In LA we see an awful lot of networking. Look inside the pocket of anyone at a local bar or Starbucks and you’ll find a business card, promotional sticker, or headshot. Everyone wants to schmooze and network their way into a career, but when it comes down to it, you have to walk the walk. For VO actors, that means getting a demo reel together.

 

A reel is your ticket to landing an agent and getting auditions, so do it the right way. This means 60 seconds of various voices, professionally recorded on a CD or digital copy. What does "professionally recorded” mean? It means high-quality, no background noise, done at a studio with no processing or special filters. If you recorded your demo off the shoulder of the freeway with the Fisher Price microphone you’ve had since you were twelve, agents will notice. This doesn’t mean you have to spend thousands of dollars, but take the appropriate steps to make sure nothing distracts us from your performance. Lead and end your reel with your best samples, and make sure to vary it up. Show agents how versatile you are! Some really good voiceover demos can be found at www.voicebank.net, so take a listen and see how yours measures up.

 

 

 

Looks simple when it’s typed out, doesn’t it? But there have been folks living in LA for years who haven’t been able to land one. Agents have long been the gate keepers to a career in the entertainment industry and man, they protect it with ferocity. The good news is, finding representation is simply a matter of persistence and talent. Sure there are exceptions to the rule (I’m looking at you, cast of Twilight) but agents know landing a commission is a numbers game, so finding and signing new talent is as important to them as they are to you.

 

When you have your demos recorded, pressed, and labeled with your contact info and website address, it’s time to do some research. Drum up a list of every talent agency in the NY/LA area that represents VO actors (listings can be found on the internet and in books). Then research each company to find out if they have a designated assistant or agent who will accept your reel. It’s always best to send it to an actual person rather than a department, but regardless, be courteous and brief in your introduction letter. Agents are extremely busy, and won’t read anything longer than a few sentences – besides, it’s the reel that will catch their attention, not your ability to detail at length what a hard worker you are. Here’s a good example:

 

 

 

As you send out your reels, remember to track your progress. Note who you correspond with on an Excel spreadsheet, as well as their response – which brings me to my next step…

 

 

 

Yes, indeed – this is going to happen. You are going to be rejected. You are going to be ignored. You will get back enough rejection slips to wallpaper your room with (as I did once in college, just for kicks). But don’t be deterred, and don’t take it personally. Often times agents are looking for an actor to fill a very specific niche, so if your timing was off or they didn’t hear what they needed, your reel goes in the trash. You also may have to be honest with yourself and say "Well, looks like I need more practice.” Then go back to the drawing board, hone your craft, and try again.

 

The important thing to remember is that this industry weeds out the star-struck and rewards the steadfast. If you’re looking for a principal role in the next Mass Effect game, you’re in for a rude awakening. But if you hone your craft, push through the rejection, and keep your eye on the dream, the industry will open its arms and let you in – eventually.

 

 

 

Phew. It was a long road getting here, huh? But after several reels, a few seminars, a workshop or two and a ton of persistence, you defied the odds and signed with your first agent. Congrats! Now it’s time to buy that Escalade, grab your entourage, and hit up Sunset Blvd, right?

 

 

Now you’re officially eligible to audition for video games. When Insomniac starts casting, we create what’s known as a "Character Side”, also known as a "Character Breakdown”. It’s essentially a paragraph detailing what the character is about, along with a few lines for the actor to read. We send these out to the agents, and receive approximately 200 auditions per part.

 

Yep, the competition is that fierce. And that’s just for small parts! But fear not, intrepid thespian – war games are here to save you! Have you ever stopped to listen to the battlefields in Resistance, Medal of Honor, or Call of Duty? How many unique voices do you hear screaming "Incoming!” or "I’m out of ammo!”? A lot. Our insanely talented audio department spends months scripting, rearranging, and recording the perfect battlefield, and this requires tons of actors willing to pay their dues by screaming their heads off for hours on end. That’s why war games are considered entry-level VO gigs: there are tons of them in production, and they all require intensive sessions established actors can’t risk taking. So stock up on tea and honey, because you’re going to war.

 

From here, landing a gig depends on the auditions you send in. Trust your agent’s feedback, as he/she knows how to best leverage your strengths in a competitive industry. When you get your first job, treat it as if it’s a principal role regardless of how small it is. I can’t begin to tell you the number of actors we’ve brought back for larger and larger roles simply because they were talented, hard working, and fun. Dave Boat, an accomplished actor, was Pirate #3 in Tools of Destruction. In Resistance 2 he came back as the grizzled Capelli. In A Crack in Time, he became Lord Vorselon and Zahn Gribnak!

 

 

 

You have a long road ahead of you, but remember – if it were easy, everyone would do it. Study acting techniques, hone your craft, and be persistent yet professional. Visit James Arnold Taylor’s website (www.jamesarnoldtaylor.com) for a section on more VO tips. And next time your teacher tells you to stop goofing off, tell them you’re practicing for a lucrative job in the video game industry. Just be prepared, as a lot of them won’t fall for that (I’m looking at you, every teacher I ever had).