Grey House.
Speaker 2:In addition, danielle is a passionate advocate for authentic representation in media, especially for people with disabilities. She is the co-VP of advocacy for the Casting Society of America, leading barrier-breaking initiatives to open doors for underrepresented actors. She's also pursuing a master's in disability studies and proudly supports the next generation of artists of all abilities. Danielle was incredibly generous with her time and knowledge, gifting us a true masterclass on what's really necessary for today's VO market. If you enjoyed the episode, spread the knowledge, share it with a creative friend or help us get it out there by leaving a five-star review wherever you listen. Now here's how we roll, with voiceover work featuring casting director Danielle Pretzfelder-Demchik. Well, welcome to how we Roll, danielle. How are you doing today?
Speaker 1:I am good. Thank you for having me.
Speaker 2:Thanks for being here. I gotta say, as someone who has admired your career from afar for so long, I am thrilled to finally get some FaceTime with you, and today we are talking everything, breaking into and carving out a fruitful career in the voiceover world. So I want to start with something that might not seem related, but it's something I found really cool in researching you not in a weird way and your journey and that's a theme, I think, for so many successful people. I found that you are wonderful at the pivot Maybe not in the sense of friends carrying a couch, but you pivoted early on from acting right into casting and then since then you've had so many pivots from this like cushy family at Nickelodeon to then starting your own thing with DPD casting. So that's something I think listeners might be thinking about today as they're thinking of maybe pivoting into voiceover. What's your general advice on starting a new creative journey?
Speaker 1:I know it's a bigger question 14 years is a really long time but I wasn't like raring to leave. It was that the leadership there wanted us to be kind of picking a lane, wanted me to pick a lane and be either like a casting director or an executive. And, like you know, I'm very transparent. I love casting. You know I liked the executive work too, like some of that was interesting. But I didn't want to give up casting. So I had to make this pivot. You know I had to go out on my own if I wanted to keep casting and they were very gracious with giving me the opportunities that I needed to be able to keep. I was able to keep casting, what I was doing and doing all that stuff.
Speaker 1:But like I did have to be brave and I did have to make a leap, so I mean, I know it's not exactly the same with actors, but I think being you know, I think there is the being prepared for when you're making a pivot, so like taking the you know, training, doing that sort of stuff with voiceover, not just being like, oh, I'm an actor, an actor acts, it's like no understand what it means to be a voiceover actor and to be doing voiceover auditions, and how fast that turnaround is and what certain terminology is.
Speaker 1:Just like I was a casting director, a casting director casts I was a casting director in-house. It's very different, Like I spend a lot of time having to look at what a deal for myself looks like and also knowing how to advocate for things for myself.
Speaker 1:You know things take a really long time to come together. Um, voiceover is a really good example of that. You know, you start working on an animated project. It takes years for it to come out, um, and sometimes what you're doing at that moment, or what you're hoping to be doing, is very different than what it was when you recorded it or started working on it. But like seeing big picture and being really aware of, like, where you want to go, and and also like being wise to what your what this does for your journey. Sometimes I think actors are a little bit, like you know, short sighted about what I think we all can be about what doing a certain project could be.
Speaker 1:I think we all can be about what doing a certain project could be no-transcript, but it's like looking big picture at like, okay, this might not be the dream job with this producer, but they work on all these other things that I really want to work on and like once you're in with somebody, they want to keep working with you Once somebody knows what you can do and I think that's true, for you know, casting is an art and I think, just like actors and I think actors even my closest friends, who are actors sometimes forget that I have to audition for like everything I do now.
Speaker 1:I didn't have to do that before you know, but that's part of what we do is auditioning, and we don't book every role either. And even some jobs, yeah, they come to you because a producer knows you and that kind of stuff, just like with actors. But other times, you know, there isn't everybody else. Other times there's the White Lotus. You know scenario where everyone has to audition, even if you've worked with a million times because you know they want to keep it fair and equal, or there's just like a different system and just kind of respecting what that is.
Speaker 2:So yeah, so that's, that's that's very helpful already, although I do want to go, because you mentioned White Lotus. I also want to go, but, but, but, but, but, but Nickelodeon. Ok, but anyway, I'm going to come back down to Earth for a moment. I rarely am here, danielle, and I want to walk this path with you of breaking into voiceover. You know, for actors listening, let's say they've never booked a voiceover job before. They maybe never even thought about it until now, but they pushed play. Thanks for being here. What's the first step you think they should do to seriously pursue this path? What do you recommend?
Speaker 1:I think taking a class is really important and getting because there's you don't really have access to material in voiceover unless you're in a class, like you don't get sides and all of these things for voiceover are very, you know, we have there's a lot of NDAs and there's a lot of things that need to be signed in order to have access to material, and voiceover is often, you know, other than like marvel and things like that are is the most you know kept under wraps.
Speaker 1:And then the other thing with voiceover is that it's really hard to break in with or get opportunities without an agent. You know a lot. It's not something where there's those sort of opportunities that often come to you or can you know come to you if you're not represented there. You know there are projects that got posted on those sites and there are opportunities where you can self-submit, but as a general rule voiceover is done in a very old school sort of email blast way and there are listservs that actors can be on. That's not to say you would get access to everything, but it's just kind of the nature of the beast that things are a little bit more under wraps. So taking a class is the best way to get training but also to get access to the material that you would need.
Speaker 1:There's so many things that build on each other when it comes to that and also just to get to know other, to get to know casting directors in the community.
Speaker 1:get access to those agents who maybe are looking to sign people in voiceover, so I'd be really savvy about it and I wouldn't spend a lot of money. I don't think you need to do a demo reel right away. I know there's often people that ask about that. With voiceover and animation, I think it's just about having a little bit of training under your belt and knowing the terminology a little bit, understanding how to work with a mic, and also having you do really need to have some sort of at-home setup. If you want to do voiceover, you don't need a ready-to-go full booth and you know broadcast quality, but you need to have something where you're, you know, able to record from home an audition or, you know, maybe if it's a sort of you know more DIY sort of booking where you can start building your credit, you want to be able to do that from home because, especially since the pandemic, there is just a real influx of work that requires a home studio, even if it's a basic home studio.
Speaker 2:Yeah, and you can be very transparent, sort of, about what you have. I think transparency is important, would you say, right, because they might not actually need you to record from home. You can go to the nearest studio, maybe, if you're lucky, and use their, you know, sourceconnect and whatever you maybe have available there. So I think that's a great place to start. I wonder if you feel like there's a common misconception actors have when they're starting to break into voiceover. I love that you described it as more old school. I think that was such a great description. But, yeah, anything you've seen there that you think might be helpful to dispel.
