I remember a session very early on in my career where I was just NOT producing what the director wanted. It was a horrible experience – and I was dismissed knowing that I had not been able to understand and deliver. I knew this because I heard the producer on the phone with my agent asking if she had to pay for me. Really horrible experience.
A few years later, I was in a session with 6 producers – each offering different bits of “advice” for the read – and was able to find the “right” read that satisfied them all. Was it simply my added years of experience? Are there any standard words of advice that veteran voice talent can offer a director to help the session run more smoothly with successful results when all is said and done?
My friend and fellow VO talent Peter O’Connell sent a link out this morning that has a wonderful article from Babble On Recording Studios that covers the mysterious and often confounding issue of “directing the talent.”
Key messages I took from the post:
- Maintain a rhythm in the session. I have been in sessions where, after a take, the talk-back stays silent for minutes – many minutes – leaving me wondering what was being discussed. The basic insecurity inherent in being “talent” starts planting seeds of discontent and we end up trying to find other ways to read something without any feedback.
- Avoid references to famous people when directing. Famous to one person may not be famous to another. Rather, describe the “quality” that you think you want.
- Steer clear of “line reads” if at all possible.
- Replay the audition. Seems logical. We audition so much, we may not remember what we did to win the job.
- Let us do “three in a row.”
- Playback the reads as time permits.
- If something is “perfect” and the client thinks it is “perfect,” why are we doing another one? It is nice to know if we are free to do something different, or if you want another read very much like the “perfect” read.