This is part two of an interview I did with myself about where to do voiceover. We'll pick up where we left off...
Me: So, you left Chicago and made your way to L.A. Why?
A: Well, there were several reasons. It started with me shovelling snow for the third time in the same day, and realizing that I no longer wished to shovel snow--ever again. So, I flew to the left coast, made a phone call and signed with an agent. Along the way, I met the woman who would become my wife and settled into a nice life by the beach. (knock on wood)
Me: It's that easy, huh?
A: No. I had an established career in Chicago and an in at with the person who would become my L.A. agent. I had put together a website, which included several spots from a McDonalds campaign I had just done. So, when asked..."what are you currently working on?" I could say, "it's on the website." Also, my Chicago agent had a long standing relationship with my L.A. agent and a good word from Chicago led to a meeting with L.A. And, it took a TON of convincing to get Mrs. That Voiceover Podcast:Mike Speaks Out to be my wife. I'm still entirely sure she's 100% on board. :)
Me: So, I'll repeat my question...it's that easy, huh?
A: I was lucky, in the right place at the right time, the stars were aligned, it was in the cards, etc. If you have talent, an established career, a solid demo with current spots, agent/friend recommendations...then yeah, it's that "easy."
Me: Did you work right away?
A: No. It took months for me to get working steadily in L.A. (knock in wood, I do that a lot). I was actually beginning to think I had made a big mistake by moving to L.A. I left a perfectly good career in Chicago. This town can quickly wear on you when you're not working. You see people working, making a living in the industry and you aren't. You start to question your abilities, your reads, your auditions, everything. It takes a lot to stay positive and believe in yourself when you are out of work in the one place where most of the work is.
Me: But, you stuck it out. Why?
A: Well, it's L.A. I have an ego. I had a need to be a working actor in L.A. I mean, to be a working actor in a city populated by actors, feels pretty good (but, please, "act like you've been there." If you are working, don't flaunt it. No one likes a show off). Plus, it's L.A. It's sunny every day here. I live near the beach. I go to that beach and listen to the waves. I can do yoga here an no one thinks I'm strange. I can surf, golf, ski, play tennis, snow board, go ice skating...all in a weekend. Vegas is four hours away. There are poker rooms 20 minutes from my house (that is dangerous--I have a problem). Hawaii is 5 hours by plane. Mexico is two! Wine country is all up and down the coast. San Francisco is a six hour drive or a one hour flight. And, finally, it's L.A. There's more work here for actors than any other city. When you work here, you're "L.A." talent--which has both it's bonuses and draw backs.
Me: Sounds great.
A: Oh, there's a downside.
Me: Kill joy.
A: I've only described the good side. I have to lay it all out. I lived here in the early 90's. And, at that time, I was young...very young. And, I struggled as an actor. This is a tough place to be, if you are a struggling actor. Why? Because most actors struggle. The statistics of working actors vs. non-working actors is over-whelming. This city can chew you up and spit you out. I think this is one of the hardest places to get going as an actor. Want to do theater to learn your trade? Okay, but you'll be doing shows to tens of your favorite friends. Want to get your SAG card? So do hundreds of thousands of other actors. Want an agent? Good luck. You'd better be damn good and stand out. Want to study at the Groundlings, the Second City, ImprovOlympic? So does every other comedic actor out there. The waiting list to get into classes is months. And, don't get me started on the amount of time and money it costs to get any stage time.
Me: Is it that hard?
A: Yup. In L.A. you need a car. It is a must, must, must. You can't get around on public transportation. It's impossible. This is car culture on steroids. Rent, in nice neighborhoods, is insanely high. It's merely "high" in so-so neighborhoods. And, you really don't want to live in bad neighborhoods. Gas is higher here then in most cities. Food costs more. State income tax is high. The traffic...well, the 405 freeway is rumored to be named the 405 because it takes you 4 'o 5 hours to get anywhere. L.A. traffic is not a joke. It's the horrible truth. And, there is no way around it. No matter where you are, you are 45 minutes to an hour from where you need to be. You HAVE to give yourself extra time to get anywhere. The drive from my place in Venice to Hollywood for a 9 AM session takes anywhere from 40 minutes to an hour ten minutes--and you never know which it'll be. You have to pick where you want to live. Love the beach? Live on the west side. But, expect LONG commutes to the Valley, Hollywood and Burbank. Love the Hills, Hollywood, the Valley? Expect long rides to the west side, mid-city, or, basically, where ever you have to go that is not in your area. It blows.
Me: So long Eden.
