Dissceting Copy

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Permalink Reply by J S Gilbert on May 5, 2008 at 2:26pm

The main thing I do as an actor and also don't seem to hear often enough when I'm producing and get back auditions is emotional connection to words. Many commercials start off with a problem, a discovery of a product or service and the resolution. Even where it's not obvious, making choices that might include where you are, what time of day or evening it is, who you would be speaking to, your agenda or goals and other things that might help to bring copy on a page to life (as if it were a play or story) are going to contribute to a better audition.

Often visualizing an appropriate person, ( a real person) such as a husband or wife or teacher or friend that you are speaking to, will make the words seem more real. For an excercise, record yourself readig the same copy, but envision different people you might be saying it to, such as a neighbor, somebody you'd like to make love to, an elderly person you know and a child. You will definitely hear the differences. Keep thiese people in your back pocket for auditions and jobs.

The other thing you should try doing (if you don't) is moving your hands when you talk. Many actors fall into a bad habit of standing with arms akimbo or behind back or in pockets. Gesticulating with your hands along with reading the copy helps create real punctuations and can smooth out stiff reads.

Those are afew tricks I have. If you haven't read "There's Money Where Your Mouth Is", by Elaine Clark, I might recommend it. There are some excellent excercises in there.

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Permalink Reply by AL Shaw on May 5, 2008 at 3:21pm

Great points I can use J S.. thanks for the reply.. I will def. pick up that book as well.

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Permalink Reply by SomeAudioGuy on May 5, 2008 at 3:50pm

Yup, totally agree with JS. It's all about acting these days. Even most of the announcers I record are some kind of character ("concerned neighbor", "friend on couch", etc) rather than some ethereal voice of god, track anncr, or radio-y dj. Keep your acting chops in shape, and you'll do fine.Also, an improv workshop never hurt anyone...

I might be unpopular for suggesting this, but I would suggest reading through your copy first, planning your attack, THEN reading the spec/direction to see what fits or make adjustments. Chances are if you received this from an agent or casting director, there's something about YOU they want to hear.
I'm casting for the voice of a fast food chain today. About 2 out of every 3 guys is trying to sound like the guy that's already being used. 60% of my first takes are working WAY too hard at voice matching someone else, rather than paying attention to what they themselves do well. That kinda wastes my time, as I've gotta burn that take, and get them out of what they think the producers think they want.

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Permalink Reply by J S Gilbert on May 5, 2008 at 7:30pm

Well at the risk of sounding agreeable, I have to also say that I agree 100% on the improv training. The BEST voice actors have lots of improv training and many really good vo actors I know have little if any formal voiceover training. Also, with regards to the breakdowns, it might be a very good idea to look at the copy before seeing the direction. IN particular I would suggest that if you are sent a script and it asks for a Woody Allan type, that the script probably wants somebody who acts like Woody Allan more than sounds like him. Of course htere are plenty of scripts that float around that are looking for impersonators and mimics. It's important to discern if the client wants a mimic or if it is the essence of the person they are looking for. As someone who books a lot of scripts that ask for "Sam Elliot", I can tell you that the attitude and gravel seem to be more of what most auditioners are looking for, with any type of twang being (in general) a distant second.

In sales, there's a saying "Sell the sizzle and not the steak" understand the emotional attachment and commitment to the words you are being asked to say as they might apply to the direction and then pay attention to the acting and that commitment.

Even talent who can do pretty good impersonations can benefit from this in that their reads will be stronger, more dynamic and more believable.

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Permalink Reply by Bobbin Beam on May 5, 2008 at 9:49pm

I agree with JS about Elaine Clarke's Book.

