COVID-19 is killing the entertainment industry.
Most of Hollywood is closed for business. Studios are struggling to survive. Word has it that insurers are unlikely to cover productions for COVID-19 cases when business resumes.
Research by the Society of London Theatre indicates that 70% of UK theaters will run out of money by the end of the year. As you probably know, Broadway has been shut down until the end of January 2021.
Thanks to the Corona virus, thousands of on-camera and stage actors are twiddling their thumbs in desperation. One of them is Mykle McCoslin. She’s also an acting coach, writer, and president of the Houston-Austin SAG AFTRA local. She knows she won’t be returning to the stage or set any day soon. So, what can she do? Mykle says her agents might have the answer:
“Voice over is something that my agents have been emailing me about, saying: You’ve got to do this! Now is the time to learn how to build your own studio and be a professional voice over actor.”
But Mykle was in no way prepared to jump on the VO bandwagon:
“I’ve auditioned from my phone, but I am in no way proficient with the equipment. When my agents contacted me about an ethernet connection and Source Connect, I was freaking out.”
ORGANIZING A WEBINAR
To learn more about the voice over business, Mykle and her colleague Betsy Curry recently hosted a How to get started in VO event, featuring two guests: tech guru George Whittam, and VO-actor and coach Lindsay Sheppard. It turned out to be a huge hit.
Within the first hours of the webinar, Mykle had over 1K views, 31 shares, and 160 comments. Less than two weeks later we are at 2.2K views and counting. Bear in mind that most actors who tuned in had most likely never heard of Whittam or Shepherd. They were just interested in the topic. What does this tell us?
It confirms what I hear from my agents, students, and on-camera colleagues. Thanks to COVID-19, many more people are thinking of a voice over career than ever before. Who can blame them? But, this does beg the question:
Should we be worried or excited?
Before I answer that, let me tell you that if you are currently a professional voice over (emphasis on professional), the webinar didn’t cover anything you wouldn’t already know. It addressed basic questions like:
- What equipment do you need?
- How can you create a home studio on a budget?
- What types of voice over work are there?
- Where do you find VO jobs?
- How do you audition?
- Do you need a demo, and if so, who can help?
Drama school does not prepare stage and on-camera actors for the demanding and uncertain world of voice overs.
Most actors are unaware of and intimidated by the technology required. If I were an employee at Guitar Center and one of these stage actors came in, hoping to start a VO career, I could literally sell him the cheapest or most expensive USB mic and get away with it. No questions asked.
I’m not saying that to put anyone down. Most voice actors would be totally out of their comfort zone in a television studio or on a film set. It’s understandable that their on-camera colleagues are not very familiar with the ins and outs of VO.
WHAT NON-VOICE ACTORS DON’T KNOW
Before you’re getting alarmed that thousands of out of work on-camera and stage actors are all coming for our jobs, please keep this in mind:
– Most of them have no setup enabling them to work from home, and if they do, it’s probably insufficient (just think of the Broadway actor in her tiny New York apartment without any soundproofing)
– Most of them don’t even know what equipment they should buy; they may not even have the funds
– They’ve never heard of DAW’s, noise floor, presets, self-noise, Neumann, polar patterns, MKH 416’s, high-pass filters, et cetera
– They only have acting reels but no VO demos
– They may have VO credits, but have no idea how to properly record and edit audio, or how to set up a session for remote direction
– They have no long-time relationships in the VO world, nor do they have an established network of VO clients
– Some of their agents have no idea where to find VO-jobs
– Many of them will struggle with the lack of physicality in voice over work, the claustrophobic working conditions, and the anti-social aspect of the job
– SAG-AFTRA members will go after union jobs, and most of the VO work is non-union
– The lower VO rates, status, and lack of exposure may not seem attractive to on-camera, on-stage talent
– Like most people, on-camera and stage actors underestimate what it takes to have a successful and sustainable career in VO
Tom Hanks once said:
“There are times when my diaphragm is sore at the end of a four- or five-hour recording session, just because the challenge is to wring out every possible option for every piece of dialogue. It’s every incarnation of outrage and surprise and disappointment and heartache and panic and being plussed and nonplussed.”
He said this about his third Toy Story sequel:
“It’s an imaginary stretch. To the point of exhaustion. Because you’re only using your voice, you can’t go off mic, you cannot use any of your physicality. You have to imagine that physicality. In a lot of ways that’s the antithesis of what you do as an actor.”
What I like about these quotes is that they show respect for the challenging work we do as voice actors. You and I know that what we do is not as easy as it sounds, but I think many of us feel undervalued and not as appreciated as the people who walk the red carpet and get all the goodie bags. Not because we stink at what we do, but because we’re the invisibles of the industry. Some have noted that even SAG-AFTRA seems to take our profession more seriously these days (but that’s another blog post).
THE ADVANTAGE OF BEING A TRAINED STAGE ACTOR
So, what do on-camera and stage actors have going for them when it comes to voice overs?
First and foremost: acting chops.
