Who are you talking to in the copy?

Who are you Talking to in the Copy?

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As a voice actor, you have heard coaches ask you, “Who are you talking to in the copy?”

So, you choose a close friend – and it works in the first few moments but drifts away.

What if I told you that there is someone else to talk to – who is so obvious that most commercial voice actors miss it – YOURSELF. Rather than imagining you are speaking to a “best friend” during your copy read – TALK TO YOURSELF.

Try this: Read this copy externally as though you are talking to someone else who is across the table from you.

“ISN’T THERE A BETTER WAY TO FIND HEALTH INSURANCE?”

Now read the same line – lower your volume – bring up the intensity – and go inside your head and ask yourself this question – TALK TO YOURSELF.

“Isn’t there a better way to find health insurance?”

Doesn’t that feel very different? By internalizing your text – lowering the volume and increasing the intensity- you allow the listener to do the same. Trust the intimacy and use mic technique to let the mic handle the volume.

So, feel free to converse with yourself during your commercial copy reads. Having an internal conversation with yourself – giving yourself advice, asking a question, or internalizing a memory -connects you to yourself, the copy, AND THE LISTENER, who will do the same thing.

All voice acting must go back and forth between internal and external energies. How did reading with internal energy feel to you? Is this something you use normally?

paul liberti acting coachWritten by Paul Liberti
Voice Actor and Voice Director for Animation, Audio Books,
and works as Casting Director for Animation, Audio Books, Commercial Voice Over

its never too late to work on your sense of play image

It is never too late to work on your ‘sense of play’

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No matter your level as an actor, whether you are just starting or have been working for a long time, as a voice actor, there is always time to work on your sense of play and creativity within your work.

As a voice actor and voice-over coach, I firmly believe that there is always time to work on your creativity, regardless of your age, career path, or personal aspirations as a voice actor. Creating something out of nothing but a few lines written on a page is beautiful, whether it’s your profession, hobby, or simply a dream you hold close to your heart. There is no shame in pursuing your passion; it is powerful for everyone to embrace their creativity and pursue their dreams, no matter how unconventional they seem.

I worked with an incredible voice actor with limited acting training – who was told they were not a commercial voice actor and needed more ‘play’ to do animation. An industry professional told them, “Do medical text; that is all you can do as a voice actor.” the actor held on to that for many years. This actor grew stale, tired of the disconnected work, and lost their passion as a voice actor.

Character & Animation Voice Over WorkoutThat industry professional who gave this actor this unfortunate advice – is no longer in the business – but this actor still held on to this sad, non-creative belief that they were only suitable for the SOUND of their voice and not for any sense of ‘play’ as an actor.

This actor came to me recently and was giving a video game audition but believed they could not ‘play,’ so they were still trying to figure out what to do with this character and script. Once we broke down the spec and became the spec, the picture, and found that inner child sense of play, this actor suddenly found that they had so much inside as an actor that was unexpressed. They were terrific and booked the job. More recently, this actor began to work on accents and found a new level of bringing characters to life with added accents they never knew they had inside.

Over the 25 years, I have worked with many actors who saw that they had so much more to give than the limited belief of someone else’s idea of who they were as creatives. Once these actors see past the prejudice of someone they thought was credible – they open up and blossom.

You will be told many things about your shortcomings as an actor by ‘business professionals’ in your journey. They do this, so putting you in a category makes it easy to keep an eye on you. The truth is that you fit in creatively wherever YOU see yourself fitting in. You must value YOUR opinion, DEVELOP YOUR creative skills, and step over the limiting views of someone else’s negative opinions about who you are and what you are capable of doing.

I advise ‘get a second opinion’ and return to class and play. It is never too late to work on your sense of play as a voice actor, and the field of voice acting is vast and always open for you to grow and find more of yourself in any part of it that you can see yourself.

Do you have any untruths you were told by an agent, casting person, or even fellow actor that you have let go of? Comment Below!

paul liberti acting coachWritten by Paul Liberti
Voice Actor and Voice Director for Animation, Audio Books,
and works as Casting Director for Animation, Audio Books, Commercial Voice Over

Understanding the Age Spec for Characters

Understanding ‘Age Ranges’ in Voice Over (VO) Specifics

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So, as a voice actor – you will be playing characters of a range of ages – from children to grandparents and often, in the spec, you will see an age range: teens, 20s, 30s, 40s. This includes animation characters but can also be in commercial specs. You will see 30s, or 40s, or an age range of 50s-60s. How do you play a sound that is 40s as opposed to a sound that is 50s? What is the difference?

