Blog Post #110 - How to Do a Voiceover Audition for Animation
I
want to take this opportunity to introduce you to a very talented, brilliant
friend of mine who is also an amazingly gifted Singer, Actor, Dancer, and
especially, Voiceover Artist. Her name is Julie Maddelena Kliewer, and I asked
her to “Guest Write” a Blog Post about “How to Audition for A Voiceover Job”. She
produced the wonderful post below on auditioning for Voiceover work for
Original “Animation” projects. Julie has had LOTS of experience in this field
including roles in “Ever After High” and “Monster High”. She has worked on the
stage as a Live actor, and behind the microphone, as well. Enjoy these
wonderful words of wisdom from Julie, and be sure to contact her for more
information on her classes and experience through the information at the end of
the Post. Here is her terrific contribution:
For
the sake of simplicity, lets focus in on one aspect of the voiceover industry
today: auditioning for original animation.
When you receive a script for an original animation project, there are a few things you need to understand. Original animation means that you will be creating a character that doesn’t exist yet! There may be an animatic to reference (a very rough, raw stick figure-esque version, but not the final animation), but other than that, you are starting from scratch. Now, there may be a drawing to reference and there will be a (sometimes lengthy) character description. Occasionally, the dialogue will actually be in script form where you will get to see the context for some of your character’s lines. Other times, you will get ONE page with a few lines or paragraphs and some brief (usually one or two words) directions before each line.
Now, that being said, this is when your work begins. I assume that I am speaking to folks who know the basics about acting, acting techniques, character development, etc. If not, that will be a conversation for another day. I will keep it simple, just in case. The first thing to do is read everything and I mean EVERYTHING on the papers you have received: every bit of the character description; every single line, direction and any lines between yours; even read any Script lines for OTHER character, if you happen to get an actual Script. if you happen to get an actual script. Often, the producers or casting director will include details about the characters or the project that are not attached to the script...so READ EVERYTHING!
Once you have read everything, circle those details in the character description that will help you dial in a characterization. These will be the “framework” for your character, not a black and white directive. Reference the picture provided for you of your Character. Does the voice you are using fit what you see? Another detail to consider as you choose a voice for your Character is to decide if the Vocal Sound you have chosen is one that you can maintain should you have to use it in a four-hour session, for weeks or even years??? Also, are you comfortable enough producing this sound to change the dynamics or volume of your character’s emotional life, depending on your Character’s mood or experiences?
Once you have the voice in mind, it’s time to apply it to the lines you have received. As you read through the script a couple more times, you want to understand the context or the idea within each line. What is going on for your character, who are they, where have they been, what happened right before that moment, how does your character feel about who they are speaking to or what they are speaking about? Get a sense of your character’s orientation to all these ideas and start reading through the script “in character”. Does the voice work with the words, are you able to enunciate or articulate in character? Are there certain words or lines that give you a clue about how your character may speak “differently” (when you get excited or frightened in “Real Life”, you tend to “raise” your voice. Is your Character comfortable/able to manipulate his or her vocal tone/sound similarly)??
As you nail down these details, you want the read to sound as natural as possible, even if the character voice is “surreal” (sounds strange, or somewhat bizarrely odd or unusual). Know your character’s “rhythms and pacing” so that your “read” fits the character. For instance, a lumbering Elephant in a preschool cartoon would have a totally different pace than a wiry, intense, caffeine-loving squirrel in an animated feature!
These days, improvised moments and sometimes improvised “takes” (one recorded attempt or version of a particular area, phrase, verse, or full read-through) are welcomed. Just be clear about the stipulations for each project, which means that you should stick to the exact specifications of the Script unless TOLD to improvise. Always remember that recording time costs the producer money, so “messing around” or injecting YOUR ideas into a Script or production are NOT appropriate UNLESS you are ASKED to improvise. If nothing is said, you USUALLY have the freedom to improvise at the very top or at the end but keep it simple, unless they have given explicit directions otherwise! Usually, multiple takes are welcomed, with pretty specific directions as to how many takes per MP3. If there are no directions, two takes SHOULD be sufficient (but not required) with enough variety between the two to warrant a second take. Make sure to slate (state) your name and character at the top (beginning) of the recording and if you do a second take, simply slate “take two” beforehand.
Once you send in your audition, go have a life! Don't wait by the phone, stress, worry or pick out a new car in anticipation of booking it!! 20 years ago, the average was 10 auditions to every gig booked. The numbers are astronomically higher now but that doesn’t mean you can’t do this; it just means you need to keep moving FORWARD without looking back!!
If you aren’t or haven’t taken acting classes, done theater or taken Improvisation classes, those are CRITICAL in helping you to become a competitive voice actor!! Not to mention, classes are a lovely way to keep growing and fill your time doing what you love WHILE you wait to hear those magical words: YOU BOOKED IT!! Until next time, keep working hard and remember to HAVE FUN!!
When you receive a script for an original animation project, there are a few things you need to understand. Original animation means that you will be creating a character that doesn’t exist yet! There may be an animatic to reference (a very rough, raw stick figure-esque version, but not the final animation), but other than that, you are starting from scratch. Now, there may be a drawing to reference and there will be a (sometimes lengthy) character description. Occasionally, the dialogue will actually be in script form where you will get to see the context for some of your character’s lines. Other times, you will get ONE page with a few lines or paragraphs and some brief (usually one or two words) directions before each line.
