VO-BB - 20 YEARS OLD!

ronphi · Posted: Wed Feb 21, 2007 11:03 pm Post subject: How To Submit Auditions

I have gotten to the point where I am beginning to be comfortable with my performance. Enough so that I have submitted auditions for the great projects posted in the Work section of the board. Sadly I haven't been chosen yet. Such is life in the show business. Right now I feel like the little 5' freshman in a gym full of 7' seniors trying out for the basketball team. I have a lot of growing to do.

After listening to the Joan Baker interview Joe posted I got to thinking about best practices for submitting custom auditions. I know if you are doing a live audition you should slate. Wondering if slating should be done on non-live auditions as well. I understand that at live auditions the producer/director typically asks for multiple reads so, in anticipation, do you folks submit multiple cuts with different reads? Do you follow up some time after the submission or do you just let it go with the idea that if they contact you, great and if they don't, that's OK, too. Are there any other best practices you could add?
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asnively · Posted: Thu Feb 22, 2007 12:48 am Post subject:

I'll just chime in that you shouldn't assume that you should slate a live audition. The person running the show will let you know whether you should or not. Often, whoever is running the board will slate everyone.

If they don't happen tell you, after you're settled into the booth and have your headphones on, take a breath and a swig of H2O and ask "You want me to slate?"

If you are to slate a live audition, slate in character-- your slate should match the sound and energy levels as well as tonal/vocal quality. It's jarring to have someone perkily slate their name and agent then leap into another voice...

As for online auditions, I have no insight.
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Deirdre · Posted: Thu Feb 22, 2007 8:06 am Post subject:

Candi Milo has a different take on slating in character-- she says NOT to do it. It gives the people a chance to hear your real voice, and lets them know you don't really have the lisp or accent you're using for the read. You would, of course, slate with the same intensity as your intended read.

When auditioning, I'll send in multiple reads for an audition if I have a distinctly disparate notion for the 2nd read: different placement, different pacing, different inflection. When casting, I'll quite often hear the talent say "2 reads" and then hear 2 essentially similar takes. This is a waste of the casting person's time and a sure spotlight on the lack of imagination of the talent. Those auditions get BALEETED.

As far as following up is concerned: once I audition for something, that part of my job is done and I forget about it.
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bobsouer · Posted: Thu Feb 22, 2007 11:30 am Post subject:

Ron,

For online auditions, I generally don't slate; but do include my name in the filename. (e.g.: Bob Souer - pavement contracting audition.mp3) For auditions sent me by my agents, I do slate; because that's what they want me to do. I also name the file as they've requested, which is usually my name and the client's name.
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KaraEdwards · Posted: Thu Feb 22, 2007 11:39 am Post subject:

I'm still new to the world of on-line auditioning- so take this with a grain of salt...

I have a slate that was done by my good friend Brian Haymond. It just says, 'This is Kara Edwards'. I like the contrast between my voice and his- so it gets attention! Pat Fraley does this on his demos, there is a british woman that introduces him.

That way you don't have the akward...'hi, I'm so and so and this is whatever'.

On a live audition- I do whatever I am told to do!

Oh- and an agent I had in Texas a few years back told me...for every 25 auditions- you just might get a job. Sometimes I book, sometimes I don't- I just remember that it doesn't reflect on me- I just didn't have the sound they wanted at that moment.

Plus- you never know who will keep you in their 'vault' and come back to you down the road!
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Jeffrey Kafer · Posted: Thu Feb 22, 2007 11:56 am Post subject:

That's a great idea, Kara. Anyone interesting in doing some Slate-swapping?
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Sound Advice · Guest

If you're submitting your audition online for an agent, ask your agent how they want you to slate.

It will always include your name, It will sometimes include the name of the part you're reading for (unless there's just one part), the name of the spot/product, and the name of your agent.

It could be "For Rug Doctor and Acme Talent, this is Shaun Jacob."

Or it could be "Kate Parker, Top Talent, Woman 1."

The number one rule when it comes to slates: DON'T give a low-energy slate! It will totally sandbag your read and you'll lose the casting director/producer in the first 2 seconds--even if it was a perfectly great audition.

Deirdre · Posted: Thu Feb 22, 2007 2:53 pm Post subject:

Amen to that!
Some people have gotten cast based on their slate alone.

Don't for god's sake slate your name like it's a question, or the first item of a list.
Hi? I'm Susanna White?

It sounds juvenile and unsure-- an instant turn-off.
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tackerman · Posted: Fri Feb 23, 2007 3:10 am Post subject:

I slate stuff for my agents the way they request.
For all the v123, etc. stuff I just say my name and my web addy (no www) Laugh

before kicking into the demo.

anthonyVO · 14th Avenue Joined: 09 Aug 2005 Posts: 1470 Location: NYC

Do we REALLY believe that given the "right" read, interpretation, opinion, and/or persona, they are not going to cast someone because of their slate? C'mon! Seriously, guys.

Picture this:
DECISION MAKER: "Man, I REALLY love their read... their voice... their persona... everything! They're perfect for this job that my ass is on the line for... but their slate sucked. I think I'll risk losing my client by picking someone else for this job - although that 'someone else' isn't perfect for this spot."

Don't fall into the "mind-taffy" trap again. There is money at stake here - no one will pass up the "perfect" VO for a job based on their slate... period.

To sum it up:
Your READ should be bankable. Your SLATE is extra change you find on the street... don't throw it out, but don't expect it to buy you anything. Focus on the big "bank" deposits and always throw in some "change"... they'll tell you if they don't want it... or in what "denomination".

Break a leg, peeps.

PEACE.
-Anthony

richgates · Guest

I agree with you for the most part Anthony. I believe that the client will cast the person they feel is right for the job whether they have a good slate or not. But I think when it comes to this or any business, the way you present yourself is extremely important.

Would any of us send a demo to an agent with our name hand written in Sharpie on the CD with a handwritten cover letter? I would hope not. It is hard enough to get your demo heard as it is in some markets. You want to give yourself the best opportunity to be considered.

That's why I think that you should give yourself the best opportunity for consideration by presenting yourself well at every turn. I don't think a slate would be a deal breaker, but it could make the difference for some people so why not always give it your best?

anthonyVO · 14th Avenue Joined: 09 Aug 2005 Posts: 1470 Location: NYC

I'm not implying to NOT give it your best. Just don't think about it so much. I mean, when i chew gum, i chew my best as well, but i don't obsess over how long I'll chew nor which side i'll chew it on - i focus more on choosing the RIGHT gum to begin with.

This is typical actor behavior - since most of the casting process is out of our control, we tend to over-think the little things that we DO have control over.

-Anthony

Deirdre · Posted: Fri Feb 23, 2007 9:58 am Post subject:

I hear you, Anthony.

It's all about establishing good habits, I think.

Now spit that gum out, young man. . .unless you have enough to share with the class.
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richgates · Guest

ronphi · Posted: Sat Feb 24, 2007 3:41 pm Post subject:

Thank you all for the lively discussion. I know a slate is not a deal breaker but since I am so new at this I just wanted to understand proper etiquette.

I appreciate all the input.
_________________
Ron Phillips

"The wireless music box has no imaginable commercial value. Who would pay for a message sent to nobody in particular?"
David Sarnoff's associates in response to his urging for investment in the radio in the 1920s.