CHAPTER eight
Voice Casting and Marketing Your Talent

Casting Worldwide

Each country has a slightly different casting process. In the United States, animation casting is often done through a casting director, who calls voice-over agents. The agents send their actors to audition for the casting director or record an audition for him at the agent’s office. The casting director then recommends several actors to the producers/directors, who will choose the one they prefer for the part. In Europe, a specific studio is often chosen for a project, and the studio uses actors who are affiliated with it. According to Hiroe Tsukamoto of Aniplex Inc., in Japan the casting process may be similar to that in the United States, or a director or sound director may simply request certain actors. Casting directors may be used more often for features in Japan than for television series. In major countries all over the world an audition may be done on an MP3 and shipped to a client or posted on the Internet, although this process is used less in animation than it is with commercials. An audition may even be done over the phone, although that is not common, currently. What follows is the process that is used most often for animation in the United States and Canada. We’ll discuss the audition, Internet casting, and home studios. At the end of the chapter you’ll find some audition copy for practice.

Casting Directors and Demos

Most of the casting directors that I interviewed said that they try to listen to all the demos that they are given. If the demo is not outstanding in the beginning, then they may not listen all the way through. Experience listening to all those demos has taught at least one casting director that if the actor doesn’t have an agent or a union card, then he probably isn’t ready to cast on a series. There are casting directors out there who feel that they do not have the time to listen to unsolicited demos. They will listen to all demos sent by reputable agents or others who recommend the actor.

Other Ways to Showcase Your Talent

Many casting directors teach workshops or act as guest directors at voice-over schools. They look for new talent there. Some look for talent at local theatres and comedy clubs.

The Casting Process

The casting director normally contacts agents in the local area to find actors for auditions. Casting may be done only through agents. Casting may also be open to newer actors who have been recommended to the casting director. Casting may include new actors found because of the quality of their demos. Casting may be limited to actors that the casting director has worked with in the past. Casting may include online casting services, or casting may be done through open casting calls. The normal casting process for cartoons in Los Angeles is through local agents only. It may include someone who has been recommended or sounds especially promising on a demo. Casting for theme parks may be more open. Casting directors may put out audition calls on some of the online services. Although online casting is still in its infancy in animation, nontraditional methods are sometimes used. I’ve even heard of casting being done through Craig’s List, although that is very unusual. In Los Angeles, VoiceBank is sometimes used to listen to demos from agencies before agents are called. The Screen Actors Guild has a Web site for casting directors with information on their members at www.iactor.org. Online casting is used more often if there are special needs that aren’t filled easily in the normal ways, such as a specific dialect that’s not found easily through the local agencies. One casting director said she receives 60 to 900 demos when she puts out an online audition call. That’s a lot of demos to review at one time!

A casting director may let the agencies handle the first auditions, listen to the recordings, and recommend several of the top auditions to the producer/directors, he may conduct a further audition from the top candidates, or he may handle any auditions himself without any help from the agencies in the audition process. The exact procedure depends on preferences and the budget.

Casting director Michael Hack typically allows the agencies to conduct the first auditions as that can be done for no charge and saves on the budget. Then he may recommend no more than three actors to the producers/directors for each role, after he goes over the agency submission auditions. Next he’ll hold studio callbacks and recommend three to five for each role again. If the producers/directors are thinking in a different direction or they’re not yet sure what kind of voices they want, he may submit a couple more. Normally, he feels strongly about his top choices, and if there is no quick decision from the producers/directors, Michael may ask them to reconsider the first submissions again.

There are pros and cons with any casting process. One director told me that he really likes to direct the actors himself when he’s auditioning because he knows the characters and the project. With auditions done through an online service or even at an agency, there is no one at the audition who knows the project so it’s easy for an actor to go off in the wrong direction. If the director for the project is directing, he can often make suggestions that get the actor on the right track to get the job.

Before the Audition

What actors have voices, characters, and a style most like you? Do you run into the same actors at auditions over and over? That’s your competition. Go to www.voicebank.net and listen to their demos. Learn where you need to improve. Learn techniques from them.

When you get the call for the audition, immediately write down the date, time, and location of the audition in your appointment book. You’ll be excited. Congratulate yourself! You’ve passed the first hurdle. Now focus on the audition process, what you have to do. If you focus on the process itself, you’ll be less nervous. When you feel those butterflies, just take a few breaths and do your calming routine before you return your focus to what you need to do to prepare.