Now, that being said, this is when your work begins. I assume that I am speaking to folks who know the basics about acting, acting techniques, character development, etc. If not, that will be a conversation for another day. I will keep it simple, just in case. The first thing to do is read everything and I mean EVERYTHING on the papers you have received: every bit of the character description; every single line, direction and any lines between yours; even read any Script lines for OTHER character, if you happen to get an actual Script. if you happen to get an actual script. Often, the producers or casting director will include details about the characters or the project that are not attached to the script...so READ EVERYTHING!
Once you have read everything, circle those details in the character description that will help you dial in a characterization. These will be the “framework” for your character, not a black and white directive. Reference the picture provided for you of your Character. Does the voice you are using fit what you see? Another detail to consider as you choose a voice for your Character is to decide if the Vocal Sound you have chosen is one that you can maintain should you have to use it in a four-hour session, for weeks or even years??? Also, are you comfortable enough producing this sound to change the dynamics or volume of your character’s emotional life, depending on your Character’s mood or experiences?
Once you have the voice in mind, it’s time to apply it to the lines you have received. As you read through the script a couple more times, you want to understand the context or the idea within each line. What is going on for your character, who are they, where have they been, what happened right before that moment, how does your character feel about who they are speaking to or what they are speaking about? Get a sense of your character’s orientation to all these ideas and start reading through the script “in character”. Does the voice work with the words, are you able to enunciate or articulate in character? Are there certain words or lines that give you a clue about how your character may speak “differently” (when you get excited or frightened in “Real Life”, you tend to “raise” your voice. Is your Character comfortable/able to manipulate his or her vocal tone/sound similarly)??
As you nail down these details, you want the read to sound as natural as possible, even if the character voice is “surreal” (sounds strange, or somewhat bizarrely odd or unusual). Know your character’s “rhythms and pacing” so that your “read” fits the character. For instance, a lumbering Elephant in a preschool cartoon would have a totally different pace than a wiry, intense, caffeine-loving squirrel in an animated feature!
These days, improvised moments and sometimes improvised “takes” (one recorded attempt or version of a particular area, phrase, verse, or full read-through) are welcomed. Just be clear about the stipulations for each project, which means that you should stick to the exact specifications of the Script unless TOLD to improvise. Always remember that recording time costs the producer money, so “messing around” or injecting YOUR ideas into a Script or production are NOT appropriate UNLESS you are ASKED to improvise. If nothing is said, you USUALLY have the freedom to improvise at the very top or at the end but keep it simple, unless they have given explicit directions otherwise! Usually, multiple takes are welcomed, with pretty specific directions as to how many takes per MP3. If there are no directions, two takes SHOULD be sufficient (but not required) with enough variety between the two to warrant a second take. Make sure to slate (state) your name and character at the top (beginning) of the recording and if you do a second take, simply slate “take two” beforehand.
Once you send in your audition, go have a life! Don't wait by the phone, stress, worry or pick out a new car in anticipation of booking it!! 20 years ago, the average was 10 auditions to every gig booked. The numbers are astronomically higher now but that doesn’t mean you can’t do this; it just means you need to keep moving FORWARD without looking back!!
If you aren’t or haven’t taken acting classes, done theater or taken Improvisation classes, those are CRITICAL in helping you to become a competitive voice actor!! Not to mention, classes are a lovely way to keep growing and fill your time doing what you love WHILE you wait to hear those magical words: YOU BOOKED IT!! Until next time, keep working hard and remember to HAVE FUN!!
That’s all for THIS chapter of Julie Maggelena’s
wisdom but I KNEW you’d love her. Please feel free to contact her at littlevomama@gmail.com You’ll be so happy
you did! As most of you know, I’ve also done a fair amount of Voiceover work in
the past, and I agree with Julie about EVERYTHING she said. One of the MOST
important things to always remember is that NOT booking a job/commercial/role
or whatever is NOT THE END OF THE WORLD! Julie is SO right; MOST auditions will
not end with successful outcomes. The same is true of most Vocal or musical
auditions. HOWEVER, something that IS ALWAYS true is that auditions are AMAZING
experiences for BUILDING your strengths and skills, as well as learning and
dealing with aspects of your talent that are not quite “perfected” as yet. No
matter WHO you are, HOW talented you are, even naturally, or HOW MANY lessons
you’ve taken, PRACTICE MAKES PERFECT! In other words, the more times you
audition, and the longer and more conscientiously you rehearse, THE BETTER YOU
WILL GET, and the better your odds will be toward booking more work! Thanks SO
much for reading this Post! Every new lesson should be one more tool in your
Performing Toolbox, and one step closer to Performing successfully! Stick with
it, work hard, and you’ll see; Practice and diligence PAY OFF! ENJOY your
skills; Savor each new adventure of learning new information and more skill
sets for your performing repertoire. Collect memories, wisdom, and “tips”, and
techniques, and SOON, YOU’LL be the teacher and the amazing performer that
audiences are coming to be dazzled by, and students want to study under. Never
be afraid of making mistakes; that’s one of the best ways to learn. Keep a
smile on your face and in your heart! Delight is EVERY opportunity to share
your gifts and talents, and, of course…Don’t forget to Sing it Forward!
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