Speaker 1:I mean, we want to see. You know, the thing with voiceover is you have to be a really good actor, you have to act really well. You're acting all through one sense. So when you're acting, you know on camera we can see you, we can hear you. There's just different. You know senses that are that are engaged by also, like there's in, there's movement, there's things that are there that we get to, there's also what you look like, you know, which is another element of not just seeing your acting, but like that makes you feel more a certain character or not a certain character. With voiceover, all you know, all of your acting choices are funneled through your voice and I think that's a double edged sword. Like I think there's something really beautiful and wonderful about that that you know it is very agnostic. If we love what you're, you know what you're doing. But it also means that, like you have to be an incredible actor and I think a lot of times people think, oh well, somebody told me, I have a great voice or I great impressions.
Speaker 1:It's like, so, not about that, and you know. Or people are like no one ever told me I had a great voice, so I never thought I should do voiceover. It's like again, so not about that. And you know, I think a lot of people think like, oh well, I'm so good at doing impressions. It's like that's not acting. Like it's not acting when you're on camera and it's not acting when you're doing voiceover. So I think that is definitely a misconception there was a time where I think people really had to sing to
Speaker 1:do certain types of voiceover or you know there was a lot of heavy focus on music or singing. That is still focused, with some things, but there's a lot of really great voiceover actors who do not sing or that's not what they do. You know they might be able to sing, but that's not the kind of roles that they book. There are a lot of great actor voice actors who happen to be great singers, because, again, it's about having control of this instrument that you and also being able to tell a story through music or sound, you know, solely through sound. So there is there is, for sure, overlap there and for you know which makes sense, but it's not essential to we're not looking for someone who sings when we're looking for voiceover specifically.
Speaker 2:Yeah, such vital reminders, I think overall too, because I feel like sometimes with voiceover, acting is the thing that goes out the window, which is should be the main thing. It's like maybe you get a little animated photo of what the character looks like and you immediately have some voices that come into your head, which is great to have that instinct. But then I think, leaning into the voice, you do yourself a disservice, right, because you're not breaking it down as an actor normally would, which is kind of the fun part to really build out a character. So, yeah, I think I've maybe seen that in classes and people starting out. It's like we all fall into that pit of oh, I can do this really fun voice for this one. But you know, maybe, maybe that's not the way to start, because you don't always even get a picture of what a character looks like.
Speaker 1:No, often you don't I mean yeah, very often you don't because we can't, I don't have it. Yeah.
Speaker 1:You know, usually what they're going to do is is animate to the voice or, like you know, maybe kind of stuff's being done in tandem, like it's not. It's not like there's a beautiful piece of art that we're, you know, going to show you when you come in the studio. Sometimes there's something we can show you and it can be really exciting to get to see that. You know, and I think, but sometimes that's when you come in for a pickup session, you know, down the line months and months later, years later sometimes.
Speaker 1:So it's not like when you're in the audition we get to give you that. And if we do get to show you something, it's like you would be NDA'd. You'd be signing so much paperwork, it'd be. Yeah.
Speaker 1:So it's not. It's not often like that, and we want to hear what you bring. I mean what? How do we know what is a purple octopus sound like? You know, if I showed you a purple octopus, how would that really? Help you know what we think a purple octopus sounds like. Maybe it's what you think it sounds like, but we're bringing you in for the audition knowing you are not a purple octopus.
Speaker 1:We are looking for whatever it is that we know about you or what you know, what we want to hear you. Your take on the role, not your take on what this role should sound like.
Speaker 2:Yeah, like March Simpson, there's so many great characters that you never probably would have thought sounded the way they sounded when you got the breakdown or whatever it is so kind of leaning into that authenticity is super important. I wonder you mentioned having an agent is kind of vital for voiceover. What would you say is the best way for people listening to get an agent in the voiceover world? I mean, I'm guessing some kind of demo is great to show people. I know you said you don't have to spend a lot on that, but what's your opinion there?
Speaker 1:I mean, I think, taking classes. You know agents do come and do, like you know, a workshop or something at a class. If you're doing certain classes, not to say that's essential. The other thing is if you are a SAG member, they do really great. The SAG Foundation does really great work with having voiceover agents come and casting directors. Another great thing is to be self-submitting. I know I'm saying there's not a ton of opportunities in voiceover on, you know, on platforms where you can self-submit, but like when I'm looking broadly for something and I'm allowed to put it out there, there are projects where I'm not allowed. Or the other thing is like I've worked on something where I had I had the fake name and then I had the and then I had the fake name, fake name.
Speaker 1:And if I was really if I wanted to be able to post it on a casting site whether that's Casting Network, anything where even an agent would have access to it. But it wasn't an agent who was NDA'd already before they needed to be NDA'd to get the fake name. And then if you wanted, if you were an NDA'd for the fake name, you got the fake fake name and that was posted.
Speaker 2:Wow, that makes sense Because people do find out what the fake names are. So it makes sense that there'd be a way back up back up, back up fake name.
Speaker 1:I just had something happen where on Friday night, I'm not even kidding at like 930. I had an EIC texting me. I mean because, again, I've worked at Nickelodeon. You know, I've known these people at this point for like almost years because I was an intern there. So like we're all friends, we're all buddies and they were like do you have any idea how this leaked? Like it's on a Reddit now.
Speaker 2:Oh no.
Speaker 1:And I was like no, I was like let me just like triple check my notes. I've been working on this project now for five months. We just re-released a breakdown. We had to recast a roll after. Another thing with break with voiceover sometimes is they do like testing and then they find a voice doesn't fit or like the feedback is not great. So we had to recast and we had to, yeah, recast and get it done really fast so that didn't delay the delivery of the episode.
Speaker 1:I was like did I leak something? Did I accidentally? Put anything anywhere. But no, I mean, I mean people. Just, you know, you read the sides, you, you the name of the character isn't you know? You can kind of figure things out if you, you know, put two and two together and also, like, sometimes it's not announced that there's going to be a, you know that we're redoing some iconic series that were redoing some iconic series. What'd you say?
Speaker 2:The Fairly Oddparents. I'm just thinking of that because I interviewed someone that was on the live action version and she said something. I worked on that.
Speaker 1:Oh you did. I did, yeah, as an exec. It was really fun.
Speaker 2:Oh, amazing, leslie Margarita, my buddy, I love her so much. Yeah, she said something when we were talking about the show. Honestly, it kind of had already been out there. It was like just a very general statement and then once the episode came out, it was like I, that was the only time I've ever had to edit something out. Yeah, I very much will do whatever people want. I don't want anyone to be uncomfortable, but that came to mind because these like iconic ips, especially nowadays when you know everyone's just so hungry for the content they can can't even wait for that treat which it is such a treat to see these characters back again. So, you know, I mean, in looking at that even would you say that's helpful for people to do at home is like transcribe maybe their favorite cartoon or their favorite show, even just to practice, and kind of like do their own take on the voice, or I know you said it's hard to get copy.
Speaker 1:So yeah, and that's why like submit to everything you can, even if it's just that you get copy, to kind of be doing like again. It's kind of what you're saying. That's a good tip.