Leave the children and pets at home. You’ll need a sitter that you can call at any time. Be prepared for delays. Don’t book a second audition or another session too close to the first.

Wear clothing that’s comfortable but professional looking. Your clothing must be noise free. Leather, nylon, and silk can rustle. Skip the jewelry. Dangling earrings, necklaces, and bracelets make noise. Rings and even watches can bang into the microphone. Tie back your hair so that it won’t get into your mouth or eyes. Be considerate and stay away from perfumes or other fragrances that might give some other actor allergies.

Do some basic warm-ups before you leave home. You may be able to do some vocal exercises in the car, if you can do them safely. (Most industry professionals suggest that you don’t do your warm-ups at the session.)

Eat a light snack before your audition. Eating keeps your stomach from growling. If you have any allergies, be prepared by staying away from dairy products. Brush your teeth.

Bring the following:

Allow yourself plenty of time to get to your session. Consider traffic at that time of day, accidents, late bus arrivals, weather, etc. Add extra time in case you get lost or have trouble finding parking. Plan on arriving fifteen minutes or so before the call time. If you have an emergency on the way, call the studio or the agency and tell them what happened so they won’t expect you. You want time to read over your audition sides, but you don’t want to be so early that you’re in the way. If you find yourself arriving way too early, just sit in your car and relax or do some vocal exercises until about fifteen minutes before your call time.

You can do vocal warm-ups in your car on your way to the session to save time. The warm-ups will take your mind off the audition. Take some time to listen to some soothing music before you arrive to chase away those butterflies in your stomach. Breathe deeply. You’re prepared. You’re good at what you do; that’s why you got the audition. Remind yourself that the casting people want you to succeed. Think happy, positive thoughts as you go into the audition.

The Audition

The audition may be at a sound studio with a casting director or it may be at your agent’s office. In the Los Angeles television cartoon market, most first pass auditions are held at your agent’s office. If you receive a callback, it’s generally held at a studio. When you arrive, don’t sign in until it’s almost your call time and you’re ready to audition. You want time to rehearse first. You don’t want to be called in for the audition before you’re ready. Do smile at everyone you meet.

If the audition is at your agent’s office, they may have multiple pieces of copy for you from new animation characters to radio and TV spots. You’ll have to prepare all of these in those few minutes before you’re called. Pick up the pieces of copy or “sides” and read them over. The sides may have a drawing of the character on or with the copy so you can see what the character looks like. Force yourself to relax. Refrain from focusing on how many other people are there. That negative energy will reflect in your performance. Focus on the copy. If you have any questions about pronunciation or anything else, ask now. Take the time to prepare. If there are character designs or storyboards, look at them. They give you clues about character, imagery, and interpretation. Break down the copy. Is this action, cartoony, or realistic? What’s the point of that character? What is the client trying to convey? Usually, you can mark up the copy lightly with pencil, but not with ink, as someone else will be using the copy after you. Be sure that you know where to breathe so that you don’t run out of breath. Remember that you’re making a statement every time you breathe. Mark the breaths in the script, if necessary. Use your own instincts in evaluating your copy. You should find what gives the copy truth for you. Who are you? Who are you talking to? What’s your goal? What’s your main emotion? Find the SUBTEXT, the thoughts, and emotions behind the words. Personalize the copy. Try to find a quiet place such as a hallway or the restroom to practice READING ALOUD or step outside. Some actors like to read the copy aloud with no inflection once or twice as fast as possible to loosen their jaw and tongue. Fully express the copy. Don’t hold back. Go full throttle. Go with your first instinct. Take risks, go beyond the stereotype, but be sensible. Build the scene. Make the copy shine. Prepare to read the copy several ways so that when the director asks for something else, you’ll have a new direction to take it.

If the copy is for multiple characters, recruit another actor as your partner. When you audition with another actor, develop something that will benefit both of you. Be aware of the person you’re working with. Talk to your partner, not at him. Really listen to each other. Pacing and timing are important when you’re working with someone else. Pick up on the rhythm of your partner. You must work well together. Work on this meshing process before you go into the booth. You’re going to need extra time if two or more of you are auditioning at the same time. If you’re called and you’re not ready yet, ask if you can go later, but be prepared to step up if they say “no.”

