VO-BB - 20 YEARS OLD!

Mike Harrison · Posted: Fri Jun 26, 2009 9:22 am Post subject: Audition Question: 1 spot or 2?

If an agent sends an audition for a single character, but includes scripts for two different spots, do most of you choose one script or the other, or do you record and submit both? The agent didn't stipulate, and I've never received two scripts in an audition before.

I'm just a bit gun-shy after having been ripped off a couple of times, what with the passable quality of mp3 files.
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Doc · Guest

Mike,

For me, it depends on whether I think I have the chops for both scripts. If so, I record them both because ya just never know.

Deirdre · Posted: Fri Jun 26, 2009 9:49 am Post subject:

If I like the scripts, I'll do both, but I'll try for distinctly different reads.

I record auditions without looking at the clock, so they're usually over the allotted time, and therefore unusable.

An agent's involvement should keep you form getting ripped off, anyway!
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Jeffrey Kafer · Posted: Fri Jun 26, 2009 10:15 am Post subject:

Mandy Nelson · Posted: Fri Jun 26, 2009 10:48 am Post subject:

Mike Harrison · Posted: Fri Jun 26, 2009 11:58 am Post subject:

Thanks, guys.

Yeah, I've both submitted reads over the allotted time, and used traditional watermarking methods. I've been asked not to do either. Some agents found the watermarking annoying, even though the watermark didn't mask what was being said, and others wanted the audition within time so that they could slap some music under it and judge it.

That's what makes me apprehensive: having been burned already, and then being asked specifically NOT to try to protect myself. Another VO I posed that scenario to a while back said I should submit within-time and un-watermarked, stating that (and I don't know where he gets his information from) theft doesn't happen "all that much," and I'd never know about it anyway.

I found that to be very comforting (not)... especially coming from a fellow professional.
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Dan-O · The Gates of Troy Joined: 17 Jan 2005 Posts: 1638

This is one of the great debates in VO: to work the clock or not. It has been said to me that a good many times it is the person who can perform the script in the allotted time who lands the job over the person who doesn't. (For me, why do I want to give a producer a reason to choose someone else? So, do it right the first time.) I know in promo you better have it locked in. This also goes for the character over the top fast reads (Fedex style.) However, when they want a natural read and the script times out ten seconds or more no matter how you read it, send it in with the best read you can perform.

I do see the watermark side of the debate, but, IMO, watermarking shows a lack of trust in a producer. This business is all about your talent and building relationships. Saying right up front that "I don't trust you" is not a superb way to start a relationship.

As for the thread topic: I would send in both scripts as the same character. The producer is probably looking for a continuity of the character in different situations.

Opinions will obviously vary.
Wink

Mike Harrison · Posted: Fri Jun 26, 2009 1:08 pm Post subject:

Deirdre · Posted: Fri Jun 26, 2009 1:11 pm Post subject:

If someone just needs a script read in time, they can get anyone.

If they like the way I sound, they hire me.

as you said, YMMV.
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Moe Egan · Posted: Fri Jun 26, 2009 1:27 pm Post subject:

That's what I do Deebs...when approached after such a demo, the client (if new) will usually say something like "But we need it faster". My reply "I know."

It's all good.
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ConnieTerwilliger · Posted: Fri Jun 26, 2009 2:48 pm Post subject:

I guess I sort of split the difference. I don't run a clock and shoot for 29.5, but I will read it and look at the time. If it is 31 or 32, I'll leave it at that (unless they have specifically asked for it in time - which is actually quite rare). If it is 42, then I know that I should probably rethink my character a bit and roll again to pick up the pace.

The thing about trusting the producers you are auditioning for. This really has only become a problem with the rise of the nameless faceless audition sites. At least with an agent (and I use the term to descibe any of my relationships that provide an intermediary) or at least an online site that provides the name of the potential client, you have a pretty good idea of who is asking you to the dance.
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Dan-O · The Gates of Troy Joined: 17 Jan 2005 Posts: 1638

Connie hit the nail on the head. When you work with professional producers, you really do not have to worry about someone ripping you off. They respect what you do and vice versa. If you are knowingly auditioning for bottom feeders, you are putting yourself at risk. So, don't do it. If a new client contacts you for an audition; it is too easy to do a quick background check on the internet. OR if something seems fishy about a client...pass and move on to the next opportunity. Remember the old saying "If you swim with the sharks, expect to get bit."

What is with all the aquatic metaphors, today?

Lee Gordon · Posted: Sat Jun 27, 2009 12:45 am Post subject:

If I can make a wordy piece of copy sound decent in the specified time (and suspect that most of my competition will just cut he script without regard to length) I will do it in 30 or 60 or whatever is called for and point out to the producer that I had done so.

If there's just so much copy that I can't possibly make it fit, I will occasionally cut two demos: one read at the pace I think it should be done at, and one faster without sounding crappy, even if it is also too long. Then I'll tactfully suggest that the spot would sound better with fewer words.

Getting back to the original question, late last year a producer sent me a script and asked me to audition for the announcer part. I did, but figured it wouldn't hurt to send in a demo as the husband, too, although he didn't ask me to. I didn't get the job as the announcer, but I was cast as the husband. So I say, go for it.
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Mike Harrison · Posted: Sat Jun 27, 2009 3:31 am Post subject:

Excellent advice.

Great point, Connie and Dan-O: if the copy comes from an established agent, the chances of being ripped off are slim to none. I just want to point out, though, that one who almost got away with ripping me off was a very well-established production house in the U.K. It was an actual job, but I wound up finding a 'creative' way to convince him to pay what he owed. So, just because we can look someone up on the internet doesn't necessarily mean they're above board. Foreign entities may think that because the talent they hired is in a different country thousands of miles away that he or she probably don't have the time or resources to go after them if they try to pull a fast one. Very often, people will do things simply because THEY CAN.

On the issue of timing, Lee makes a great point. Because bringing a spot in on-time is expected of us when we've got the job, it does make sense to try to make it work as best we can in an audition. I also like Lee's approach: cut two versions; one at a realistic pace, even thought it may run over, and the other force-fit.

And kudos for Captain Kirk-like thinking on also submitting for a part other than what was asked for. By going above and beyond, sometimes the results are worth it.

Thanks, everyone.
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