A: It's not that bad. Look, this is where the work is. Yes, Chicago and NYC have a ton of commercial work, promos, and narration. But, cartoons, ADR, looping, voice matches, commercials, video games, promos, TV shows, et al...it's here. Disney, Nick Jr., Warner Brothers, they're in L.A. If you catch on, if you have a good agent, a good voice, and talent...you will work and you will make money. Some of the best teachers, demo producers, and coaches are here. The big agencies are here. I was making a nice living in Chicago. I had a good life. I could have stayed and done all right. But, I always felt there was more out there. I wanted more. I moved to L.A. and I got it.
Me: So...you're glad you moved?
A: Yes. It was the right move. For me. I was single, mobile and had the means to live in L.A. for a while without working. And, I had friends and family in L.A. who supported my move. Here's my suggestion if you want to come to L.A. for a while.
- First, save enough money to live off of for six months. Then double it.
- Two, get a car.
- Three, set up meetings BEFORE you get here. Make contacts. Use your friends. Get your current agents to put in phone calls to their contacts.
- Four, figure out where you want to plant your flag before you get here. Ask your friends who live in L.A. where they live, where they want to live and why (if you're an actor and don't have friends who've at least TRIED to live in L.A. I'd be surprised). Figure out what YOU need out of a place to live. Want to walk to restaurants and bars? Want cooler weather? Want cheaper rent? Figure that out!!
- Five, work your ass off once you get here. BUT remember to enjoy L.A. There's a ton to do here, find what you like and do it. Don't just focus on acting. You'll be dull and boring.
- Six, if you intend to stay...find a job, if you need it. This city sucks without money.
- Seven, keep up your contacts with all your other agents in other cities. And, try to get agents in cities where you don't have agents.
Me: Is that how you got NYC representation?
A: Yes. Plus, I wanted a reason to have to go to New York.
Me: To live there?
A: No, that's not for me...but, let's talk about NYC. Next time. I need to hit the beach...
Monday, February 21, 2011
Monday, February 7, 2011
Where do I do this: Chicago
Come with me on a journey over the next few posts. From Chicago to L.A. to New York, as I interview myself about where to live as a voiceover actor. I can only really speak for these three cities, as they are the only one's I've worked in.
Me: So, That Voiceover Podcast: Mike Speaks Out, where do you do voiceover?
A: In my closet.
Me: Huh?
A: It's a bit of a joke. See, because sometimes I record from my home studio, which is in my closet. You know what, if I have to explain it, it's not funny. You can delete this part. What was your question?
Me: You're an idiot. Where, meaning city, do you to voiceover?
A: Currently, in Los Angeles. But, I worked and started in Chicago. And, I try to spend time in New York every year to get work there too.
Me: You're not helping.
A: Well, it's not a simple answer - any more. When I started, these three cities were basically the islands of the voice-over world. Each had their major ad agencies with major clients offering major campaigns. Now, with the invention of ISDN, voicebank, Source Connect, etc. those islands have been bridged. As long as you have a good agent, you're going to get big auditions from any city. However, each city still has agencies, producers, writers who still only want to use the talent that's closest to them.
Me: Oh.
A: See, not so simple. I have representation in every major market, and some smaller ones too. So, I now choose to live in LA. But, there's a reason behind that too. A lot of it has to do with Mrs. That Voiceover Podcast: Mike Speaks Out. Her work is here, so I make this my home base.
Me: But, you started in Chicago. Why did you leave?
A: Mrs. TVOP:MSO. But, also work. As my acting career matured, I realized that there was more work on the coast, and I didn't want to deal with winter any more. But, because ISDN made going to LA or NYC so cheap, a lot of the work in Chicago went to LA or NYC. As the years progressed and technology got cheaper, my work started dwindling in Chicago, so I went to LA. I started working for some of the same producers I used to work...because I was now LA talent. But, don't get me wrong....sometimes they don't want LA talent. They want NY talent or Chicago talent. So, it's hard to know where to live.
Me: Will you ever just answer a question direct? You'd make a terrible witness.
A: My wife (the lawyer) tells me that every day.
M: So, is there a reason to be in Chicago?
A: Oh yeah. For sure. First of all, I am biased, I love my home town. And, I got my start there, and it was an incredible experience. I preformed at ImprovOlympic. I studied at Second City. I did plays, sketch comedy, and improv for years and years and years, in big venues and small. And, I put in ten years of voiceover, and it became my career and my way of making a living, and I loved it. I still believe it is the best city to get your start. No city is better built to get a start as an actor.
Me: Really?