When you’re just about ready and it’s getting close to your call time, sign in on the sign-in sheet, filling in your name, time of arrival, and call time. Pay attention to the audition order, and listen for your name to be called. Try to filter out anything else that is going on around you, and stay focused. Save your reunions with other actors until after the audition process. Relax and, at the same time, consciously, raise your energy level.

When you’re called into the booth, go in with confidence and a professional attitude. Take a bottle of water with you to drink between takes. Introduce yourself to the director with a smile, if you haven’t already met him, and shake hands. Take that moment of introduction to memorize his name and face. Place your copy on the stand, and wait for the engineer to adjust the microphone. It’s alright to ask a friendly question of the casting director if you’re both just waiting for the engineer. Don’t touch the mic yourself, unless you’re asked to adjust it, and then do so only after asking how you should adjust it. You can adjust the music stand. Read through the copy while the engineer is setting the recording levels. This is your on-mic rehearsal. Make the most of it. Use the energy of your nervousness positively by converting that energy to your read. Use the same sound level that you plan on keeping when you record so that the engineer can get an accurate reading. You’ll want to be polite to the engineer because he can make you sound better or worse. Listen carefully to any suggestions that are made by the casting director or agent who is directing. If you don’t understand, ask questions (but not too many). Agents may take less time to direct you than a casting director will. Never apologize for your work. Remain confident and professional. There may be a number of people in the booth: the casting director that you just met, assistants, producers/directors, toy people, network people, a writer, the engineer. It varies. Focus on your copy, and listen to directions from the casting director you just met. Don’t be afraid to ask the director what he’s looking for. He may want to hear your first choice before he gives you an answer. Wait until you’re signaled to begin. The casting director or engineer may slate for you. If you’re asked to slate, speak your name with a smile: big, clearly, and, above all, confidently, “Cindy Smiley as Ginger Cartoon. Take one.” (Never slate in character.) Be ready to work and be grateful. Wait a short beat after you slate to focus and read the copy, following the directions you were given, exactly. Commit to your choice, and go all out with energy and enthusiasm. Play it over the top on the first take, unless you’ve been told to do it differently. The director can always bring you back a bit if it’s too much. Picture in your mind the character you’re talking to, and talk directly to him. Be ready to think on your feet. Don’t stop yourself, but keep going. Let the director stop you. When you’ve finished, wait until the recording is stopped to speak.

If you’re asked to do it again in a different way, take a beat to focus and get prepared. Quickly put a new mental picture in your mind that changes your attitude, and start again. You may want to go against type. Never argue with what the director asks you to do. The mark of a professional is to be able to give him, exactly, what he wants on the first try. If the director asks you to try something else and he’s not specific, then use one of the other directions that you’re prepared to go. If the director asks you to go back to something you did a few minutes earlier, you can ask for a replay of that earlier take. You can, also, ask for clarification of a direction; you may or may not get it. If you’re receiving no direction, ask if you can do another read. They may let you do a second, different take. If you can solve a problem for those in the booth by a different reading, attitude, or ad lib sound, do it. On a new take the director may ask you to slate again and say “take two,” ask you to omit the slate and just say “take two,” or just continue from where you left off. You’ll probably be able to do a total of two or three takes.

There may be discussions in the booth about most anything. It may not be about you. Never critique yourself as you’re acting, but stay focused and in character. Don’t assume that they don’t love what you’ve just done. If you receive a compliment, say thank you, and be quiet. This is not the time to be modest. Remember that your mic will probably remain on, and they will be able to hear anything you say.

Cynthia McLean, animation agent at Sutton, Barth, & Vennari, suggests that actors always take notes on what they did at an audition. They may have to re-create it, exactly, later.

Once the audition is over, thank the director, the engineer, and those in the booth and leave. The casting people have no time for chit chat. You can talk very briefly, if you wish, until you get to the door, but then the director must focus on the next actor. More than one actor has gotten the job on the way out the door. That throwaway line in character as the actor went out the door was exactly what the director had been looking for! One casting director relates that an actor once came into the control room to say his goodbyes and overheard them talking about their search for someone who could do a really good burp. Without being asked, he burped right there on the spot, and guess what? He booked the job!