I happen to believe that the majority of people advertising themselves as “voice actors” are in fact “voice overs.” Voice overs can read a script with a certain authority and clarity, but that doesn’t mean they possess any dramatic acting skills. They are pretty good at reading a script, but not at embodying the text or the character they are paid to portray. It’s out of their comfort zone.
In a way, many voice overs are one-trick ponies like news readers, school teachers, or former radio jocks. You can tell within the first few seconds where they got their start. There’s no emotional range, depth, or color, whereas an on-stage actor is a chameleon, a shape-shifter who is able to act out different characters with subtle but essential changes in the placement of the body and the intonation of the voice.
To use a musical metaphor: most voice overs are like a piano. The sound they produce is adequate, consistent, and rather one-dimensional. An on-camera or stage actor can sound like many different instruments, performing a huge repertoire.
On-camera and stage actors have another advantage: their physicality. Whereas many voice overs are pinned down to their chairs inside a small space, their more dramatic colleagues are not afraid to get into character, twisting their bodies and faces into pretzels to become the person they pretend to be.
Because they are used to learning scripts, they can memorize their lines and sound like they’re spontaneously speaking instead of reading off a piece of paper. It’s the critical distinction between sounding natural and unnatural.
Once again, I’m not saying this to put anyone down. You can’t judge a mime for his inability to carry a tune because he was never trained to be a singer (unless that mime purposefully advertises his singing skills).
Speaking of vocal skills, while many voice overs are struggling to maintain vocal health and stamina, their on-stage counterparts are used to performing up to eight shows a week. From the onset, they already have the chops to record an audio book for five to six hours a day without damaging their vocal folds.
In what other areas can an on-camera/stage actor edge out a voice actor? It greatly depends on someone’s status and reputation. The problem is, voice actors are invisible. Stage actors are anything but, and can use that notoriety to their advantage.
A-listers can make a killing recording commercials by leveraging their celebrity status, and because of the crisis we’re in, even celebs are becoming more affordable. Having said that, no job is ever guaranteed.
Daniel Stern is known for his roles in films like “Hannah and her Sisters,” “City Slickers,” and the first two “Home Alone” films. He is also the narrator for the “The Wonder Years” and he’s the voice of Dilbert in the animated TV series.
One day, Daniel got a script for a voice-over audition, and his mouth practically dropped to the floor when he read the specs:
“Must sound like Daniel Stern”
He’s thinking: “Piece of cake. This one’s in the bag!”
So, Stern goes to his booth; records a demo; sends it in…
…and doesn’t get the part!
Another thing invisible actors can learn from their visible counterparts is building a professional presence. On-camera actors have no problem putting themselves out there. I’m painting with broad strokes here, but it is my observation that voice overs tend to be more introverted, and on-camera/stage actors tend to be more extroverted.
We live in a time where branding is more important that ever. You’ve got to be visible in order to be noticed. A strong social media presence is required if you wish to play the game at the highest level. And if you want people to hire you, they need to be able to find you. Otherwise you’re a dime a dozen.
Back to my original question:
On-camera and stage actors getting into voice overs. Am I worried or excited? Should I feel threatened or honored?
I personally welcome my on-stage and on-camera colleagues to the voice over business, in part because their professionalism forces me to up my game. I know that most of them will outperform me in the acting department, but without a quiet home studio (that doesn’t’ sound like one), their auditions won’t be competitive yet.
And while they’re gaining experience recording and editing audio, I can take online improv classes, redo my website and demos, and increase my social media presence.
In these uncertain times there’s one thing I know for sure.
You can learn a lot in a short amount of time, but you cannot fake the number of years you’ve been in business. Experience, expertise, and integrity are valuable commodities that can’t be bought or rushed, no matter how famous or unknown you are.
I firmly believe that there’s an abundance of jobs waiting for anyone with talent, who is willing to work hard and play fair.
And together we’ll eventually get past this crisis because it makes us so much stronger.
Personally and professionally!
Paul Strikwerda ©nethervoice
REMEMBER: The One Voice Conference USA 2020 is held from August 13 @ 6:00 pm – August 16 @ 1:00 pm. Click here to buy your ticket. A little over $187 US dollars will get you in the door, and you don’t even have to leave your house. On Saturday, August 15th at 1:00 PM EST I’ll be leading a 3-hour workshop called “Blogging your way to voice over success.” Join me!
- Why is doing voice-overs so difficult? Part 1
- Why is doing voice-overs so difficult? Part 2
- Why is doing voice-overs so difficult? Part 3
- What The Heck Am I Doing Here?
- How Vocal Coach Elissa Weinzimmer Lost Her Voice and Found Herself
- 4 Things I Wish I Would Have Known Before I Got Into Voice-Overs
- Incompetent and Overly Confident
- Would You Survive The Shark Tank?
About the author
is a Dutch-English voice-over pro, coach, and writer. His blog is one of the most widely read and influential blogs in the industry. Paul is also the author of "Making Money In Your PJs, Freelancing for voice-overs and other solopreneurs."