A: Absolutely. As far as a city goes, I think Chicago still very appreciative of new actors. You can find cheap rent. It has a great transportation system, so you don't need a car. There are plenty of places to work while you perfect your craft. There are hundreds of spaces to put up show and there are endless streams of appreciative audiences. I don't remember ever performing for less then 50 people while performing at ImprovOlympic. And, there is still a ton of commercial work in Chicago. If you have talent and drive, you'll get signed by an agent and get auditioning. Chicago is a great town to find your talent and become a seasoned actor.
Me: So, it was a good experience?
A: The best. I got my SAG card in a month of getting signed by my first agent. I did on-camera commercials, industrial films, trade shows. All of it. I think it's easier to make a living as an actor in Chicago then in NY or LA. Chicago is the best town to be a working, blue collar actor. You can make a living doing theater, commercials, the occasional TV show or film, etc. My dad did. All of my actor friends there do. And they're able to afford houses and send kids to school. If you've got talent and aspirations of making a nice living as an actor, this place is for you. However, it is increasingly difficult to get started here, because of the popularity of Second City and ImprovOlympic. Thousands of Tina Fey's and Steve Correll's flock to Chicago's improv scene every year hoping to be the next star to be discovered. It does happen, so go for it, but also realize that there's no shame in being a working actor in a working actor's town.
Me: So, Chicago wins?
A: No. It's just one option. And, while I miss the city, my friends, agents, family, Portillo's Beef, great pizza (Giordano's), steaks (Select Cut), the Cubs, the Bears, Southstreet Seaport (my favorite bar), autumn, Taste of Chicago, the lake front, and on and on and on....My career moved on, and I had to as well.
Me: So, LA...
A: Yeah, LA.
Me: What about it?
A: Let's save that for next time. I'm hungry now...
Me: So, That Voiceover Podcast: Mike Speaks Out, where do you do voiceover?
A: In my closet.
Me: Huh?
A: It's a bit of a joke. See, because sometimes I record from my home studio, which is in my closet. You know what, if I have to explain it, it's not funny. You can delete this part. What was your question?
Me: You're an idiot. Where, meaning city, do you to voiceover?
A: Currently, in Los Angeles. But, I worked and started in Chicago. And, I try to spend time in New York every year to get work there too.
Me: You're not helping.
A: Well, it's not a simple answer - any more. When I started, these three cities were basically the islands of the voice-over world. Each had their major ad agencies with major clients offering major campaigns. Now, with the invention of ISDN, voicebank, Source Connect, etc. those islands have been bridged. As long as you have a good agent, you're going to get big auditions from any city. However, each city still has agencies, producers, writers who still only want to use the talent that's closest to them.
Me: Oh.
A: See, not so simple. I have representation in every major market, and some smaller ones too. So, I now choose to live in LA. But, there's a reason behind that too. A lot of it has to do with Mrs. That Voiceover Podcast: Mike Speaks Out. Her work is here, so I make this my home base.
Me: But, you started in Chicago. Why did you leave?
A: Mrs. TVOP:MSO. But, also work. As my acting career matured, I realized that there was more work on the coast, and I didn't want to deal with winter any more. But, because ISDN made going to LA or NYC so cheap, a lot of the work in Chicago went to LA or NYC. As the years progressed and technology got cheaper, my work started dwindling in Chicago, so I went to LA. I started working for some of the same producers I used to work...because I was now LA talent. But, don't get me wrong....sometimes they don't want LA talent. They want NY talent or Chicago talent. So, it's hard to know where to live.
Me:
A: My wife (the lawyer) tells me that every day.
M: So, is there a reason to be in Chicago?
A: Oh yeah. For sure. First of all, I am biased, I love my home town. And, I got my start there, and it was an incredible experience. I preformed at ImprovOlympic. I studied at Second City. I did plays, sketch comedy, and improv for years and years and years, in big venues and small. And, I put in ten years of voiceover, and it became my career and my way of making a living, and I loved it. I still believe it is the best city to get your start. No city is better built to get a start as an actor.
Me: Really?
A: Absolutely. As far as a city goes, I think Chicago still very appreciative of new actors. You can find cheap rent. It has a great transportation system, so you don't need a car. There are plenty of places to work while you perfect your craft. There are hundreds of spaces to put up show and there are endless streams of appreciative audiences. I don't remember ever performing for less then 50 people while performing at ImprovOlympic. And, there is still a ton of commercial work in Chicago. If you have talent and drive, you'll get signed by an agent and get auditioning. Chicago is a great town to find your talent and become a seasoned actor.