Speaker 1:But that's a great way just to have access to more sides and just kind of see because, like, animation sides do look different than you know TV, film, on camera sides. So just to kind of learn how to read you know there's a lot of different formats but just to kind of get more familiar with those formats so that when you do get presented with that you're you have that. And I think another really great way to get an agent is and this is why self submitting is so important is to be, you know, have casting on your side, is for us to, even if you don't book something necessarily, it's like just because just us knowing what you can do, and that's really understanding and being able to to advocate for you is a huge thing.
Speaker 1:and you know agents want to sign people that casting directors are bringing in that are not represented like you know, that is like easy, you know, know to them it's there's no sell, it's not really a sell. It's like oh, you're already going in for this person and you're booking things and nobody's getting that agency fee. Like, yeah, we'll, we'll meet you Like you know yeah, it's like why wouldn't we take that? Or you know, so, if you're booking things on your own, like that's that is great, like if we can just slide on in.
Speaker 1:So especially when it's someone who's you know been doing like I've been doing, I say like, oh, this person's been, I've been bringing them in, they've booked or they've come really close on Nickelodeon animation, Netflix animation, disney Junior animation, sesame Workshop animation you know what I mean. Like okay, like they can like take notes. Obviously they can be more nuanced in their performance, because that's the thing that I found to be really interesting is that, like I can meet someone now and hear their voice and hear their performance and you know just what their delivery is and know, like I'm going to keep them in my back pocket for the next time that I'm working on super kitties.
Speaker 1:I don't think they're a fit for this other thing, but like there's a very specific comedic sensibility and timing and like vocal aesthetic to different shows and to different brands and what they're responding to and what they're looking for. Um, so, even if it's not, because I know there's a role that they're right for, it's like if something gets written in season four that they would be a fit for you know I'm making up that we got a season four.
Speaker 3:It's not like I'm not giving anything away, but I don't know if we got a fit for you know I'm making up that we got a season four.
Speaker 1:I'm not giving anything away, but I don't know if we got a season four, but you know I would keep them in my back pocket, knowing what they respond to in the past and what they like and what you know they look for in a voice, both them as a show and like those execs, but also Disney Junior, knowing the team at Disney Junior and what's important to them.
Speaker 2:Yeah, wow, I mean you've cast so many different kinds of projects that I need to have you back for like seven more episodes. But I will say, since you mentioned Super Kitties, I think my cats are trying to bust down the door. They're like let me on the show. I wonder let's talk about sort of building out a demo reel once people are ready. And you mentioned the SAG-AFTRA Foundation, such a great resource for union members. They have a free lab you can go into and use their equipment there. So even if you don't know how to use it, someone will be there to kind of teach you and it's a great way to practice. You know, in building a demo, what do you think truly makes a compelling VO? Like what stands out to you when it comes across your desk?
Speaker 1:So I think you know.
Speaker 2:VO, demo. I said VO.
Speaker 1:I know what you meant, I think a lot of people think they should be laying down tracks that they didn't book. I think it's specific. That's why I don't think you. I think that can be clips when you do a demo. I think a demo should be real finished material. Otherwise I'm happy to hear clips, but I think cutting together a demo otherwise is just kind of pointless. But if I'm hearing clips I want to hear several different types of animated content, like I want to hear kids and family, for sure, and adult perhaps. But then you want to break it down even more. So there's like preschool, there's big kids animation, so like a SpongeBob would be a big kids animation, preschool would be like a Super Kitties. And then there's now something it's not so new but sort of new called Bridge Content, which is more so for like older preschool, early elementary school. And then there's also the like kids and family sitcom, which is like the Blueys or the Peppa Pigs. So that's obviously super hot. Yeah.
Speaker 1:So you know you want to also understand that sort of delivery, the stuff that's like kind of tongue in cheek appeals to a parent as well as appeals to a kid who's listening, of course. But it's really important that, like you know, as someone who sits at home with kids and listens to lots of things, and you know kids get really into certain things at certain times. And as a casting director, I'm like why, why? Why are you?
Speaker 1:watching this Like what is it that's appealing to you? It's not always about the acting. There's a lot of other things, but when we have to sit and watch as adults like we and there's things I enjoy more than other things, you know, and there's things that I watch, I also watch what my how my kid engages with it and like what voices she perks up with you know, and that makes it's actually made me better at my job in a way to your own little case study.
Speaker 2:I mean, that must be so fulfilling for you as a parent to get to actually show your kid your work I feel like that's very rare and have them enjoy it, not just show it to them. But it's their life kind of at that age.
Speaker 1:Yes, it's very cool. It's very rare. It also is just, sometimes she'll laugh at something that I didn't necessarily find funny. And that's the thing that's funny with like Bluey and those things is like there's things and there's those Easter eggs in it for adults and for kids.
Speaker 1:But I want to hear in someone's delivery that they can kind of hit both and they get both jokes and both sensibilities and they appeal to both parties that need to be watching Because, like you, have a very captive audience when you're watching kids and family content you know like or like the parents have to sit there with the kids, if they're, you know, I mean, I guess, when they get older, no, but like with, you know, a two-year-old, and they're also with kids and family content. There's different, you know, there's curriculum driven content.
Speaker 1:So, like I want to do that on someone's demo reel as well, because I do a lot of curriculum driven content, but then I do things that are not curriculum driven. So you know it used to be when I was at Nickelodeon, when I first started Nickelodeon, everything was for preschool was curriculum driven. Even if it was, you know, people like, well, what's the curriculum here? It's like, you know, socio-emotional learning. It could be anything. It doesn't need to be STEM or, you know, like Blaze and the Monster Machines, or Spanish on Diego or Dora, like there are those really obvious ones. But then there's things that are more nuanced or that you know what you're. What it is that they pick up on isn't?
Speaker 1:It's not like a curriculum that you would read in or learn about in school, but it's a little bit. You know it could be a little bit more basic than that. So, and that's a really big thing now, especially as kind of you know, social skills and things like that, and I love working on projects that have a curriculum. I think it's it's awesome to see an actor like it's, but it's harder. It's harder as an actor to make that funny and also hit those beats. So that's something I like to hear in a demo reel.
Speaker 1:is that you, if you can do that, and there is less of that now and as you know, sadly, PBS is not funded the way that it used to be and all of that kind of stuff which is just like the most devastating thing.
Speaker 2:So devastating I can't even look. I'm happy that Sesame Street got saved. I saw Me too. Yeah.
Speaker 2:Me too. The Elmo post broke my heart, where he was like Elmo's, you know, doesn't have a job anymore. Basically, Looking back to the world I grew up in, you know, speaking of the Nickelodeon basics you know what I talk about all the time that I miss that like really just really connected with me on a deep level and has nothing to do with today's conversation, is face Remember face, of course. I loved face, and that was so simple.
