Training

Confidence can be a killer – 5 tips about staying grounded

August 31, 2011 by George 14 Comments

Gabrielle Nistco at Voicehunter/VOCareer has been running voiceover Meetups here in Charlotte for a couple of years. They give students of hers and people interested in the field a chance to hear from a veteran voice artist about technique and basics, discuss the business with like-minded individuals, and frankly figure out if this is the direction they want to go. I have mentioned her previously in the “How Do I Get Into This” post.

Last week, she hosted a meetup entitled “Meet the Clients!” This well attended Meetup features some great information as given my a dynamite panel, including my friends Dan Friedman (of ProComm Voices and Sound4VO fame and author of “Sound Advice: Voiceover from an Audio Engineer’s Perspective”) and Beverly Penninger of Naka Productions here in Charlotte, as well as network television producer Linda Midgett and Voicehunter casting director Eric Simendinger. They shared a great deal about their experience with voice artists in the commercial and narration areas, and told some wonderful stories about their careers.

The question that Gabby asked them that elicited the most interesting response for me was about pet peeves. In essence, the panel was asked if there was a particular thing that caused them to cringe when working with a talent on a project. The item that elicited the most response?

A bad attitude.

The voice artist that is good, and knows it, and wants YOU to know it. The aspiring talent who expects that whatever their previous experience was, it clearly makes them PERFECT for voiceover with no further training or work. The voice actor that virtually refuses to be directed, for their interpretation is clearly superior. The guy that comes into the session prepared to direct not only his own delivery, but the delivery of anyone else in the session as well.

Confidence is a wonderful thing. You cannot be successful in this business, or any other, without it. In a business in which you “fail,” or do not win the audition much more often than not, you have to find ways to keep your confidence high and retain a belief in your abilities, your skills and potential. But confidence can also be a killer. When you are so sure that you cannot be replaced, that this job is yours no matter what, you have let confidence take too deep a hold of you.

In the past, I have noted that this is a selection business. Because being selected for a job has a very rewarding feeling that comes with it, there is a deep-seated belief of one’s own superiority, and irreplacability (yes, I just made up a word), that can set in once you win a few top-level jobs. But in order to keep getting that work, you must keep in mind these things:

You CAN be replaced. It has happened before, it will happen again (Remember “The Dell Guy” from some years ago? Or Gilbert Gottfried, the AFLAC Duck, earlier this year?). You may walk out of the session, and someone on the other end thinks your voice just wasn’t right and you will lose out on that gig.
You are doing one of the most fun jobs in the world. But you aren’t entitled to it.
You are working with professionals. Treat them like professionals, and you will be treated the same most of the time. Treat them with less respect, and you will be remembered – but not in the way you would like.
You can always learn. Always. The finest opera singers in the world receive coaching. Why wouldn’t you?
Your job is not just talking. It’s also listening. Listening with purpose and with an open mind. Your clients generally have an idea what they want to hear, even if they can’t articulate it. You must listen and interpret their desires into the delivery they want.

Performance requires confidence. I wholeheartedly believe that. But I also believe that success requires humility in the long run. And that humility comes from remembering the joy of doing what you love to do, that not everyone gets to do that. And remembering that the gift you have is not just your voice, but the opportunity you have to use it.

Interview with Dialect Coach Pamela Vanderway – Part 2

June 22, 2011 by George 3 Comments

In part one of my interview with dialect coach Pamela Vanderway, she shared her background and her path to becoming a dialect coach, is there a difference between dialect and accent, and what level of determination is necessary to learn a dialect. Here in part 2, we’ll hear more about the dialect acquisition process, her dream clients, and what gets her up in the morning.

I have referred to you as a “fountain of ideas.” What drives you and inspires you?

What drives me and inspires me? I’ve got to say that would be two things– curiosity and the tick-tick-ticking of the clock! This world is so full of fascinating things, ideas and experiences, yet in our lifetimes each of us is given so little time to explore. I realize that no one of us will get to learn everything there is to learn on Earth, but if I have my way I’m certainly going to die trying!

Is there an actor or public speaker you would love to work with?

In the category of high-profile actors I haven’t collaborated with yet but who would be good matches for my teaching style, Jackie Chan and Steve Martin top the list. Why Chan and Martin? Because these two actors are detail oriented, have an incredible work ethic and already possess excellent body awareness. Add to that the fact that neither is known for their dialect work — yet– and you have a challenge that I would take on in a heartbeat.