The difference in age range for voice actors is not necessarily a sound – but a MINDSET.

You are every age you have ever been and even some you have not yet lived. Adjust your energy when you see a spec with a number for age range.

paul liberti acting coachAsk yourself –

  • What did you think about when you were 15? What was important to you?
  • What did you think about when you were 20-something?
  • 30-something?
  • What does a 40-year-old think about?
  • What does a 50-year-old think about compared to a 60-something?

A ten-year-old might consider making and maintaining a best friend and fitting in. A 20-something might be concerned with getting an apartment, college graduation, or a car. A thirty-year-old might think about having a family and serious health insurance for the whole family. A 40-year-old might think about buying a home. A 60-year-old might be focused on readying for retirement, ETC.

Wherever your mind goes when you think of an age or range – follow it, and it will lead you to a sound. Never force a phony age, but truly find yourself at that age, and you will feel an energy change, a tempo change, and your music will change. What was your favorite song at 11? At 21? At 30? These questions will lead you to a mindset that will quickly put you in ANY age range as a voice actor. Change your energy and thoughts for an age adjustment, and the attitude and sound will be there.

When playing different ages in the spec – change the mindset and the personalization of the age, and the voice will be there.

Paul Liberti
201.240.3016
https://paulliberti.com/
PLibertiNY@aol.com
Paul.F.Liberti@gmail.com
https://www.facebook.com/groups/VoiceOverTuneUp

Sag Aftra Strike

Now That The Strikes Are Over

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What Should You Do Next Now That The Strikes Are Over
by Brette Goldstein, Casting Director/Producer

Strike has ended! Hooray!

Here are some helpful tips for getting things in motion over the next few weeks!

Make sure your casting software profiles are updated and fabulous. Casting Directors are more likely to view profiles on casting software platforms first, rather than take the time to investigate a large number of individual websites, so prioritize those used most frequently in your market.

Are your pics truly representative of who you are NOW? (After a few years, a global pandemic which may have included possibly homeschooling your children for the better part of a year or more…you catch my drift.)

Is your primary photo that your reps use the primary photo you’d like them to use? (This usually comes as a surprise to actors when they see what their reps are using as a primary headshot.)

Is your resume updated, easy to read, and free of spelling, punctuation, and grammatical errors?

Are you making smart, clever use of your bio box on Actors Access? What about the “About” line on Casting Networks? Perhaps more about that on a future blog. (Or check my IG reels..I know I’ve created a reel on that topic. It’s there on the grid somewhere.)

Does your Media truly teach US how to cast YOU? Is it a true reflection of where your Wheelhouse meets your Wishlist meets your Market? (Think about registering for my Way Beyond Type class at Actors Connection for more on this.)

Is all of your media – clips, reels, audio tracks, etc. – labeled well? If I am taking a look at all of your media at once, is it overwhelming in terms of quantity and/or vague labeling, or would I be able to go directly to the clip I need or am in the mood to see? (In my particular case/taste it will most likely always be a single-cam comedy clip.)

Do your special skills reflect your current proficiency?

Next!

Casting Director Brette Goldstein the the Author of this article

Be conscious, empathetic, and specific in your communication. Casting Directors are coming up for air post-strike. They’re also being inundated with “Hey! Strike’s over! Keep me in mind!” emails. Here are some tips on email communication:

Make email updates relevant to the recipient. For example, if you’re sending an email to a casting director that primarily casts network procedurals, they’re likely to be less interested in your latest commercial or VO demo reel. Send them what you think will inspire them to call you in for what they are casting now. This ultimately may mean segmenting your email list.

I would also recommend treating emails like postcards from way back when. You didn’t expect a reply to a postcard for the most part, right? I’d even kick it up a notch by closing your emails with a dash of empathy. You could say something to the effect of, “I know how busy you must be right now. Please don’t feel like you need to respond whatsoever. Just dropping a line to check in with you and touch base. Have a great Thanksgiving if we don’t connect beforehand!” Something like that. If you acknowledge that you’re not a fire that needs to be put out – knowing that our inboxes often feel exactly like that – and that there’s no need to write back, I can’t speak for others but I know I would write back if I had a few minutes! Why? Because you get it! Also, empathy rocks.