Speaker 1:We brought face back for faces music party. I don't know, I guess it didn't do well. It was the last show that I cast in house at nick um yeah, and then it aired when I was I mean, yeah, it was like I was. I think I finished it out of house. I can't remember um, but it had face and it was like all these like and it was. It was a mix of live action and animation, which is another thing I've done a lot of like with blue yeah, which I love that's so cool, that kind of stuff
Speaker 1:yeah, but yeah, I loved face I know I really loved space.
Speaker 2:It was just so simple. And yet, like you, just you couldn't move away from the screen. And I think actors, this is so fun. You get to embrace your inner child and maybe start watching a lot of these shows If you want to try and break into this world you have an excuse now.
Speaker 2:So yeah, I guess that leads into my next question question, which is kind of how can actors train their ear and their instincts, you think, to be more competitive in this world? Are there some underrated skills or exercises that you wish more actors practiced and took advantage of?
Speaker 1:I mean, vocal health is really, really important when you are a voice actor. I know it sounds like yeah, obviously, but listen with these allergies especially it's hard, I mean it's the only thing that you were hearing.
Speaker 1:You know you can't like, you can't fudge it the way that you can when you know, in full transparency, my mom is a speech pathologist, so I grew up around you know vocal health is something that I do. I hear in somebody's voice as well and we don't want you to blow your voice out, and I do often have people coming in and putting a voice on. That's like not sustainable. I can hear that, so we don't want to hear that. That's why I'm saying like we want you as you and that's not to say you can't have a voice that you can put on. It needs to be a sustainable voice that you can put on.
Speaker 1:You need to be able to sustain whatever it is that you're putting on. That's part of the job as well, is knowing what you can do. But listening back to your auditions, hearing if you're staying on the mic, you know we want. The other thing is movement is really important. In voiceover we can. I can hear if you're moving, and I don't mean moving and like I don't want to hear like clothing sounds or that, but I mean just that you're that, the, the character is alive you know, that's important, that you're bringing life behind that mic, and that can be, you know, we can feel that.
Speaker 1:That can be that like if the character is pacing.
Speaker 3:I want to feel something in your voice or if you're out of breath like people should get sweaty.
Speaker 1:You know doing a voiceover. Not always I mean the character might be doing a lot, but think, like you know you're, it's a very active medium that you're doing in like a box you know, so working on that physicality and also having that stamina, and having that stamina in your voice and your breath, support and all of that which also just adds to you blowing your voice out if you don't have that sort of a skill set.
Speaker 1:So like going in with that, really, you know, buttoned up, because I've had a lot of voice actors that can't sustain the voice or they can't sustain the voice for as many sessions as we need to do. We don't want to hurt your voice. We don't want to hurt your voice. You don't want to hurt your voice. Sometimes also, a more green voice director might not know how to get you back to the place where your audition was.
Speaker 1:So you need to know how to get your voice back to where that audition was, especially as you're, you know, building your career up and maybe working not working with, like a, you know, super skilled voice director in the booth.
Speaker 1:So that's something that you, as an actor, like a lot of. What you, a lot of voice acting is very you know, you yourself and you doing it. So being able to like, really make those choices as an individual and not always expecting what you would get on a set where you're working with somebody, and that's the same with, like I mean, josh on Blue's Clues it was like he was acting by himself, you know, even though there was the animated voices there, somebody was reading those lines off camera, but like he wasn't working with those voice actors, they came in at a different day. So you know you have to be able to really like it's like the Tom Hanks. You know you have to be able to really like it's like the tom hanks, you know, and wilson, like oh yeah, well, and it's kind of what we all, what we all do.
Speaker 2:I mean, I'm a cat dad. Hopefully I'll be a real dad one day but it's kind of what parents do. It's like you have to commit to the bit and you're acting by yourself to entertain your child when you're reading them a story, whatever you're doing, and it's so funny once you get in front of a microphone. Maybe that changes things, mindset wise for people. But yeah.
Speaker 2:I love that we're talking about this early on, especially the health aspect, because the sooner you can kind of build that into your routine and I find a lot of theater people have that kind of stamina.
Speaker 1:Yeah, which is also why they're great voice actors.
Speaker 2:Yeah, because it's so important. It's your instrument.
Speaker 1:You don't want to blow that out and it's like you could do, take after take, and say there's the voice, I got it. And then you're done and you can't speak for a week. And then what if they want you to retape or whatever happens? So I think that's a really great point and it's why this episode is sponsored by traditional. Do have the vocal health. They understand vocal health.
Speaker 1:They know how to protect their instrument. You know they have to protect their instrument and they also have to use their instrument night after night in a way that, like you know, you're talking for three hours. Like you do that in voiceover, you do that in theater do that in theater.
Speaker 2:Yeah, just remembering to rest too, it's really hard, but, like, especially for people who love to talk, you know, not talking is so important, I think, for vocal health overall. I think another worry that we have we touched on a little bit is that actors think they have to buy the great, latest and greatest microphone. What is your advice, just on equipment Like, what does someone need just to start?
Speaker 1:Yeah, I mean you need a really basic mic, and I'm not an expert on this, to be honest, like I feel, like that's okay. I'm not like I don't know all the you know, but you want like a pop filter and a really basic mic and that's really it?
Speaker 1:I don't. And then the only other thing I would say is you know people are like, oh, I can buy it, I can do this. It's not about that. You need to know how to use your equipment. So I'm not looking for you to have the fanciest thing, I just want you to, like know how to use it you know like use.
Speaker 1:Have the more basic mic that you know how to use. Have the more basic software that, like doesn't have all the bells and whistles but works. I've had a lot especially with, like, older actors that are returning to you know acting, that really want to try voiceover because like it's, you know feels more accessible.
Speaker 1:It, you know, feels more accessible. It, you know, is something that they've wanted to do for years and now you can do it from home. Like I have all these things, but I don't know how to use it. I'm like, then you don't need to have any of those things. Like I'm not, I'm not, I'm telling you, like I said, I don't, I'm not an expert like I, my job is when you tell me what your equipment is. I say you didn't tell me about your software. You, you didn't tell me what the mic is.
Speaker 1:I don't look at it and tell you. You know that's what an engineer does if it's going to work and be, you know, a fit with whatever we need and whatever we're using. So I'm just kind of the checks and boxes messenger to make sure it exists and sending them what it is. But if you don't know how to use it, like I, you know that's not really going to help anybody.
Speaker 2:True. And what if you know you're on vacation and there's a tight turnaround? It's like can you hop into a closet with clothes and try and use a voice note and if it sounds okay, it sounds okay. Or have you had that?
Speaker 1:All the time and I just an actor usually says like I'm recording for my travel. Also, a lot of people have a travel mic which you can have, or you know, I'm recording from a travel mic in a closet, or like I'm recording from my phone because I'm on a trip and I could get you a better audition by Tuesday at 4 pm. You know, like whatever it is, or that's in a note for me, just so I can say that. And sometimes I'll have someone send me a clip of their home, like another audition they did recently on their home studio, or if it's an act that auditions for me all the time, I probably have a clip.