Casting directors say that clients (including cartoon producers and directors) rarely know what they want going into the audition process, so, initially, the casting director can’t give much help to the actor. Some consciously try not to overdirect, allowing the actor the opportunity to do something unexpected and unique. Some casting directors deliberately look for a character that is really unique. Their clients may initially have a stereotype in mind, but they may find the unique choice more appealing. Remember that a lot of other actors are going to go for the stereotype, the obvious choice, and maybe they do it better than you do. This is not the time to try something you’ve never done before, but do take risks. This is probably the time to go for the unexpected take on a character. Use your own instincts in each situation about whether to choose the unique or the stereotype. Believe in what you’re doing, and commit fully to it. Give it your best shot. Then listen for direction from there.

Dos and Don’ts of Auditioning

Audition Tips from the Pros

MJ Lallo says “Slate big and happy.” Slating is the first thing the decision makers hear from you.

Voice coach and producer Warren B. Meyers suggests that you memorize your first line so that you can make eye contact with the producer as you speak. If you do this, be sure you keep your place with your finger in the copy so that you have no trouble picking up where you left off.

If you make a mistake, one industry casting director recommends ad libbing and making that mistake part of the copy. Another industry professional says, “If you flub, stop and start over. You’ve lost your place and your process of thinking.” (So use your own judgment in your specific situation.)

Bob Bergen advises actors to ad lib during their auditions. (That doesn’t mean rewriting the copy. It does mean adding some laughs or “mmm’s” or snorts, etc.) Improvise. Have fun!

Casting director Michael Hack expects actors to have some voice experience before auditioning for him. He needs actors who have already had the experience of being on mic so that they are generally familiar with studio etiquette and know what they should and should not do. He’ll hire a new actor if he’s looking for a specific type of voice and can’t find it in the usual actor pool. To allow a new actor to join SAG, the union requires a letter stating what makes the new actor unique. He was a producer on Final Fantasy, and he or his casting director wrote a letter like that to allow an actress with an Icelandic accent to work on the game. The actress had previous experience in England, and he found her through a Hollywood talent agency. The tips: Get experience, learn studio etiquette, and make yourself unique!

After the Audition

After you’ve left the booth, you’ll probably come up with what you think is the perfect reading. Well, maybe it is, and maybe it isn’t. Second guessing will do you no good. It will just hurt your confidence. Put it all behind you, and focus on something more positive.

Remember to thank those who gave you the chance to audition, including your agent and the casting director. You want to be remembered for the RIGHT reasons.

Keep a log of each audition. Who did you meet? What did you learn about them (favorite sports, restaurants, wine, names of kids and spouses, birthdays, character they played, cartoons they directed)? What did the casting director tell you that will improve your performance the next time? Keep business records as well: mileage, gas, parking expenses, etc.

After your audition, treat yourself to something special for a job well done. Okay, so the audition wasn’t perfect. You did your best. It was a learning experience, and each time you’ll get better at it. The treat can be something inexpensive like a new book or CD or maybe just a slow walk in the park on a nice day.

What Makes Casting Directors Bring People Back?

One industry professional lists these traits:

She listens for (not necessarily in this order):

Usually, this industry professional has something in the audition sides that she’s looking for specifically — perhaps nailing a joke, a specific character quality, or a turn in the dialogue (a change in tactic or objective on the part of the character). From the auditions she’ll narrow the field down to five or ten, tops. She rarely does a physical callback. She doesn’t have the time for a callback.

This industry professional tells actors, “Don’t disconnect acting from voice-over.” Sometimes the job of a casting director is knowing how to get the performance out of an actor. But there is not a lot of time to do this, so potential is not enough. An actor must be able to follow direction easily. He must know the vocabulary of voice-over and be able to change his performance instantly by following specific instructions. “More of a throat voice.” Make it wry.” “Make her just a little younger.”

Another casting professional, who was once an actor himself, believes that an actor’s instinct is his number one tool. He believes that an actor’s first impression is almost always right. He says that actors think too much.

Finally, gifts don’t get you a job. Being right for the character gets you the job, and if it sounds truly real, it works.

The Follow-Up Card

Andrea Romano suggests that actors might want to send a follow-up card after an audition to get feedback and remind the casting director that you are available. This can just be a postcard or photo. Be sure that it has your contact information on it. If you do this, remember that casting directors are very busy people, and they don’t have time to answer a lot of questions.

The Callback

If you get a callback, it means you’re doing something right. Go back in with a positive professional attitude and audition again. Do try to remember what you did the first time, but don’t try to re-create it exactly. Maybe you can do it even better the second time or perhaps they want you to try something else.

