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kalelblogdanove · 7 years

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What It Takes To Be A Voice Actor REDUX

In 2015 I wrote a blog about what it takes to be a successful voice actor. I have since come to feel that I was perhaps a little too discouraging in tone. There are plenty of voices in the world to say “no” to your dreams. I don’t wish to be one of them. So here is my previous article on the matter, re-released and annotated to reflect my current thinking.

Old essay in plain text or bold. New thoughts struck throughstruck through and replaced with italics.

I’m going to offer two kinds of advice. First I will touch on passion, work ethic and other similarly rarefied intangibles—the habits and the mentality required to succeed. Only then will I move on to some nuts-and-bolts advice—the stuff you can take to the bank… or the booth, as the case may be.

A few caveats:

I am not a voice actor.

I have directed many wonderful voice actors. I know a lot about what “the biz” is looking for, and I know what I myself am looking for in a good voice actor. But I have done very little professional acting.

This is art, not science.

This is an art form, and like any art form it is squishy. There are no hard-and-fast rules, just guidelines, and the guidelines are riddled with exceptions. Like…keeping your eyes open is a basic rule of effective stand-up comedy, right? Well, tell that to Gilbert Gottfried or Mitch Hedburg. The same goes for VO—a certain amount of wiggle room is inherent.

Some people might disagree with me.

That’s okay! My opinion is subjective, and the industry is always in flux. There are lots of different opinions out there, and if you are a professional and you have one, please send it to me so I can make it available here, and incorporate it into my own understanding.

There is no magic bullet.

It is not a 1+1=you’rethenextNolanNorth scenario. You can follow all these guidelines and still find yourself working at The Cheesecake Factory for years. There is no shame in that. A big ingredient to success is luck. The other major ingredient is persistence and that brings me to…

Part 1: This Is A Very Hard Job To Get

Before you decide to become a voice actor it is essential that you have an understanding of what it will take to break in.

You must love it enough to spend as many as five years breaking in, working other jobs, spending money on classes and demos, and being relentlessly hardworking and self-improving, without landing a single gig. Some people waltz right in. Others have to batter down brick walls. You must be prepared to do the latter. If you are not, do yourself a favor and pick a different career.

Kal 2017: Actually, try this career. ALWAYS try to follow your dreams. You and you alone will know if you’ve had enough and want to do something else. Might take a month, might take five years, might be never. Pick the career you love, don’t let anyone tell you not to.

Let’s revisit those words “relentlessly hardworking and self-improving.”

Throughout your career, but particularly when you are breaking in, you will be competing against the very best actors in the world. You might be talented to begin with, but that is not enough. You MUST MUST MUST push yourself to be better, ALWAYS. I guarantee that your competition will.

Kal 2017: This remains true, but I temper it by saying do not worry if you are not the best to start with. Skills can be built over time. The most important thing is that you have a fun and happy life doing something you enjoy. You can actually hear the sound of stress in a performance, and it’s not a good sound. Try to relax and have fun!

This means acknowledging early-on that you always have something to learn, and then being proactive about learning it. Read books, and take classes.

TAKE CLASSES!

Take voice acting classes, take stage acting classes, take directing classes, take breath work, take improv, take puppetry, take singing lessons. If you can, take an animation class or two. Since you’re going into audio, you might try to learn a bit about audio engineering/editing.

Kal 2017: Side note on this last idea. It is a great idea, if you are moving to Hollywood to do something fun and crazy, to pick up a production/postproduction skill like film/video editing, audio engineering/mixing/mastering, AfterEffects/graphics etc. These disciplines are a great and generally flexibly scheduled way to make a good living while you try to break into the job you’re passionate about.

Why? Because people love to shoot and record, but hate to edit/do post. Post work is an art, but it is also a trade, like plumbing—labor that HAS to get done before anything can be released. If you can get good and fast at this, and you don’t mind spending hours working on reality TV, web content, and infomercials, you can make some sweet bank. You’ll often be your own boss, and even when you’re not, postproduction people tend to be the most chill. Plus you’ll likely make some great contacts within your chosen field as well.