If you’re emailing a casting director, consider sending a self-tape or clip of something that shows that you work in the world of whatever they are casting.

Also, think long term when it comes to building relationships. The first thing that comes to mind for me is being smart when it comes to inviting industry to shows, readings, screenings, etc. Let’s say you’re doing a show downtown. A new play. You get through tech and first preview. It’s just ok. The writing is fine, but not fantastic and the cast is a little uneven. You’re great…of course you’re great! But there are some parts, including the set, that, well, aren’t.

Here’s my advice.

Tell the casting director that already knows and likes you that you just finished a run of a show but chose not to invite them to this one because you weren’t sure it would be their cup of tea. You just want to let them know you played a really compelling leading role in a recent production of a new play. You didn’t want them to come see a show that overall was a little uneven. You know they like your work and you want to respect their time.

That is a gift. And rarely, if ever, happens. Try it! It’s one great way to build and foster a professional relationship over time.

Next!

If you’re looking for representation, keep your eye out for agents and managers who have moved to new companies or started their own. Finding representation might be challenging right now. Reps will want to focus on the clients for whom they’ve been unable to get work due to the strike. There may be few reps that are champing at the bit to bring on new clients right now.

That said, it is very possible that folks got laid off during the strike and will be moving to new offices when work picks up, or even venturing out on their own. And guess who’s all over that? ACTORS CONNECTION! They will bring reps in for workshops and seminars. Look out for “New to this office!” in the workshop header. You’ll need to register quickly as these workshops are in high demand. I wouldn’t wait, though. And here’s why.

This is a generalization, but I think two things happen when we get a new job.

1. We are relatively excited about the opportunity and change of scenery.

2. We do what we can to “make it our own”. This may mean signing or freelancing with new folks. Also – and again, this is a huge generalization – many of us lose that initial glow and enthusiasm after a few months at a new job.

Register early for these workshops. They will fill up quickly, and once a rep has signed on new actors, they may need to take a pause and focus on their roster. Get in while the energy is high!

That’s my advice for now! Keep an eye on my IG @brettegoldstein. Lots and lots of tips there. Keep kicking butt and taking names! I’m on your side!

efforts-v-added-sounds

‘Efforts’ vs. ‘Added Sounds’ – Character VO Auditions – Animation & Video Games Characters

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I recently had an actor come to me and wanted to work privately as there were some things that his Agent was criticizing in his animation auditions. This was a top Los Angeles agent who teaches animation, so you would think that she would know what she meant.

The Agent’s critique of the actor was, “You need more efforts.” He was constantly given this note on animation auditions from this same Agent. “You need more efforts,” was always her only critique. This actor asked me what that meant.

Effort SOUNDS is what she meant – but even that was a misunderstanding. The Agent meant that this actor needed more ADDED SOUNDS to the text for the authenticity of the character. Effort sounds are what are requested mostly from video game characters, although animation characters use those sounds as well.

Effort sounds are the sounds you make when you pick up something heavy, pull something weighty towards you, or push something away that is hefty. Throwing a punch, taking a punch, or even pulling your body up the side of a cliff are examples of EFFORT SOUNDS.

Animation actors need ‘added sounds’ and ‘effort sounds’ while effort sounds are usually asked for specifically. ADDED SOUNDS are the sounds we make when we want to say something you are thinking – instead, change your mind and say something else. An added sound is SLID into the words so that we barely notice.

ADDED SOUNDS

“Where are you going?” could become “Ah-where are you.. Eh-going, hm?”

How do you make the added sounds authentic? By adding subtext. Say this phrase internally before the added sound line – “this is hard for me to ask you but…” thinking that you don’t want the other person to leave –

“Ah-where are you.. eh-going? hm?”

ADDED SOUNDS are made SUBTLELY so that we barely notice you have added the sounds. The added sounds are SLID gently into the words. Most animation voice actors are scared to do this because no one ever told them they could. Come to class and see how we can use your flow of musical lines to add those sounds in a way that other actors auditioning never would.

Remember that your job is to give us what no one else can in the audition – not just to read lines and sound like everyone else but to sound uniquely like YOU.

EFFORT SOUNDS

Pretend to pick up a 5lb weight. Now add 20 lbs to it. Add 20 more and 20 more. What sound would you make executing that effort if you did make sounds. Those are ‘efforts.’