Give me a general idea of what a working session with you would be like

That’s a tough one, as every situation is a little bit different. I can start by saying that I work with new clients for a minimum of 12 1-hour sessions. I also offer ‘shadowing’ where I am available to the client every single day, up to 10 hours a day for anywhere from a few days to a month or more. I realize this is not the norm for most dialect coaches, but I want to guarantee that the actor has what they need to absolutely succeed in the illusion they are attempting. For clients I have a longstanding relationship with on the other hand, I routinely do individual one hour sessions — usually to brush up on a particular skill, or to coach them on particular text. In any given dialect session, a client and I might be working at a table listening, analyzing and practicing sound samples, or looking in a mirror to get visual feedback about how we are creating certain sounds, or then again we might be running around the room throwing soft pillows that are sewn in the shapes of the International Phonetic Alphabet. Yes, you read that right. Pillows. Shaped like phonetic symbols. I know it sounds a little ‘out there’, but used properly these lighthearted tools can really speed an actor’s learning.

Do you have a success story with an actor you feel defines and validates what you do?

I have been very fortunate to work with some wonderful actors so far in my journey. The kind of clients I tend to attract are focused, imaginative explorers who continually work to improve their craft so for me every single one of my clients has not only contributed to validating my work, each of them has taught me something in return.

I want to thank Pamela for taking the time out of her busy schedule to answer these questions and share a bit about her vision and her work. Follow her on Twitter and check out the Dialect 411 website and blog for more about dialect acquisition and how to treat your voice.

Interview with Dialect Coach Pamela Vanderway – Part 1

June 21, 2011 by George 4 Comments

It was a little over a year ago that I met Pamela Vanderway on Twitter. We were discussing my near annual “fake a Jamaican” gig, in which I do a Jamaican accent for a radio commercial, and we had a great conversation on what it takes to learn a dialect or accent. Since then, we have talked about a wide array of topics, and I have discovered the she is an idea generator, a lover of the arts, and probably more energetic than 90% of the people I know. As a dialect coach based in Los Angeles, she has worked with many, many actors on acquiring the proper dialect for films, television, and other projects. You can see her work on her website at Dialect 411, and follow her on Twitter. I was able to squeeze into her busy schedule and ask her a few questions about her profession, how she became a dialect coach, and more. Here is part one.

Tell me a little about your path to becoming a dialect coach. When did you decide this is what you wanted to do, and was there a special program you were in or developed to get you there?

For every coach I’ve met, the path has been different. I was training to be a professional actor when I realized that more than any other thing, dialect work was what I wanted to do. After earning my BFA from California Institute of the Arts, I searched for programs in the United States that were geared toward training dialect coaches. While I found many schools with speech therapy and linguistics programs, I could not locate a program which integrated the scholarly side of dialect coaching with any sort of deep understanding of the actor’s craft. I decided to approach CalArts to ask if they would consider creating a masters degree program that would meet my needs. Fortunately for me, CalArts is known for creative risk-taking so I was invited to work with the faculty at CalArts to design a program in which I could earn an MFA in speech studies for actors. For two years I observed nearly every speech and dialects class session the school offered and took notes on course content, instructional style and student progress. In addition to speech, I took voice-for-the-actor classes, sometimes repeating the same course in order to deepen my knowledge and to observe how a different set of students may or may not influence the outcome of the class. I took text analysis, theatre history,and various film history courses. I regularly observed student actors as they worked with their acting teachers. I tutored students in phonetics, eventually working my way up to co-teaching courses. I also tended to ‘crash’ every class, rehearsal or student film set I thought might enrich my knowledge, studied every scrap of dialect information I could lay my hands on in those days before the wonder that is Google, and worked on student film and stage projects in every capacity I could. My philosophy was (and continues to be) that the more one knows about the big picture of something, the more skillfully one can enhance that picture with their talents.

My training of course did not end with my MFA. To better understand and serve my clients, in addition to the dialect research my job requires, I’ve taken group and private voice and voiceover classes, ADR classes, traditional storytelling classes, marketing classes, earned my 200-hour Yoga RYT certification, explored movement modalities such as the Alexander Technique, Feldenkrais Technique and Hellerwork, attended voice conferences, and observed actors rehearsing as much as possible so that I have exposure to the myriad approaches an actor may have to his/her craft. I even took horseback riding lessons for a while in order to experience centering and grounding in a new way. I really love what I do and want to provide my clients with the most comprehensive instructional experience I can, so I’m always open to trying out new modalities and techniques.

Many people equate “dialect” with “accent.” Are they the same?

The terms ‘dialect’ and ‘accent’ are hotly debated in linguistic circles. Ask five professionals and you’ll get five variations of an answer. Me? I tend to be of the mind that a dialect includes word and phrase choices while ‘accent’ is a word referring to pronunciation and musicality alone. That said, since I work mainly one-on-one with my clients, I allow myself flexibility in my usage of these terms, so that my client feels as comfortable as possible. (I figure that since learning a dialect is about as challenging as learning to walk on the high wire, I should extend comfort to my client wherever I can!)