For instance, you can work at a recording studio, and meet voice actors, directors, and producers who have already broken in. If you do an awesome job with a good attitude, and help them be successful in their endeavors, they will be predisposed to say “yes” down the road when you ask for that audition, that recommendation to an agent, that free coaching session.

Believe me, anything and everything related to performance or art will be valuable, even if it is not VO-based.

I want to give a particular shout out to Shakespearean acting techniques, particularly those pioneered by Kristen Linklater. Almost all the best actors I have known have a serious grounding in that material.

Kal 2017: This is a great time to recommend some LA coaches who are awesome. I really like:

Bill Holmes @vodoctor

Andrea Romano

Kalmenson & Kalmenson @kalmenson

The Voice Actor’s Network with Hope Levy @hopelevysings

JB Blanc @thejbblanc — Side note about this one. In addition to being a fantabulous actor, director, and coach, JB is also one of the leading experts on dialects. If you are international and looking to lose your accent, JB is the guy. If you are looking to acquire an accent for a role, JB is the guy.

And of course, me @kalelbogdanove

I’ll try to update with some reliable classes/coaches in other cities.

Also, remember to take movement classes like dance or martial arts. I know it sounds odd, since you will not be physically seen by anyone, but having an understanding of your body’s kinesthetics will improve your work.

Brian T. Delaney (Male Soul Survivor in Fallout 4) isn’t just one of the most physical voice actors I know, he is one of the most physical actors I know, full-stop. This does two things for him. First, it gives him technical control in the booth—he almost never goes off-mic, or hits the stand, or rustles his clothing (which is astonishing, given how much he moves around). Second, it invests all his game work with a sense of space and a sense of place—a layer and texture of reality that could not sound less like a guy reading a line—and his combat work in particular with a breathtaking degree of authenticity.

In short… learn how to move.

“BUT I’M ALREADY AWESOME,” you say.

Or, “I’ve already done a little voice work,” or some other excuse. Doesn’t matter. All the best working voice actors take classes constantly. They do not rest on their laurels. The best directors take classes too, including me. (He said with pompous implications.)

If you can’t afford classes, form a group of like-minded actors and practice together regularly. Watch videos on YouTube. Make your continuing education a priority.

The great thing is, these classes are FUN! You’ll meet like-minded artists! You’ll make great projects! You’ll feel impressive and confident as your abilities grow and grow! Hell, you might get laid.

The point is that while the waiting and the day jobs are can be grueling, the work itself is fun. And if you don’t find it fun… do yourself a favor and pick a different career.

Kal 2017: Again, you’ll know. It’s okay to have a bad class/day/week/month. Stick to it! You can do it! Remain open and willing to grow, and you will likely succeed.

Part 2: This Is A Very Hard Job To Do

Voice over looks easy but it is VERY DIFFICULT—particularly in games. Take a moment and go on a journey of imagination with me:

Imagine four hours at a time in a booth that is as silent as The Surface of The Moon, unless the director has the talk-back open.

Imagine making seventy major emotional adjustments an hour. (By contrast, on-camera actors make between 2 and 10 per DAY.)

Imagine formulating a performance, delivering it, absorbing a note, reformulating, and redelivering in as little as 30 seconds.

Now imagine doing that 300-600 times in four hours.

This can be extremely tough. You must be able to clear as many as 150 lines an hour, with an average of 70. (Animation is closer to 20-30.) You must be a MUTHAFUCKIN’ BAWSE at cold-reading. (Better always to give a strong-but-wrong take right off the bat, than fiddle-fart around with broken half-takes.)

And line 600 has to be as strong and fresh as line 001.

Do not confuse fun and easy. This is a very fun job when it’s done right. It is ALWAYS very hard work. And if you’re not ready for hard work… do I have to say it again? You’re smart. I don’t. You get the idea.

Kal 2017: I really don’t. Even at its most difficult this is a pretty great job, one of the few remaining that is protected by a strong union. It is hard, but it is also a blast.

Part 3: A Great Voice Actor

I’ll keep this straightforward. A great voice actor is…

Punctual. Be on time. On time means 5-10 minutes early.

Friendly, but not unctuous. Don’t be a sourpuss, don’t climb in anyone’s lap.