Speaker 1:So I just say to the writer don't worry, I'll just, like you know, type your name in and whatever came up. That was your last thing that I know you did from home. I'll share that. I mean, good actors are working actors usually, so like it is. Sometimes you, you know, I've done voiceover callbacks where the person has booked it from, like backstage of a broadway show oh yeah.
Speaker 1:Or like the same thing with self-tapes it's like a facetime recording yeah, or I mean, and I've done callbacks, because if I'm in session like I was in a chem read last week and I needed an actor was only available for 45 minutes um of the day. That would have worked for us because they were in London. My producers were in the West Coast, so we had like 45 minutes of the day that worked. So I only had 45 minutes and I needed to be in my chem read. They needed to be in their thing. So, you know, I was in, I was on mute recording and giving notes when it, when nobody was in the waiting room that I was in, you know, at like a studio in the city, like an audition space.
Speaker 1:Like we're all trying to hustle and get what we need to get done and we just need to see that we can get those tech specs from you eventually if we need them. But yeah, it's not, don't worry and don't apologize. Like you should be working. You should be on vacation, no-transcript, or know how to use whatever the travel mic is like.
Speaker 2:It's not a big deal yeah, and I will say we live in a tricky time for the business. I mean, I love what you just said. It's so kind and I think it's such a beautiful philosophy, so I don't want to lose that, but it's a tricky time in this business with the rise of AI, which we don't have to get into, and I can cut this out because I know some people don't like to speak about AI.
Speaker 1:I just don't know a ton. I know there's some casting directors that, like this is really something that they know about, which they should be. Who speaks about it? But I can tell you what I do know and I yeah, all that kind of stuff, yeah.
Speaker 2:I mean there's. I bring it up because there are systems where you pop your voice note file into it and it sounds like it was recorded in a studio and I'm just wondering if you have any advice out there to actors who maybe feel dismayed at the AI voiceover talk Like there's a lot of, especially in the narration and audio book world. I think there's a lot of talk about AI voiceover really coming in hot, and so if you don't know enough about that, we don't have to talk about it.
Speaker 1:But I just wonder your thoughts. The thing I can tell you is that, like it's coming after my job. Like just as much as it's coming after. You like casting. We are very on your side about this, both from, like, I worry about actors ethically but I also like selfishly worry about my job. You know, as someone who does voiceover, I think animation is going to take a little bit for it to catch up with that stuff.
Speaker 1:I think, like what you're saying more of like the narration and you know, and I do commercial, but like I don't do a ton of commercial VO and usually I only cast the VO if I'm casting the on-camera, I haven't I don't think I've ever cast vo commercial solely. There are people that do that. Um, also again, they're very scared for the jobs and they should be like. So I think there are concerns and I mean I don't want to get into like bad mouthing people, but I don't think I have a list. No, I'm just kidding yeah, I don't.
Speaker 1:I don't agree with what some of the unions are doing. I don't have you know, and I've met with them, so I guess I can say it publicly Like I have, and I'm the first. If I don't think something's right, I will. I was, I had a meeting with them, I think I had a C-section scheduled the next day and they were like why are you here?
Speaker 1:I'm like because this is important to me and like and I said, with the caveat, like I have a C-section scheduled the next day, there is a chance I go into labor and I'm not here, you know. So do not reschedule the meeting. If so, proceed. But I want to be here because this is really important to me and I'm very concerned for both sides of the industry with some of this both sides of the industry with some of this.
Speaker 1:I'm not but I'm saying I'm not an expert in like what the technology can do per se, but I am very aware of what is what they're trying to do and the jobs they're trying to take away on both sides, and I also think that it's an art Voice. Acting is an art, it's not just a beep boop, boop, boop, boop, boop boop, yeah a code.
Speaker 1:Yeah, and I think you know, and I do think there is some exceptions to that, which is why I think the AI stuff does work for some things, but if you want any, you know, human touch to it, which is what we want when we're listening to acting choices. It's not going to work for that.
Speaker 2:Yeah, and there's some scary things in contracts where you think maybe it's just they can use it to fine tune or whatever it might be, but sometimes you're actually giving away your voice and you don't even know Like they can put words in your mouth that you never said. On Riverside they have that Like if we wanted to re-dub ourselves with AI on here, we could, which is so weird and it's not perfect, it's not human like you're saying, but I just think it's a scary time, an ai clause, yeah, which I do think is smart.
Speaker 1:It's just like the first time I got it, the whoever, producer or whatever was like what is this, what do I do? What is this about? What does this mean?
Speaker 2:and I was like um, yeah, I get it, but wow, like this is where we are Like it's like Terminator Well, we're not there yet, but it feels like we could be and I appreciate you. You fighting for us and all the artists out there before you have a C section that speaks to who you are, because I want to touch on your advocacy as well and I think it's awesome and really special to see a person who gets power and, alongside their passion, has this completely other passion of helping people, and you, sort of like, are a shining example of that. So I do want to touch on that after we kind of get through this VO journey, of course. But I want to say you shine in kids media which, like I'm a big man child, so I relate to that. I appreciate that. What do you think makes someone I I guess we've had a lot of people submit something around this question, so this is like an average question what makes someone castable in like a children's animation versus other VO work?
Speaker 1:I mean it's a certain type of comedic sensibility and willingness to play. There's a relatability and also, you know we're looking for somebody who is aspirational. You know, that's like the biggest thing I would say with, if it's not like a funny character, if it's more of a like the best friend or like the teacher or anything like that, it's like that's who we want to be, that's who we want to play with. They bring us along. It's not pedantic, it's not infantilizing. You know you're never talking down to kids, ever. That's like one of the biggest things I learned from I would say from Blue's Clues, honestly was from working on Blue's Clues, one who kids relate to and are able to connect with but doesn't make them feel like they're on a different level than them. And like there is.
Speaker 1:You know, you're not, we're not. Every kid wants to play with someone older and, you know, a little cooler, and all of that kind of stuff. So you know, go go with that. Yeah.
Speaker 1:Do that, do those things, but you know be, don't don. Yeah, do that, do those things, but you know be, don't. Don't try to be a child either, necessarily, unless that is the role which you know. There also is that element of like. Is it a project where they're casting kids to be kids, or are they? Is it, you know, 18 plus to play younger, because that's another, you know, element of it. Yeah.
Speaker 1:Is that you know there are projects where and also there are projects where we're mixing kids and adults to play that. So, like knowing. The more you can know about that, the better in terms of how to deliver your audition.
Speaker 2:The more you know. Well it's. It's actually research I just saw on Instagram so beware, I'm not a scientist that shows the people that play and adults that are into the arts are actually like 50% less depressed. I don't know why I gave a statistic because I don't know, I didn't do the science, but it's something like that, and so I feel like it's just healthy as a person to kind of be that way and have that sense of play, and I feel like as artists and creative people, we have that early on on the playground and then you learn all these business things and sometimes that can dampen your sense of play because you can get in your head what's your advice just for, like, getting back to that childlike sense of fun and glee?