Does an actor have to immerse themselves in a dialect in order to become “fluent?”

The simple answer is yes. An actor needs to have sufficient exposure to the specific sounds, rhythm and melody of a dialect in order to be able to accurately duplicate these components and then effectively integrate them into performance. How much time will be sufficient? That’s the million dollar question. Every case is different and depends on many factors including how much experience a person has at learning dialects at the professional level, how much prior exposure to the target dialect a person my have had incidentally in their life thus far, and how many components in the target dialect differ from the actor’s own dialect. This list only scratches the surface.

Clearly this isn’t a simple process, and there is no “Rosetta Stone” to get it done quickly

It’s a complicated formula to say the least. One thing I can say for certain is that anyone who claims to be able to teach an actor a dialect in one or two lessons is being overly optimistic. The actors you see collecting shiny golden awards are spending weeks and months rather than hours preparing for those award worthy dialect roles.

Is there a particular issue that would cause an actor to have more difficulty learning a dialect? Are there habits that you need to overcome or break before learning a dialect?

As I mentioned a little earlier, many factors influence the length of time that dialect training may take. One factor I have not mentioned though is an actor’s ability to hear. When an actor is living with significantly compromised hearing, learning a dialect can become quite challenging indeed. If the hearing loss is great enough this is a challenge that unfortunately may not be completely overcome. As far as habits are concerned, the only habits one must overcome is any tendancy one might have to give up when the going gets rough. Learning and then integrating a dialect is a project that requires a great deal of energy, focus and specificity coupled with a sense of curiosity and permission to step outside what is known and comfortable. The process can be at times thrilling and at other times a bit intimidating. As long as you don’t hit the first rough patch in the road to learning a dialect, declare yourself ‘not good at dialects’ and quit, you’ll reach your goal.

Look for part two of this interview tomorrow, where you get to hear more about the dialect acquisition process, and find out just what the heck these are:

Interview with Dr. Ann Utterback – Part 2

May 6, 2011 by George 4 Comments

Part two of my interview with voice specialist and author Dr. Ann Utterback. Ann has a PhD in speech and specializes in voice and diction. She has written dozens of articles and 8 books on the voice, including the Broadcast Voice Handbook. Her most recent article on tension and the voice can be found on Voice Over Xtra.

Part one of this interview is here.

Is there a consistent problem you run into with beginners that you would love to eliminate before clients get to you?

I often say that breathing is the energy for speech. It is really helpful when someone comes to me who has already done some work to improve breathing. I’ll give you an example. I used to do an exercise in workshops where I asked participants to exhale an “ah” sound for as long as they comfortably could. Invariably, the person who went the longest had some experience playing a wind instrument. They already knew how to inhale a full breath of air and how to control the exhalation of that air. Now not everyone wants to take up the tuba to improve their voice! But there are other ways to work on breathing. Yoga is great for breathing. Aerobic exercise expands the breathing capacity. Any of these things will help. Breathing is something we can all work on on our own. If a client has done this before they see me, it shortens the amount of time I need to work with them.

Do you find that previous performance training, such as singing or stage work, provide a help or a hindrance for those you work with?

Singing and acting can certainly help your voice. It can, however, really hurt your voice. It all depends on the type of training you receive when you are doing it. I’ve had clients who have permanently damaged their voices singing without good instruction. Not just rockers, either. I had one client who sang in a choir but received bad advice about projecting her voice. Stage acting can also promote misuse of the voice. That was more true back in the days before microphones were used so extensively on stage, but it can happen even today.

Can you walk me through what a telephone evaluation with you would be like?

This is a good place for me to state very clearly that I am not a voiceover instructor. There are plenty of people out there doing that who know lots more about voiceovers and how to develop character voices, etc., than I do. I am a voice specialist who works with issues like breathing, articulation, sounding conversational, having good vocal energy, and keeping your voice healthy. A typical session begins with the client sending me their work. I review this extensively before our session. In the session, I begin by doing a vocal health assessment. I ask the client lots of questions about the history of any voice problems, how they care for their voice, if they have symptoms of stress, and other questions along those lines. I also ask about diet, smoking, water consumption, and exercise. Once the history has been covered, I begin discussing the areas where I believe the client needs improvement based on my review of their work. I explain the concepts and give exercises from my book, BROADCAST VOICE HANDBOOK, that the client can begin doing to make the improvement needed. Some clients do only one telephone consultation with me, and use the tools I give them to work toward improvement on their own. Others may schedule more sessions so I can walk them through the exercises and keep them on track. I’ve always told clients that I can give them in one hour the tools they need to improve. I don’t want anyone to think that they will have to pay for numerous sessions. That’s a choice, but not a requirement.