You should hear within a couple of days if you’ve been selected. You will not get a call if someone else gets the job. “Don’t take every audition personally,” says one industry professional. It’s not about you. You’re not a good person if you get a job or a bad person if you don’t. Taking risks means that you have to be willing to be great and you have to be willing sometimes to be awful. If you do badly on this audition, then practice more and do well on the next. The casting directors will not hold one bad audition against you, and they are unlikely to even remember. Don’t give casting directors power over your life. They can be wrong. One job is not a career. Think of each failed audition as being a necessary stepping stone on the way to getting your first job. You’re getting better each time.

Internet Casting

Some actors are now signing up with Internet casting services for work. There are many online casting services, and you can sign up with multiple services. A number of these promote actors from multiple countries. Although some animation casting directors in the United States will now go online to cast an actor who speaks English with a hard-to-find dialect, actors will not be able to get much animation work in the United States through Internet casting. The casting directors normally go through agencies instead. However, actors can get good professional acting experience and supplement their animation work with other voice-over work by using Internet casting services.

Actor/director Gary Gillett has been getting work from www.voice123.com. This site has both union and nonunion actors available. He describes the process. Actors subscribe to the service and submit an MP3 demo and profile. Perspective employers submit information on jobs and what audition material they require. They may offer a specific fee or a range that they are willing to pay. Experienced actors may decide to audition only for higher paying projects (above $200 or $250, for instance) or only projects that especially interest them so that they can spend more time marketing off line. Those with less experience may want to audition for any job at first. The site casting system dictates who is able to audition for the work. Qualified subscribers audition either through the demo they have or by submitting specific recorded audition material. If specific audition material is required, the client sends copy, and the actor records it in his home studio and imports either an MP3 or aiff file, along with a resume, directly into voice123’s Web site. In a message the actor tells the client what fee he requires. Actors should quote within the client’s budget perimeters, neither higher nor lower. A quote that is below the bottom of the range shows that you do not value your own work and brings down the pay scale for everyone else. Be sure that you don’t leave the quote blank. It looks unprofessional. Get suggestions on what you might write in the message in the section: See Sending Your Audition, below. If you’re hired, the client may ask you to meet her at a local studio to record the copy. Sometimes you record from home. The client emails the copy a couple of days ahead of the recording date.

Clients casting online may get hundreds of auditions. Actress, consultant, and coach Susan Berkley feels that only about 80% of online auditions are actually heard. Others feel that number is even lower. Clients get tired of listening and cast from the first auditions they receive. So respond quickly. Since there are so many to choose from, it’s important that your audition is good. Carry a cell phone that gets emails and has a way to notify you about audition leads. Keep your phone with you at all times and set it to vibrate or check it frequently for messages. Try to set a time in the middle of the day to do your auditions. If you’re working at that time and not able to record a specific audition with great sound quality, your prerecorded MP3 should have really good quality sound. Generally poor sound quality in the audition signals that the final quality of the sound might not be professional. You must direct yourself, as well as perform. Do any research you need to do, such as looking up the pronunciation of words in the copy. You can go to the Merriam-Webster Dictionary Web site at www.m-w.com, where you can actually hear the words pronounced for you. Consider: What is the purpose of this character in the story? Read the directions that come with the audition, carefully. Mark up your copy, thinking of phrasing, pacing, etc. Take the time to warm up.

Recording Quality

Casting director/coach Marc Cashman suggests that you record your auditions in mono at 128 kpbs (or 96 kpbs for long auditions). The idea is to limit the size of the file. Some online casting sites ask that you email the file. If the file is too big and it’s returned as undeliverable (because of size), upload it instead. Before you record, be sure to double-check your recording settings. Make sure that the sound is neither too loud nor too soft.

Directing Yourself

Rehearse until you can get it right. Marc Cashman suggests that if you have several different auditions to record that you first record the auditions that are in your deepest voice range, as your voice is most resonant early in the morning. Talking tends to raise the pitch. Highest range, more textured and grittier, and loudest voices should be recorded last. Follow slating instructions. Keep your energy level up, and keep the performance moving. Keep your acting performance top quality, and stay in character throughout the audition. Watch out for mouth noises and a voice that is not consistent in volume, page-turning noises, and other extraneous sound from outside the booth.

Listen to the playback. Be objective about your performance. Are you believable? Did you commit fully to your character and stay in character throughout? Does your performance have plenty of energy and keep moving? Does it sound professional in quality, and is it the best that you can truly do? If not, record it again. Marc Cashman suggests that you do one take following directions exactly and then do a second take as you, the director, think the character should sound.