That Agent’s job might not let her know the difference between ‘added sounds’ and ‘effort sounds,’ but YOU SHOULD KNOW THE DIFFERENCE. Now you know the difference.

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

SAG-AFTRA Building

Drop Your Anxiety & Prepare for Post-Strike Auditions

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Fingers crossed that we are almost at the end of the actors strike and ready to get back to the windfalls of work waiting for everyone!

What will that mean? A LOT of auditions! Are you ready to handle a high volume of auditions with professionalism and confidence? Here are some tips to help!

1. Preparation is Key:

Preparation is a big ingredient to being confident! Work your material so you know it as well as possible. Also do your research on the material and the team so you can make the most appropriate choices.

2. Practice Regularly:

If you aren’t working your muscles as an actor regularly, it will be harder to work quickly and efficiently when you need to! Stay in great creative shape by practicing and staying in class.

be a little bit different3. Deep Breathing:

Take deep and slow breaths to help center yourself and keep yourself calm before major auditions.

4. Visualization:

I love this tool for actors! Visualizing success has been proven to help you produce better results in studies around the world for YEARS. Take some time to visualize your audition experience to help you feel prepared and pave your brain for success.

5. Physical Warm-Up:

This is a great way to prepare and it doesn’t need to be intense. A good stretch or a short walk can help you release nervous energy so you can focus on your performance.

6. Positive Self-Talk:

If YOU aren’t speaking positively and thinking positively about your career, you can’t expect people to think positively enough to hire you. Stop taking yourself out of the running before you even get started by telling yourself negative things.

7. Accept Nervousness:

Being nervous means you CARE–and that is awesome! It’s ok to be nervous and it’s nothing to beat yourself up over!

8. Stay Hydrated and Eat Well:

Keep your tools performance ready! You can’t have a healthy body and voice if you aren’t drinking enough water and eating healthy foods. Your body is your most important tool as an actor!

a sign reading 'dont panic'9. Arrive Early:

An old acting teaching of mine used to say “Early is on time and on time is late.” Arrive to any audition early enough to take a minute for yourself. Rushing doesn’t do anyone any favors.

10. Focus on the Character, Not Yourself:

Get out of the trap of “watching yourself” by focusing on your characters and what THEY want, and not about you and what YOU want.

11. Stay Present:

Stay in the moment! Don’t worry about the outcomes. Outcomes are in the future. You need to be in the now.

12. Connect with Other Actors:

Community is key to longevity in this business! Surround yourself with actor friends that understand the lifestyle and support you!

13. Keep Auditioning:

It’s your job as an actor. The more auditions the better! The more you audition, the more you hone your skills.

14. Seek Professional Help:

If you find anxiety particularly paralyzing, look into getting a counselor. They can help you with more focused coping skills.

15. Learn from Rejections:

Rejection is a part of the biz. Learn from them and then LET THEM GO. Dwelling on rejection never booked anyone a gig…

Let’s get ready for a waterfall of opportunities— we can’t wait to hear about all of your bookings as soon as this strike is over!!!

Written by Colleen Kahl, President, ActorsConnection.com

Special thanks to Tim Wildsmith for the featured image… and Tonic for the inset. 

paul liberti acting coach

A New Perspective on the Audition Process

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Actors often see auditions as trying to please someone else – casting, but the truth is that you already please those casting by being yourself. Actors will often see an audition as a chance for validation of what they are doing as ‘right.’

An audition is not there to emotionally satisfy you as valid – but it is the reverse.

You are auditioning – not to get approval for what you do – but to validate casting! WHAT?? How can that be?

Your audition is the first time casting hears this text brought to life. You are showing the writers, producers, and casting – possibilities in the text. You are strong in your process enough to show us a point of view. Casting is trying to GET IT RIGHT.

**You are not auditioning for validation of the value of your work – YOU AUDITION TO VALIDATE CASTING – TO KNOW THAT THEIR MATERIAL WORKS.

**That is the truth behind your daily auditions. They are infused with confidence, knowing you have the skills to bring this copy or character to reality. It is YOUR HUMANITY in auditions that validates the material. If you need more skills in bringing that work to life, it is time to return to class and refresh your confidence in your voice-acting skills.

On your next audition – know that you are the solution and not the one on the chopping block – the material and casting are on your chopping block.