Speaker 1:I mean, I think, doing something that makes you happy before you audition, doing something that feels good and also after an audition, like as someone who was a kid actor that was. I loved auditioning, so this was I. It was more the like, but my parents always made it really fun where it was like at the end, you know we were we'd be coming into New York City from New Jersey and it was like we would try out like a really fun restaurant. We go to Chinatown, or like my mom didn't like seafood, my dad did and he would. We would do like daddy-daughter dates and go to like the Grand Central Oyster Bar you know, like, but something that like brings you joy.
Speaker 1:That's not related exactly. It could be related to the. You know we love what we do, like a lot of people you know. So it's like, yeah, yeah, like personally, I find a lot of joy, even though it takes me forever to finish things right now, just like based off how busy work is and personally, but like, even if it's 12 minutes of watching Hacks, at the end of the day it's like so good. So good, it brings me so much joy.
Speaker 2:The writing is just it's so funny, meg Stalter, yeah. Loving this season too Like yeah, oh yeah, I know they keep topping themselves. It's crazy.
Speaker 1:And and it's one of those things also it's like if you watch the other two as well.
Speaker 2:The same humor of just like outlandish things happening where you're. Sometimes you want to laugh. Sometimes you're like that's too real and other people are like that would never happen.
Speaker 1:Oh, it's real. Yeah, let me tell you. Yeah. But, but yeah, and I like get so much casting inspiration from that show.
Speaker 1:But, yeah, that's my job is casting, but like I don't want to shut my brain off to everything I love, you know. But it's like that does give me joy and give me inspiration and if, like you, are someone who gets that from you know, going on a run, that's another thing. It's like that, might you know, I like I love peloton and I like love doing my peloton stuff and people make fun of me, it's like, but like I find a lot of joy in it and we're going on a run or you know and I come up with my best ideas.
Speaker 1:So that might be where you you know, kind of refill, your you know yourself.
Speaker 2:But yeah, that's me with walking. I gotta walk every day and that's when I do my best, thinking I wish I could record podcasts while I was walking.
Speaker 1:That is so weird that you said that. I was thinking that today, because of how I want to do like a walk and talk podcast, I have that.
Speaker 2:In my note it's called walk and talk podcast, because I think there's enough technology where you could make it sound like sound. Okay, but it's just. The conversations are so good when you're moving your body Exactly. Yeah, that's so funny.
Speaker 1:Peloton kind of tried to do something like that. I don't know if it did anything it didn't like wasn't obviously very successful, but it made me. It was something I was really passionate about. I never listened because I I don't. When I'm on a walk, I want to listen to one of my you know, or just be thinking so I and I'm not usually like if it's a walk versus exercise, versus yeah, but like a run, I want to listen to music. I don't want to listen to someone talking, but but yeah, I. I find you have to find what helps you refill your cup and for some actors I know that's like going to the theater. I know that's still acting, but it's like, if that's, you know where you a, if you're not a theater actor, necessarily you're not on stage at the moment, you're watching it and maybe you're watching a friend or whatever. It is like there's so much that you enjoy and stuff that you can find that, but you have to do that.
Speaker 2:And that's the nice thing about our business too, is that even the stuff that can recenter you and bring you rest also does inspire you, which can be tiring, but honestly, if all you have in you to like move your career forward for the day or the week is to watch a good show, that's that's. Actor homework like that is inspiring. So it's nice that we can do things that are a little bit chilled too. I know voiceover and the whole industry really right now, especially with a lot of the way TV film is going and there's not as many projects being greenlit. It's such a long game and we touched on this a bit, but I feel like there's a lot of relationship building and then you start getting the auditions and then sort of being in the booking circuit is a whole other game. What are your thoughts on just hanging in there and playing the long game for people that are starting out and continuing down?
Speaker 1:this road. Yeah, it's hard. I mean, I know it's like really slow for and it's on both sides Like I have casting director, friends who are, you know, incredible casting professionals that are not working or like working less, or working for a whole lot less, or you know all of that. So, like the same thing actors are going through, like we're we're, we get it, we feel it as well. You know I more and more people like as and also casting actors. We, we love actors.
Speaker 1:Like one of the things that, like we do, is, you know, send to our friends, like this person needs this much more to make their you know, their their sag insurance this oh we're like yeah anyone has, you know anything, they'll take anything.
Speaker 1:it doesn't need to be a guest star, they'll do a co-star, they'll do to. You know, like we're all trying to help each other out that way. But I would say, like work begets work and I feel that way, like I was saying, like even if it's something where I know it's not like the sexiest thing that producer is doing, if they want to hire me, I will do it. Like I mean, I will cast you know lots of different. If there's something I really someone I want to work with, or something I want to work on, I will do something. That might not be the they're like cream of the crop thing that they do, but I know what's coming up for them and I want to be on their go to list when they're, you know, hiring casting.
Speaker 1:And it's the same thing an actor should do. You know it might be the developmental short of whatever they're developing. If you love that project, like get in on the ground floor, Like even if that means you're getting paid, you know, like a very low fee if it's.
Speaker 1:You know, if you're not losing money or losing another opportunity, like get yourself out there, put yourself out there you know, connect with people that you see are doing work that you want to be a part of even if it is not going to be like the thing that pays your bills and that you know, I reach out to a filmmaker if I see that they're doing something I want to do and and how you know, and sometimes one of the things that I do and people are like why do you, why do you do specialty casting? Like you know, with disability or with people of trans experience or different communities that I'm, you know, really focused on and really do a lot of work with. You know, why wouldn't you? People are like you should be casting the whole series. Okay, sure, that'd be great.
Speaker 1:I would love to cast the whole series but, like, I'm also want to work and I want to work on things that you know where people want to work, on, things that you know where people want to work with me and I can show somebody that I can do more than maybe what they brought me in for. But I don't need to make that what it's about. Like, bring me in for the job, I'll do an amazing job and then maybe the next time you'll hire me to cast the whole project, as opposed to just the kid role or just the disabled role or whatever it is that you've seen me do.
Speaker 1:But like we need more work on our resumes to you know, show people that we can do those things and we need that on our demo reel or whatever it is as an actor. So the more work you can do, the more you're going to get other work.
Speaker 2:That's such great advice. Say yes, and go where the work is too, and it never stops, right. I mean, look at the caliber of actors that are on TV now, when, like a decade or so ago, these people would never have done TV, they would only be movie stars, you know. And then now Broadway is filled with all these movie stars. It's like people that are successful, I think. Go to where the work is, and so yeah, whatever you can get to work.
Speaker 1:I find that to be such an interesting thing, like as a casting director. There are certain actors that, like their agents will say, like you'd be like shocked, but they're like, yeah, take a scale offer to them. Like they love to work. If they're not available, they're not available, of course, but like, don't not take them that scale offer.
Speaker 2:Like, please come, and I'm like, oh, okay, that's special, they just want to keep playing.
