A Better Way to Direct Voice Talent

Everybody and their cousin wants to do voiceover.  Seems simple enough.  All you have to do is practice, "In a world..."  and "Next" and you're in, baby!  Oh, and don't forget, "The Loooooove Boat."   Get that down and your vacation home is practically paid for.

The reality, of course, is very different, as only a chosen few make it big.  (Yes, I know, many make a living at it, but it's usually supplemented by a "real job.")  Success comes from having the pipes and ability to interpret a script (and persistence and luck).  But there's more...

Enter the producer who directs the talent.  A good one will bring out the talent's inner hero.  A bad one, ah... not so much.  In fact, there are tell-tale signs that a producer is headed toward Nowheresville.  Conversations go like this:

Producer:  We're looking for attitude.
Talent:  What kind?
Producer:  You know, attitude, like you don't take any crap.

Producer:    I want Voice of God.
Talent:   Straight ahead or ironic?
Producer:  Just make it big, over-the-top.

Producer:   You play a young girl.
Talent:  How old?
Producer:  I don't know, about 9.
Talent:  What kind of girl?
Producer:  You know, a regular girl.  Happy.
Talent:  Where is she from?  Any dialect?  Quirks?
Producer:  Well... why don't we try a few different ways and see where it goes.

In each of these examples, the producer has only the faintest of ideas and it shows.  They may think they were fooling the talent, but believe me, the tap dancing was audible.

Sometimes, the talent fights back, usually in a passive-aggressive manner.  The ultimate example is this classic exchange between DLF and a producer. 

Producer:   That take was perfect.  Let's just get one more for safe.
DLF:    Oh, you want a backup?
Producer:  Yes, please.
DLF:   And the last one was perfect?
Producer:  Yep, just like that.
DLF:  Then use that one... and make a copy.

Very few announcers could get away with that, and no producer should put up with that.  More often, though, the producer's desire to squeeze out every last take rules the day, you know, just in case. 

Producer:  OK, this is take 52.  We're just about there.
Talent:  (out loud)  Great.
Talent:  (in his head)  I know you're gonna use something from the first three takes.

So, how can v/o sessions be more productive and enjoyable?  Glad you asked...

- Give actual direction.  This requires thinking about the spot before entering the room.  Make sure you convey that to the talent.  And if it's a straight-ahead announcer spot, try to make the read more conversational.  People prefer to be talked to, not at.

- Don't be afraid to explore.  Once you get the base read, work with alternatives that you may, or never considered.  Be open to your talent's ideas, but don't feel obligated.  You're running the show.

- Don't overdo it.  If you're 100% sure you got what you wanted, don't turn the session into a marathon, especially if you work regularly together.  Three reads of tags may be more than enough; next week, you may be trying to knock :06 out of your copy on the fly.

- Collaborate, don't dictate.  When reading characters, in particular, it's important to allow talent to interpret.  And for them to hear the producer's input and expand beyond their own preconceived notions.  Give and take goes a lot further than being dogmatic.

- Know when to cut bait.  Sometimes, it just doesn't work and you must make that determination.  Get as close as you can, but if it ain't happenin', it ain't happenin'.   

Now, let's get ready to v/oooooooooooooooooooooooo...

-Ed        

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