A few people have had problems with the client using the audition material without paying them. I believe that this is probably more of a problem with commercial auditions than it is with animation character auditions. Most people are honest, but actor Jim Feldman suggests that you protect your audition from theft by making the audition unusable as a final product. He suggests that you convert the audition to a format that is unairable. Jim watermarks his auditions by adding a little blip every five or ten seconds or provides only the first few sentences of the script. He tells his clients that the audio file he’s sending is for audition purposes only and that the final recording will be top quality. Producer and voice talent Peter Drew suggests watermarking by recording at a low resolution or fading in and out of portions of the script. Most clients expect watermarks, but a first-time client may not understand unless you tell them. Mention that you’ve included sound logos or watermarks that will be removed if you are hired. Voices.com is one site that educates its clients about the possibility of watermarks. Not all casting sites do that.

Sending Your Audition

Follow labeling instructions exactly. Some clients won’t even consider auditions where the instructions aren’t followed to the letter. The reasoning is that if you can’t follow instructions there, you won’t follow them for the session either. Watch out for the details: spacing, underlining, use of upper- and lowercase, etc. If there are no instructions, check with your agent (if the work came from your agent). If no instructions are available, then label: Your Name, Title, MP3.

A short cover letter, included with the audition, should include

Your cover letter/proposal should be tailored to the client’s specifications. Be personable. What kind of letter would you wish to receive if you were the client? Keep it brief. Don’t distract the client by referring him to an agent, another Web site, or a long list of unrelated career credits.

Always collect your payment by credit card or PayPal before you send the final high-quality, high-resolution recording.

Your Home Studio

If you want to record from home, you’ll need some kind of home studio. These can vary from something quite simple and inexpensive to something elaborate and very expensive indeed. What are your needs exactly? Do you merely want to practice and hear yourself on mic? Do you want to audition at home? Do you wish to record professional quality work at home?

For practice, any recording and playback device will do. My own practice equipment is ancient, but it still records and plays back. It’s sufficient for my purposes.

A Very Basic and Inexpensive Home Studio for Practice and Auditions Only

If you want to be able to practice and also audition at home for casting services such as www.voice123.com, then you need a little more.

If your home is pretty quiet, you can probably record inside a closet. Experiment with that. Avoid recording where there are hardwood floors or high ceilings that deaden the sound. If you’re picking up outside noise, try throwing a comforter over your head. You’ll need a flashlight! This should be adequate for auditions, but some basic soundproofing works much better.

This home studio is probably not professional enough for actual jobs. If you book a job, you’ll need to book session time at a local recording studio. Costs in the United States run from about 40 dollars an hour to about 300 an hour or even more. Usually, the client pays for studio time. Check around ahead of time to familiarize yourself with your options and costs. If you mention that you’re a voice talent, the studio may give you a discount if you are able to work around their own schedule.

Ron Grant, who has the very professional quality home studio pictured later in the chapter, suggests that if you just want to make a voice-over demo, you could get by with a decent mic and Garage Band or ProTools M-Audio Box.

Actor/director Gary Gillett has an inexpensive home studio that works for him. Because his converted closet recording booth is insulated, he’s able to record auditions and some professional work. He has a Fostex unidirectional mic that he uses for auditions and for his voice-acting students. He has an AKG C1000-S hypercardioid mic for other recording. Mics have an M-Audio interface into Garage Band. His computer is an iMac 2.16 GHZ.

Gary Gillett’s converted closet home recording booth.

A More Professional Home Studio

A studio that is really elaborate can cost thousands of dollars, but you can have a home studio that should be adequate for all your needs for under $2000 (U.S.). The following is a wish list.

Most of the equipment can be purchased in professional music stores. It’s hard to find in computer stores. Or you can search on the Internet. There are companies such as Dave and Dave at www.everythingVO.com that will help you design your home studio. Just remember that there are many voice-over professionals who have no home studio. This is a convenience, not a requirement. After you’ve set up your studio, experiment with the sound quality. Ask a professional or a technically oriented friend to listen to the quality of your recordings.

Ron Grant’s home studio is professional quality, as he does professional recording (including music recording) and postproduction work at home. He considers his studio to be about midline for the type of work he does. His home studio includes the following.