This is a very rough and basic approach I take:

The main question I try to begin with is "Who is the audience". Once you understand the answer to that question, then you need to understand what the problem is that is going to be solved within the script as written. Build a mental backstory, figure out who you are, and select a person to talk to, a place where you're talking and imagine that person thinking, "What's in it for me?"
Look at the copy and know the trigger words, mark your script, and always speak the product/client name clearly. Being believable, and making it real, not announcer-y will make you sound truthful. Love the words.
Thanks for Listening,
Bobbin Beam

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Permalink Reply by Connie Terwilliger on May 6, 2008 at 1:36am

What they all said...

Elaine's book is excellent - if you don't have it it - please take a moment to pop online and get a copy. You can find a link on my website at www.voiceover-talent.com in the VO Info section. Or just go to Amazon and type in her name.

Each script is different of course - and some will be easier to dissect than others - but knowing who you are talking to and what you are trying to get them to do or feel is key in figuring out who you should be and what approach will work. Is your "character" completely familiar with the subject - or are they discovering the words in real time?

Undstanding the way the script is written is also part of the process. Is it formal with long complex sentences and "big" words...or is it more casual with some contractions and slang. Sometimes the contractions aren't written into the script, but the rest of the script screams for something less formal.

Breaking it down is one thing - hearing that you have done what you intended to do is another.

The interesting things about copy is that there is always another way to do it...another subtle shade that makes it just that much better - or not quite as good.

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Permalink Reply by Keith YAMI Johnson on May 6, 2008 at 1:20pm

You are so right Mitch, it is the client who directs their own prodcution and has their own vision through our voice. I think that sometimes we who are creavetive in our own minds forget that we are just the extension of the person or group that we work for. Our main goal is to help that client covey their message in a way that makes them feel good about their message, while at the same time making sure it is done with the utmost professionalism. Reaching that target market is what we strive for. I sometimes just sit and talk with the client, or go to their place if need be, I want to find out why that client is so passionate about their product or place or whatever it is. Now we all know thats not always possible, but when it applies it's a good tool. At the end of the day we just want to be known as one of the Greastest Sales People in our field, with the difference being most of us do it sight unseen. They feel you without seeing you. You are truly a step above when you can put it all together and hit the bulls-eye and everyone is pleased.

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Permalink Reply by J S Gilbert on May 6, 2008 at 6:14pm

I would just like to speak to the last couple of comments. I took the original question here to refer to developing a skills set that would allow someone to perform incredible auditions. Once you got the gig, you got the gig. I audition all the time for agents all over the country and there are few opportunities to ask a client, or anyone for that matter, a whole lot of questions regarding the copy.

I would also go a step further and suggest that if you can't get a pretty decent idea as to the intended target market, overall tone and other copy points, then get thee real quick to somebody who can help you with copy interpretation.

And I mean absolutely no disrespect, but if anyone ever offered to do a rewrite on anything I had written, let alone some of the writer/ directors I know, they would be let go and replaced real fast. Despite my having won numerous awards as a copywriter and director, when I go out as a voice actor, I do as I am told. This doesn't mean I don't try to bring something else to the table, but there's a big difference between a re-write and adlib or a button or a drop of polish. Even then, most major agency producers prefer to tell you where to make changes and cuts and edits. If I'm not 100% sure I have been given a green light to provide a suggestion, even a minor one, I keep my mouth shut and do as I'm told.

Stand and judge the copy and you will rarely get the right read down, but look at the copy to try to see what is brilliant about it and make that brilliance come through and you'll get bookings.

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Permalink Reply by Bobbin Beam on May 6, 2008 at 9:53pm

Another thought, you can offer some different reads of the same script on your audition, changing it up a bit...not the copy mind you, but the attitude, energy, cadence, pace, tone and modulation. :)

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Permalink Reply by AL Shaw on May 17, 2008 at 11:18am

All of these comments are GREAT.. thanks to everyone for posting.. Oh, I'm currently reading Elaine Clark's book... thanks for the suggestion.. it's great so far.. It really goes in depth on voice over reads.. By the way, I just picked up Rodney's book step up to the mic..(shout out to my teach) I will be diving in that when I finish Elaine's book.

thanks
AL Shaw

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