Understanding and seeing the audition process in a new light will often give you renewed energy to do the next audition. And the next. And the next.

You are not auditioning to get it right – you are auditioning to show us your understanding of what YOU see as right to bring the copy to life.

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

Why do you smile during Voice Over copy?

Why do you Smile in Voice-Over Copy?

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A Knowing Smile. Why do you smile in voice-over copy?

In any voice-over copy – commercial copy to medical text – you are often reminded to “Smile”. A smile is powerful and needed to brighten and warm the copy. A question now arises – “Why do you smile in voice-over copy?”

For one – it moves the sound FORWARD IN YOUR MOUTH and changes the sound of it. It brightens the copy and warms it because it IS A BRIGHTER SOUND. Yes, you may be directed to smile – but emotionally, you don’t just plaster on a smile. You need to create a reason why you do so emotionally. We are completely aware when you are disingenuine in your reads. We trust a person who makes natural and organic choices in copy – even if you have been directed to do so.

You smile because you know something. It is the discovery of thought that allows you to smile. The smile is not just a phony joyless motion you make by curling the sides of the mouth – but one that begins in your thoughts and starts in the eyes – and moves to the mouth. Now you have an organic natural smile. Even if you are directed to ‘SMILE!‘ on a word or phrase, you as an actor must create the REASON WHY you are smiling. Discover your smile in a lightbulb of thought.

Say this phrase – without any smile.

“I just discovered something – that’s going to help you.”

Now say this phrase and let your imagination ‘discover’ your thoughts and smile during the second half of the phrase. Read the line as a memory you are discovering.

“I just discovered something – (SMILE) that’s going to help you.”

Now say the phrase and let the smile start just before you speak the first phrase. Still invent the words as a memory.

(SMILE and Lightbulb your thought)

“I just discovered something – (nod) that’s going to help you.”

You smile because you discover your thought. You know something that is going to help someone.

A smile in voice-over copy gives us the gift of your wisdom – and the gift of you.

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

the villain defines the hero

In Animation – The Villain DEFINES the Hero | By Paul Liberti

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All of the characters in animation stories – are connected.

One of the great lessons we learn in Animation Character Creation – is that all of the characters in animation stories – are connected.

The Hero and the Villain balance good and evil in the story and must balance each other. The story’s antagonist defines the protagonist’s limits and vice-versa, and the depth of the Hero’s strength is defined by the villain’s strengths – and weaknesses.

When given the opportunity, you must learn all you can from all the characters in a story as they must balance each other out. If the Hero can easily conquer the villain, there is no story. Often it can look bad for the Hero – but with some conquering of their weakness, they define their storylines.

There is always a story ‘payoff’ promised to the audience that we must understand comes directly from the balance of those characters. Learn and understand your character and how it fits in with the others as the story unfolds.

This Character Balance carries over to audiobook narration, Video Game Characters, and all character acting. In any story – discover everyone in the story that your character balances against – The villain, the love interest, the Hero, the best friend – and you will begin to find your story arcs and have a strong balance as you start telling your story.

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp

Treat every Audition as a Booking

See Every Audition As a Booking | By Paul Liberti

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The few minutes that you are auditioning – the job is yours!

When auditioning, it’s common to feel unsure and seek approval. However, true confidence comes from believing in yourself and being comfortable with your imperfections. As an actor, it’s essential to love yourself and the work you do.

Remember that you are unique and valuable; your individuality sets you apart. So embrace who you are, and let your authentic self shine through in your performance. Even if you can’t, remember that I believe in you!

Whenever you audition, remind yourself that you already have the part. During those precious moments when you’re in the script, the role is yours, so own it confidently. Believe in yourself and trust in your abilities. You are unique and valuable, and your individuality sets you apart from others. Embrace who you are and let your authentic self shine through in your performance.

Every audition is a win, even if you don’t book it.

Each audition is another opportunity to become yourself and work your acting process. Your auditions ARE your work so if you are an auditioning actor – you are a working actor. Remember that every audition is a win, regardless of whether you book the role. Each time you step to the mic, you work on your craft and become a better actor.

Embrace the process and trust in your abilities.

If you are an auditioning actor, you are a working actor because auditions make up much of a voice actor’s work. Keep believing in yourself and your unique talents, and success will follow.

Paul Liberti
https://paulliberti.com/
https://www.facebook.com/groups/VoiceOverTuneUp