In addition to what was just given, the studio includes a collection of synthesizer keyboards, sound libraries (such as Pro Vienna Symphonic Library), and inboard and outboard processors.

Ron Grant’s midpriced quality home studio.

Setting a Fee for Your Services

If you have an agent, your agent will negotiate fees for you. If you are just starting out, then your fees will probably be less than they will be later after you have had more experience. If you are a union actor in the United States, then SAG or AFTRA sets the fee, unless you are very much in demand and your agent can negotiate a higher fee for you. Agent fees may be taken off the top of your pay or added to it for nonunion work. Union fees and agent fees are usually added on top of the union talent scale fee. Union talent in the United States usually get paid residuals for additional runs of a series. If you go to the union Web sites, you can get an idea of what you will be paid as union talent. In California, agency fees may be as much as 25% for nonunion work and only 10% for union work. Keep in mind that very experienced voice-over talent can price themselves out of the market. There is a limit to what any studio can pay.

If you’re negotiating your own fees, then consider how skilled you are at your craft. Also, how much experience do you have? Is this your first job or do you have a resume of several pages? One other consideration is the client’s budget. If you’re freelancing and setting a fee for an Internet client, then that client may be looking for someone who will be willing to work for a minimum fee. If the client offers to pay between $200 and $400 for a nonunion project, you’re very good at your job, and you have some experience, then perhaps you can offer to work for $350 and still get the job. If you’re just starting out, then maybe you should work at the $200 minimum. Some fees may be per project, some may be per hour, and some may be per page. Be sure you know which fee is under discussion. Some may have a minimum fee with additional time or pages costing more.

If you’re freelancing, try to research fees in your area. Ask other actors you know for some help or ask the folks at the studio where you had your demo produced. They should have a general idea of local fees. Find out as much about a project as you can before you discuss fees. Make up a fee schedule for yourself, but don’t show it to your prospective clients. You’ll want to stay flexible.

Casting Celebrities versus Experienced Voice Actors

Why do executives and casting directors sometimes cast celebrities instead of professional voice-over artists? One reason is to bring in an audience, especially for an animated film. Fans may see a film at least partly because a favorite actor stars. Stars can also bring in publicity for a film. A celebrity who’s had a great deal of experience in dramatic roles may be able to give the role more emotional depth. Often the characters they play are based on themselves or characters they often play, so executives trust the star’s instincts in portraying those parts. Celebrities bring a lot of confidence and reality to the role. Professional voice-over actors have more experience with voice-over so they often are able to work better with their voice (texture, range, phrasing, etc.) and provide a greater variety of characters. They may be able to record in fewer takes. They take up less of the budget.

Comedians

Skills in sketch comedy and improv are useful in animation. Some casting directors search for talent at local clubs. However, it’s important for stand-up comedians to be able to listen and react to other actors instead of depending on reactions from an audience.

Child Actors

There is a growing use of children to play children in cartoons in the United States. More children are getting into the field. These kids need to have very good reading skills. Versatile adults are still playing children as well.

Ethnic Actors

More casting directors in the United States are now casting ethnic actors in ethnic parts. They may go out of their way to find someone who is actually from Japan to play a Japanese character. There is also more of an attempt to find an actor who is not just from China but specifically from Beijing for a character from Beijing or from Guangzhou for a character who emigrated from Guangzhou. This casting trend gives opportunities to new ethnic actors to get a foothold in the voice-over industry. Although this trend has not yet opened up animation casting to actors in other countries in any significant way, as technology continues to advance, animation casting may become more international.

So You Want to Be a Casting Director

Casting directors must find actors, usually through agents, audition them or request an agent to send an audition, and then, normally, direct the actors again during the recording session. They are usually responsible for finding material for auditions and making up any special actor’s scripts for recording. They are responsible for union paperwork, etc. Many directors prefer to record the actors at a single session when they can so that the actors can play off of each other. There may be a run through or partial run through before the actual recording starts, but often there is not time. Also, some directors prefer the spontaneity of a performance with no rehearsal. Actors may not have a complete script, but only a script with their part of the performance. In that case they need to know very briefly if anything happened that affects their performance later in the script. If the storyboards are ready by the time that the recording session takes place, then the director uses the board to help with visualization. Often the boards are not done yet. The casting director must have a plan or opinion about how the voices should sound and why, how the lines should be read and why. She should know how to get the actors to give a certain kind of performance without giving them a line reading. And of course, not all actors are alike and respond in the same ways. She should know how to make the actors comfortable so that they can give their best performances. Often the producers/directors are mainly artists, and are less experienced with actors, and the casting director must be able to explain to those producers why something might work better one way than another.