Speaker 1:Yeah, which is awesome, and that's what fills their cup. You know, like one actor that comes to mind, like that, she. I remember I was at a developmental reading of something and she was in it and I was shocked and it's always kind of stuck with me that she was there doing that like an east village theater, yeah, and we mentioned leslie margarita, our friend I mean she's.
Speaker 2:she says yes to everything, like any workshop she can do. She's such a giving soul Because there's also the people that know that once you get to a certain point, you can help others get their thing off the ground, which is awesome. And, yeah, you, in a sense, are doing that in the way you give back. I want to touch on something we mentioned, which is this powerful work as the co-vice president of advocacy for the CSA. Thank you for that. First of all, what's something everyone out there can do? Listening to help you elevate underrepresented communities, like, is there a tangible thing everybody listening can do right now? Maybe pause this after she speaks to take action and join you.
Speaker 1:Oh, that's such an interesting question. I mean, I think, remember that the world is not. You know that we assume when we watch content often that everybody is cisgendered, able-bodied and white, unless otherwise, and I think you know, consume content.
Speaker 1:look at the world beyond that, Like don't you know that's an unconscious thing that a lot of us have. But I think, look at, look at how we can look at the world differently. And look at your world and look at who's in there who doesn't maybe fit that. And then look at what you're watching on TV and and challenge. You know where we could challenge that more? Like, where would it?
Speaker 1:Why is it that the barista at the coffee shop doesn't have a limb difference? Why is it that the bus driver is not of trans experience? You know, why is it that the girl next door is cisgendered? You know, why is all? Why all those things, when you, you know, like, just consume media and and I know that you know, sometimes we just want to and and I know that you know, sometimes we just want to sit and not think, and I also totally appreciate that. But you know that's that's a big thing for me.
Speaker 1:And also look at when you're in as an actor, when you're in an audition or you're on set, like who's there, like who's working. You know, and that's a really big part of my work as well is building representation on both sides of the camera or the stage or whatever medium it is that I'm working in. We can't move the industry forward if we don't have representation in writers' rooms, if we don't have casting. And it's not about hiring consultants, it's about having an actual writer, because these are people that have the qualifications to be writers, who do that work and just like casting. I mean, we need people that bring their lived experience into those rooms. And you know, that's something that I do when I'm working on a project is I don't just bring in an assistant. Usually I bring someone in to like co-cast or as an associate to work with me.
Speaker 1:I mean, my associate works with me on the projects that you know we're doing. But we often will bring someone in because it's really important that somebody from the community is there and has a voice and also that you know that representation for the actor who's coming in that to me is really important and that casting professional is not hired as a consultant. If they want them to consult, they can, you know, give them a consulting agreement. That's a different thing and that is something that people should be paid for as well, same with actors, and that's something I advocate for very.
Speaker 1:You know, a lot of times I'm brought in on a project really early to look at it and to say, like, do you have a consultant? You know, and it's great that we're doing all of these, really having these really big conversations about said community, but have you thought about having a co-director from the community? You know, because I'm a realist, we don't have a director who's ready to, you know, necessarily direct said feature with said huge movie star. They don't want to under this other incredible director so that they have that huge, you know, ad credit and then when they do go on to do their first feature, that person worked with them and they're like oh, they were amazing to work with.
Speaker 1:I want to be a part of your feature and then once you have that first huge name, you can start getting the real financing. You know it's all. There's a snowball effect to it. No-transcript work is focused on is training my peers to. If they don't know the answer, they know they can always come to me and I'll always be there and I don't need to be a part of the project. You know, for me also it is a little bit selfish. Actors are going to do a better job on my project if they're working. The more that you know someone's auditioning, the better they're going to be when they come in to audition for my project.
Speaker 1:So you know people are like why do you do this? It's like actors need to be auditioning. Actors need to be working. That's the way that we're going to see change. It's not just like protecting them and keeping them to myself. I mean, you're not going to be ready to be a series regular if you've never been a guest star.
Speaker 1:You know, maybe, but not, you know, typically, and I want people to be getting more exposure. It's only going to help me more to have that. And also, like I don't work on everything, like sometimes people will be like, oh, there's this disabled, whatever Did you do that I'm like no, like no, I don't do everything.
Speaker 2:I can't be everywhere yeah.
Speaker 1:And I want people working with other people and getting that experience and I want us to see real representation in every medium and every you know, every piece of content.
Speaker 2:Well, I think that's so special, just to see someone that has gotten into a power position use their power for good and not just to do what they love and help others. But you've taken it to a whole new level by making it so specific and tangible and I just like I can't applaud. I would applaud, but it would hurt your ears. Your work enough and I think it's so amazing. So everybody check that out further, but I know we're running out of time. I do have like a really quick surprise flash round game. Oh, okay. Okay, it's called casting keywords, but this is the dem chick directive edition. I don't know what that means. Flash round. I just wrote that down to have a name. I'm gonna throw out some statements or topics around voiceover auditions and you please just say the first piece of tangible advice for actors that pops into your head. Okay, so it'll be a phrase, a word, and we just need a quick piece of advice. Okay, the first one is warming up.
Speaker 1:Do it.
Speaker 2:Simple. I love it. The slate for voiceover Follow directions.
Speaker 1:Slates are very specific. Do exactly what you're being asked for. Don't do anything different, just please follow the directions. It makes our job so much easier, please.
Speaker 2:Everybody please Same with file name too. I believe right, yes. Yes. Okay, what about like the slate tone, like, do people? Do you ever have people doing it in character?
Speaker 1:Yeah, please do it as yourself.
Speaker 2:Okay, number of takes to submit.
Speaker 1:Listen to your agent. If you have an agent, Listen to the directions. If that is noted on the directions, Assume that you only submit one, if not noted otherwise.
Speaker 2:What about improvise, in the sense of if there's like an evil laugh or there's something like, what about that?
Speaker 1:Yes, you can bring. That's bringing dimension and life to the character. Don't improvise words. I mean, if it's like a little something, it's not a big deal, you know. But if and if you had to laugh here or there, that's great. But sometimes I have somebody like completely rewriting the script. Do not do that. Also, keep in mind the writer often is listening to this. They want to hear your words.
Speaker 2:Yeah, that would not be good to be the writer, but especially with curriculum.
Speaker 1:it needs to be word perfect or very, very close. It can be a little bit different, but like there's, you know it was approved. There was a somebody with a PhD that they paid a lot of money to to come in and do that, right. And then we, we want to know that we're not going to have to do that in a real record.
Speaker 2:If you're yeah, yeah, you can follow that.
Speaker 1:Okay, utility voice. It's a really hard job.
Speaker 2:Sometimes, once in a while, you get a self-record for that. So what about auditioning for that?
Speaker 1:Show us all the range you've got.
Speaker 2:I like that.
Speaker 1:Lots of range.
Speaker 2:A different note. I actually love these. I think this is so fun Matching voices.