Is there a success story you can share that makes you proud of the work you do?

I worked with one young women, let’s call her Mary, whose voice was so young-sounding that she couldn’t get a job at the smallest television station in the country. What is needed for a childlike voice is work with resonance. Mary took this work so seriously that she did the exercises I gave her everyday for probably an hour. I was amazed by her commitment. But, it paid off. In a couple of years she had not only gotten an on-air job in television, she was working in New York city, which is the number one television market in the country! I used to play a recording of her “before” and “after” voice in workshops, and no one could believe it was even the same person. She is living proof that you can make major changes in your voice if you really work at it.

I want to thank Ann for taking the time to answer these questions, and I truly appreciate what she is adding to the voiceover community. Take a few minutes to check out Online Voice Coaching and see what she has to offer. You can follow her on Twitter at @AnnUtterback.

Interview with Dr. Ann Utterback – Part 1

May 5, 2011 by George 1 Comment

Dr. Ann Utterbeck of OnlineVoiceCoaching.com — Dr. Ann Utterback

A few months ago, I began using Scoop.it in order to find news and information on voiceover. It has a very nice search plan. And one of the best things I found using Scoop.it is Dr. Ann Utterback. Her blog posts on managing the voice for broadcasters are incredibly helpful, and I began posting them for others shortly after finding them. Others clearly have found her just as helpful, and you may have seen her recent article on Voice Over Xtra on reducing tension with exercise.

Dr. Utterback is a Voice Specialist with more than 40 years experience. She has helped hundreds of people make the most of their voices. She has worked with broadcasters, voice over artists, and podcasters around the world. Ann is the author of eight books and over 50 articles on voice. Her book, BROADCAST VOICE HANDBOOK, is used in newsrooms and classrooms throughout the United States. It is designed as a self-help book that teaches how to improve every aspect of your voice. She has her BA and MA in Speech with an emphasis on voice and diction from the University of Memphis, and her Ph. D. from Southern Illinois University. You can find her website, book and a free voice exercise MP3 at Online Voice Coaching, and she was kind enough to answer a few questions for me. I’ll be presenting the second half of the interview tomorrow.

What led you to be interested in working with broadcast professionals on their vocal techniques?

There were a couple of things that started me on my career path. First, I grew up in Memphis and had quite a strong southern accent. While in college I took a voice and diction class and used what I learned to correct my own accent. After I did that, it occurred to me that if I could fix my own accent, I could help other people with voice challenges. This started me on a 16-year teaching career. I taught voice and diction at several universities around the country. Then in 1985 I was contacted at the University of Maryland, where I was teaching, and asked to coach one of the bureau chiefs at CNN. He is the person who advised me to leave teaching and become a broadcast voice specialist full time. I owe him for that because it has been a wonderful career. In 1989 I went on to write my main book, BROADCAST VOICE HANDBOOK, which is now used in newsrooms and classrooms across the country. It came out in the fifth edition last year, and it’s rapidly becoming a popular resource for voiceover artists as well.

Do you find that, as groups, television anchors, radio hosts or voiceover professionals have different concerns or technique issues to work on?

Television is challenging because you have to factor in the visual presentation as well as the oral. Other than that, I find that the basic areas of breathing, resonance, vocal health, articulation and vocal energy apply to all forms of oral expression. I have had the privilege of working at the Voice of America as a consultant for the last 20 years, and people ask me all the time how I can work with people broadcasting in over 50 different languages. I tell them that the equipment they are using is all the same whether they’re speaking Tibetan, Swahili, or Urdu, and it hasn’t changed in thousands of years. We all breathe and articulate, for example, with the same equipment. Vocal health challenges don’t vary from language to language and that’s true of the different modes of voicing whether it be voiceovers or broadcasts.

Your posts point out that there is so much more to what we do than simply breathing and speaking. Do you find it difficult to convince newcomers that it isn’t just about talking, and that the rest of the body plays a part in their “performance?”

I’ll tell you a funny story about that. Around 1995 I was asked to speak at a large broadcasting convention. I had been incorporating more and more stress control work into my coaching because I had discovered that with some broadcasters it didn’t matter how much I coached them, they didn’t improve. I finally realized that they were so stressed it was preventing them from improving. Well, when I let the word out that I was going to lead a convention session on stress, my friends in the business told me it was professional suicide. They thought no one would take me seriously as a voice coach ever again because in the broadcasting world you didn’t talk about stress. My session changed all that. It ended up being standing room only, and now every year at this convention they have a session on stress control. I’m hoping that voiceover talent will realize the importance of stress control and vocal health as well.

Read Part 2 of this interview. You can follow Ann on Twitter at @AnnUtterback

Training

Contact