Michael Hack suggests that future casting directors study their craft like an actor studies his. What is a scene? You need to look at the big picture. Study storyboards. What’s going on in a scene? Think about things like the distance a character is from the audience, which will affect how the audience hears the character. Is this a close-up or is the actor way back across a field in a long shot? Are the actors up on the roof shouting down to someone below? Are they hiding so that they have to whisper? Are they frightened? Develop your instincts on how to play a scene and where the scene’s highs and lows are. Where is the energy level at certain points? A good casting director hires good talent first. He doesn’t overdirect, but he does tell the actor what he needs to know in order to perform well. He is very specific in his requests to get the actor to make different choices. The director’s job is to set the stage and then make the studio a good place to work. When an actor gets tense and tight, everyone loses.

Study comedy. Study pacing. Watch as much comedy as you can and learn from it.

Study action. Again the pacing is important. An action story increases in pace as the story goes along, although there are little peaks and valleys in that pace.

As a casting director, Michael Hack asks for information from the producers/directors or from the writer about each character he is directing. He needs information about personality and attitude. He needs character descriptions, age, and background information. What’s the character’s job in life? Is he a boss? Father? Is the character going to change or is this a one-note character? If the character is more complex, he wants to see the contrast in the audition copy. He wants to see the side that is tender and the side that is strong. Sometimes the audition copy is given to him. Sometimes he picks the audition copy from the script. He needs a script for the actual recording session. He needs a character model of each character. Typically, the storyboards are not yet done so they’re not available.

Director/actor Charlie Adler says that when he directs he looks over the script beforehand, logging and lining all the cues. He looks for any information given between the action and dialogue, as well as for what he must actually record. He also relies on his actors to look for what they need (sounds, character qualities, etc.) in their scripts. He tries to disarm his actors so that they feel playful and safe. He wants them to feel like there are no rules.

Actor Gary Gillett, who sometimes directs as well, expects his actors to listen — both to him and to themselves. He’s going to give them choices, and listening is the most important part. He tells his actors, “It all has to do with who you’re talking to, and what you’re saying, and why you’re saying it.” He expects his actors to visualize where they are. He asks them to consider the prelife of their character, what kind of character they’re creating, and how they’re going to make it real. He advises an actor who is having trouble with a character to do the copy first in a normal voice to find the acting and then to add the character to the good performance.

Casting directors must know a lot about acting, especially about acting for animation. They need to know actors and how they work. They need to understand the job of a producer/director. They need to understand character development and scene structure. They should watch animation and live action, TV, and films to learn what works and why. It would help if they could take some voice-over classes themselves to better understand the process.

Trends in Casting

Like everything else, there are trends in casting. A TV cartoon or film is a big hit and then everyone else copies it. As you watch cartoons and films, what do you think the trends are in casting right now? Sometimes cartoons require mostly voices that are “cartoony” — wild and wacky character voices. Sometimes the series are more realistic and require voices that are more realistic as well. More realistic voices mean more believable acting with more subtle shadings. Take note of the trends and work on voices that will fit in with the current trend.

Marketing Yourself

Actors can post their demo or a clip on MP3, .aiff or .wav files on www.voice123.com, www.voices.com, or www.mktmania.com(see the section on Internet Casting). Animation casting agents and others with voice-over work will occasionally surf these sites. If cast, the actor must have a home studio or someplace to record and send the work back, usually over the Internet by the next day or by overnighting a recorded CD, using one of the formats given earlier. It might be a good idea to take a directing class if you’re going to do much work at home. People like Susan Berkley at www.greatvoice.com offer classes in self-directing online auditions.

Actors can also use sites such as LinkedIn, MySpace, and YouTube for marketing their services.

Having your own Internet Web site is one way of marketing yourself. Are there professional organizations or voice-over businesses that will link into your site?

The old-fashioned ways of marketing still work: cold calls, direct mail, and networking. Help others in the business whenever you can. Keep up your relationships. Keep a good supply of demos and business cards with you at all times. When you’re not busy with voice-overs, do theatre and comedy clubs. Keep yourself and your name out there. You should be doing some marketing every day.