Patient. Sometimes (rarely) writers and clients and producers will test your patience, or act outright rude. Try to be Zen. A good director will shield you from as much of this as possible.

CONFIDENT. I’m gonna repeat this—

CONFIDENT! Always give me a strong-but-wrong choice instead of a hesitant garble. I cannot stress this enough. If you are second-guessing yourself, you are wasting everyone’s time undercutting your talent and hard work. Be kind to yourself by standing by your ability, and let the director tell you if we need to adjust the performance.

A great listener. Redirect is gonna come at you thick and fast and you will have to pay close attention!

Dedicated. You may work on some dumb projects in your life. Doesn’t matter. You give every single stupid burger commercial your all. It is your job. Do not phone it in. Do not EVER EVER EVER show up drunk, high, or bored.

A strong reader. No two ways around this one. You have to pick stuff up off the page very rapidly. Kal 2017: Yes, okay, but also don’t be afraid to ask for the script in advance. Some won’t be willing to share it, but many simply assume you do not want it ahead of time. (Many voice actors don’t.) In that case they will be overjoyed to share it so you can rehearse. It never hurts to ask.

Not afraid to ask questions. If you don’t understand a line, or a piece of direction, just ASK ME ABOUT IT. Kal 2017: Please do this. Don’t be shy. We’re here to help YOU, so you can please THE CLIENT, which in turn makes US look good.

Excited to collaborate. You should bring ideas to the material. You should also be willing to totally chuck them and try something new in the spirit of exploration, even if you think it’s gonna be garbage.

Resilient. If you fuck up, just do another one. :) Kal 2017: This is related to confident. It’s okay to mess up. All the pros do. Don’t be embarrassed. Try not to get in your head. Just climb back on that horse.

Part 4: Upsides

There are a lot of upsides. As I said, it can be very fun work. More importantly, it can be very creatively satisfying.

It also pays well. Voice actors are one of the few lucky groups of American workers still protected by a strong union. Union minimums are in the ballpark of $800.00 for a four hour session. Voice actors work like Russian plow-horses, but thanks to SAG/AFTRA they are adequately recompensed for it.

Finally, voice acting is the one realm of acting where your age and your looks do not factor in too heavily. You can break into it fairly late in life, unlike on-camera acting where you essentially reach your expiration date at 30. Steve Blum, who is currently the toast of the VO town (you probably know him as Zeb Orelios in Star Wars Rebels or as Wolverine in just about everything) didn’t really get going in mainstream animation and games until middle age. He is not unique in that respect. It is never too late.

And, you can do it until you literally croak.

Part 5: Reel Etc.

So let’s say I haven’t scared you off. Let’s say you know beyond a shadow of a doubt that there is no other job on earth that will satisfy you, and you are willing to walk barefoot across hot glass and mixed metaphors to be a voice actor.

What now?

Well, if you have been working very hard, and taking your classes and all that stuff I just spent an hour flapping my Tumblrgums about, then you might be ready to record a reel.

A reel is a short audio sample that showcases your best abilities and your best work.

Generally speaking most pro VO actors have:

An animation reel

A videogame reel

A commercial reel

Three separate reels with different material on them. If creature sounds are something they do, they might also also have a fourth creature noise reel.

A basic videogame reel should include:

The Leader—think Captain America, Superman, Princess Leia, Katniss Everdeen, and Jennifer Hale’s incomparable Fem Shep

The Rogue—think Han Solo, Black Widow, Tony Stark, Catwoman, and Marion Ravonwood

The Pale Rider—think Clint Eastwood, Batman, Ellen Ripley, Sarah Conner, Trinity

The weak protagonist — this is, like, an affable scientist with no combat skills — someone who could be endangered.

Strong crazy — this can range from a sinister psycho like The Joker, to a likeable loon like Crazy-Eyes — the key is unhinged/unpredictable.

Weak crazy — the person who saw their whole crew torn apart by demons and is a basket case — edge of sanity.

Strong antagonist sinister, rational — like Voldemort.

Strong antagonist tough, rational — more of a bully in a barfight, a “the fuck you lookin’ at?” kind.

Antagonist crazy/desperate — there’s some overlap here with the weak protag so be sure to differentiate them, or just do one or the other.