Speaker 1:Only submit if you can really do it and know that. On the casting side unlike with some other projects where we'll like throw in more wild cards, typically with voice match auditions I'm told I can only share X amount of auditions. They only want to hear the five best matches, the three best matches, the seven best matches. So if you're not a fit like it's really not worth you submitting. It's like a science. It's like baking versus cooking.
Speaker 2:Yeah, oh, I like that. Now I'm hungry. Okay, Demo tracks. In the sense of speaking, of matching, you get the demo song or whatever it is.
Speaker 1:Do it as closely as possible. They paid that person a lot of money to write that song that they want you to sing. Don't think that you should make it your own jazzy tune.
Speaker 2:But you don't have to necessarily copy the voice style.
Speaker 1:No, no, sorry, don't copy the voice, but don't go. You know making it a jazz solo. Yeah, okay.
Speaker 2:Well, some of you are like oh, this person's good, they should just use this person.
Speaker 1:Don't match the voice that drives me nuts, and it's definitely not the goal. They would hire that person.
Speaker 2:That's what I. Yeah, we covered this one, so I'm gonna skip it.
Speaker 1:Location make your location as an actor just be honest okay, narrations what is that? What do you mean?
Speaker 2:like vocal narrations. So being like a narrator versus auditioning for, oh, a character well, don't ever give the.
Speaker 1:That's why I was wanting to clarify okay, don't ever give narration in your audition, um, like, I'll have people do that. They're like interior. Do not do that. Oh yes, Don't do that Narration is an art as well. Don't forget that.
Speaker 2:And also you do a ton of commercial auditions these days. So what's your general advice in auditioning for commercials?
Speaker 1:Keep the pace up. Oh my gosh, I was watching auditions for a commercial. Yeah. Oh my gosh. I don't know what people think they're doing. Oh yeah, have you ever? Watched a commercial. I want to say to people like I mean I get that we can like fast forward these days but oh my gosh, so slow.
Speaker 2:Yeah, yeah, don't let it, don't let her drag. I think a lot of people do nowadays use these apps, like there's like cold read and all this stuff I hear is great I should actually test it out and there's a lot of people that use teleprompters for fast turnarounds and so it's like don't get stuck in that that pace. I think that's a great reminder. Okay, I know, I got to let you go. Uh, so you could just say no to this. I usually do a got and a give. Which is the best piece of advice you've gotten or given in this industry? I usually do both. If you only have time for one, that's fine, okay. So what's the best piece of advice you got?
Speaker 1:I think being honest, honestly, like because you know we're balancing a lot, and like this morning I had a producer ask me something and they're like did you tell this agent this? And I was like, yes, I did, I messed up, I told them the wrong thing, but I called them and I fixed it. And I know why they're saying this, because they're looking at the email chain. But let me remind them of the phone conversation. But just tell people the truth. Like we all make mistakes and like I made a mistake because I haven't had a project say no to this particular ask before you know. Like usually someone just says, sure, give it to them. And the producer was like I don't want to give that to them.
Speaker 1:I should have asked the producer, now that we're, you know, 30 deals in on this particular project, I know that. But like I could have lied and then told the agent don't tell them. But like what's the point? And also like I want someone to be honest with me and we only are like as good as our word and this industry is so small, like bizarre, how small it is. So like, just be honest with me. Like also, like that's the same thing with like location. Like I've had actors lie and they're like well, I didn't be there in this many hours.
Speaker 1:It's like, but you're not here and you know what. And they're like well, I didn't mean to be there in this many hours, it's like, but you're not here and you know what? Like during COVID, that was a really big thing, really big. Thing. Now, with like all the flight stuff going on, it's a really big thing, like I get that you have a place to stay when you get there, but like flights are delayed, things happen, so just please be honest.
Speaker 2:Yeah, own it. I think that's actually more important in this AI age as well. It's like I almost have this feeling that typos and mistakes are going to become in vogue. It's like you're going to want to read a book where there's typos because you know a human wrote it.
Speaker 1:Yes, there's something endearing about knowing that you messed up. I can't explain it.
Speaker 2:Well, thanks for admitting yeah when you're wrong. I think that's a special skill and I love trying to embrace that when I get older, because it is freeing in a lot of ways, Like we don't have the energy to pretend.
Speaker 1:Yeah, that's why, like when that exec asked me on Friday night at 930, like I could have first of all ignored my phone. But that's not me, yeah. And I could have been like no, I didn't do that, but but like what if I let it slip? Let me just do a quick search in my email and see if this was ever said anywhere, and it wasn't you know, but like let me just look up the title, Cause I've never, we don't have, we don't write it. You know, like it's been said on a zoom.
Speaker 2:but I was like let me just check and like I'd much rather do that Like and if I had messed up, I would have just said it like yeah, you know what's what's. Yeah, no, I love that.
Speaker 1:And I think that's great advice in general. But if you have another one that you usually give to actors, we'll take it too. Yeah, let me think I'd say do your research is my big thing. Like people are like oh, I didn't realize this was for the same showrunners, as you know fill in the blank as SpongeBob. It's like well, why didn't you read the breakdown and Google the name, like I don't go to a job interview without you know, or like you know an audition for my job or a general with someone and not look up where they worked before, what their.
Speaker 1:You know some things you can't find out, and that's I understand that. But if it's like the person's name is on there and I also know that sometimes agents don't give you the full breakdown, that's the other thing I would say. So I don't. But you do your research with what you have. And also, if you feel it's imperative to know something, like do as much digging as you can to find that out. You usually can find it out. I'm not. Don't annoy your agent. Don't go to them and ask them something that they didn't give you.
Speaker 1:Yeah, if there's any way you know. Use the Facebook groups, use your text chains like, use all of that kind of stuff to try to find things out. Look on casting networks. You might've gotten it through your agent, but it might be posted there so you don't have to ask, but it might be somewhere that you can find out you know, do your research, Like don't, don't be like, well, I didn't know. Try to know.
Speaker 2:Break down the breakdown. I think that's a bit of a science in itself and that's how you can find out the tone and other things of new projects.
Speaker 1:It's like that you know, like, oh, like this was not for law and order, this was a comedy. It's like well, yeah, did you look at who the showrunner was, have they? We don't get asked to do things that we didn't do before, just like you don't get asked to do things you didn't do before.
Speaker 1:So like also know that, like I don't do a lot of you know, really gory horror films I haven't done them before. So like that's probably not the tone. If you got that, it's probably a satire or something you know. Like the casting director, like we, you know, look at the writer, look at those things. They probably are being hired to write the same sort of thing again.
Speaker 2:Yeah, so wipe that blood off and put on a clean shirt. Ok clean shirt, not a whore. Well, danielle, thank you so much. You've been so generous with your time and I just I don't even know what else to say. I just want to thank you for being you, because you're such a kind soul in this business and I'm grateful you're here.
Speaker 1:Same to you. You're the best.
Speaker 2:Thank you.