Add to this any accents you do REALLY well. Like, indistinguishable from the real thing. Not a Groundskeeper Willy Scottish accent — that belongs on an animation reel — just absolute realism. If you can’t nail these then leave ‘em out!

An animation reel is more of a laundry list of different character voices and characters you can do. The key is total consistency. Don’t add a voice or speech impediment or texture you can’t maintain for four hours at a time.

Commercial reels can play to your strengths type-wise but there’s a few standbys you hear all the time:

If you’re a dude, commercial requires (amongst other clichés)

smooth ad dude (introducing the all new Lexus Privilege RX with comfort ride technology)

excited ad dude (a triple-pounder, large fry and fountain drink for just 3.99? I’m lovin’ it!)

and befuddled husband/boyfriend/father (Honey? What’s this 'Greek yog hurt’? What happened to the double-choco chip?)

If you’re a dudette, you want

smooth ad dudette (again the Lexus)

sexy hamburger subtext (With large fries and gooey, melty cheese. She’s a little too into that sandwich, Man.)

and Motrin Momwife (So you can be the “on the PTA, on the town, side-planking, keeping up with your girlfriends gal” you want to be!)

Kal 2017: There is a recent trend in VO for commercials that I would be remiss if I did not mention. This is the “read that is so laid back and casual it is almost nonexistent.” Millenials know when they’re being solicited, so the ad industry has adopted a—in my opinion comically— disinterested tone. I call it “maybe you’d like a hamburger or whatever, I don’t care”. Here is the most extreme example I am aware of:

vimeo

Facebook Live "Hidden Talent" from Buck on Vimeo.

It is bizarre from a traditional perspective, and it will go against the grain for anyone who grew up with this:

youtube

Nevertheless, it is here, and you should make sure you have it on your reel.

In all your reels:

NO MORE THAN A SENTENCE OR TWO FROM EACH VOICE. Target length of a whole reel should be around 90 SECONDS TOTAL. If they want more than that, they will ask you to record AN AUDITION, which is what you’re hoping they’ll do anyway. Do not go over in length. You will irritate casting directors who have 500 of these to go through. Kal 2017: TRY not to go over in length, by more than one voice.😁

ONLY YOUR VERY BEST STUFF. When in doubt, leave it out. There are some actors in this business who can do a million voices, there are some who do JUST ONE THING THE BEST. Both kinds work. Better to kill it with three voices than to give them a reason NOT to hire you.

A GOOD MIX ON A GOOD MIC. You will probably have to go to a studio to record your reel. If you do, I recommend getting a voice director to work with you while you’re at it. This will cost money, but it is an investment. If you are the rare and enterprising voice actor who has a ton of equipment and is a sound engineer too, you might be able to do it yourself. Do not go too cheap on this, though. You don’t want great performance undercut by a bad mix.

One final thought:

MOVE TO LOS ANGELES. There is only one place to be if you are a serious professional in this business, and that is L.A. It is the biggest market, and the center of the industry. You might land a couple of radio spots living in East Anywhere, but you are not going to break into the industry proper.

That does not mean that you can’t TRAIN in other, cheaper places. But when you are ready to work, you come to L.A.

No, Austin and San Francisco aren’t just as good. No, your stage work in New York doesn’t count for anything out here. I wish it did, but it doesn’t.

The five year break-in period doesn’t begin until you live here. Sorry folks!

Part 6: Wrap-up

I’m sure I’ve forgotten a few things here, and I’ll try to fill in the gaps as they occur to me. Please feel free to tweet at me with any questions: @kalelbogdanove

In summary: if you LOVE voice acting, and you can’t imagine doing anything else on Earth, and you are willing to work your butt off to improve, AND you are willing to keep at it for YEARS… then go for it! I’ll see you in the booth.

Kal 2017: Or if you love it and you are willing to give it a whirl and follow your dreams. Always, always follow your dreams. (Just work hard at them, too.)

-Kal-El

P.S. — for a smart (and much shorter) perspective on this subject from an actual actor, you might try reading this Facebook post by industry luminary Tara Strong:

https://www.facebook.com/tara.strong.514/posts/10155956807350494

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