Me: So, it was a good experience?
A: The best. I got my SAG card in a month of getting signed by my first agent. I did on-camera commercials, industrial films, trade shows. All of it. I think it's easier to make a living as an actor in Chicago then in NY or LA. Chicago is the best town to be a working, blue collar actor. You can make a living doing theater, commercials, the occasional TV show or film, etc. My dad did. All of my actor friends there do. And they're able to afford houses and send kids to school. If you've got talent and aspirations of making a nice living as an actor, this place is for you. However, it is increasingly difficult to get started here, because of the popularity of Second City and ImprovOlympic. Thousands of Tina Fey's and Steve Correll's flock to Chicago's improv scene every year hoping to be the next star to be discovered. It does happen, so go for it, but also realize that there's no shame in being a working actor in a working actor's town.
Me: So, Chicago wins?
A: No. It's just one option. And, while I miss the city, my friends, agents, family, Portillo's Beef, great pizza (Giordano's), steaks (Select Cut), the Cubs, the Bears, Southstreet Seaport (my favorite bar), autumn, Taste of Chicago, the lake front, and on and on and on....My career moved on, and I had to as well.
Me: So, LA...
A: Yeah, LA.
Me: What about it?
A: Let's save that for next time. I'm hungry now...
Tuesday, January 18, 2011
The Waiting Game
Hurry up and wait.
This adage has been around the entertainment industry for years. It will be around as long as there is an entertainment industry. And, there is nothing anyone can do about.
It's what we do. In fact it's part of our job description -- squeezed right between talk and act. It's just part of the game. I know so many people who complain about it. And, I am not above the law here. I have in the past. And, I am sure I will in the future. Sometimes it is extremely frustrating.
To illustrate, I'll run you through a typical day at TVOP:Mike Speaks Out's house.
6:55 - I wake up (not because I have to, but because I'm no longer in my 20's and can't sleep in anymore). Alarm is set to go off at 7. Should I get up? No, I'll wait. I don't have any reason to get up before 9, but Mrs. TVOP has a real job. Besides, she's a "snooze button" gal. So, I don't really have a choice but to wake up to 7 second intervals of bad morning talk radio, bad morning top 40, or commercials for...hey was that me yapping for...no, but I did audition for it. Why'd that guy get it? Okay, I'm up.
7:30 - DIRECTV goes on. Dan Patrick show on the 101. Start the coffee pot. Wait for my coffee. See, I'm waiting already and it's only 7:30 AM. In fact, I don't really have to leave the house for another two hours. Guess, I'll just wait around.
7:30-9:30 - I am on hold for a call back later in the afternoon. Wait for the phone to ring to let me know. I have a session at my home studio around one. Check email for script. Not there. Wait for it. Traffic is light this morning, so, I wait a little longer before I leave. If I leave too early for my audition, I'll be annoyingly early and have to wait there.
9:45 - Stuck in L.A. traffic. Wait for an accident to clear. Now, I might be late. Teach me to wait at home before leaving. The good news is, while stuck here in traffic, my "wait for the phone to ring" ended -- I confirmed my call back for later in the afternoon.
10:02 - Not really late. Got my scripts, got my coffee, got my really packed lobby. Gonna be a long wait...
10:03-12:15 - Wait to audition. Luckily, with a packed lobby comes great conversation. And, remember, it's in our job description, so no complaining. Okay, maybe a little. I do have a session one, and I have to get back home. I can't wait anymore. As I am about to ask if I can squeeze in, I hear my name. I'm up. But, it's a group read with two guys and two gals. Only one gal here. Sit back down. Wait some more.
1:00 - Got my session at home. Got my scripts. Got my...copy changes. Wait for 'em. Record the spots. Gotta upload. Wait for data to transfer.
1:45 - All uploaded. Them: Mind if we throw something together and play it for the client? Me: Nope! Do what you need to do. I'll wait.
2:30 - Back in the car on my way to the call back. More traffic. Wait.
3:15 - Call back. Got my script. Got some water. Got some technical difficulties in the studio. Wait.
3:30 Did call back. Was asked to wait around with one other guy. Cool. Whoever gets it, will record right away. I don't mind that wait at all.
4:10 - Okay maybe I do mind that wait. I didn't get it.
4:15 Heading home. It's L.A. I'm in the Valley. I leave near the beach. There's traffic. Wait.
5:30 - Home. Another day of voiceovers complete. Check email. Scripts for out of town agents. Due in the AM. Guess starting dinner will have to wait...
This adage has been around the entertainment industry for years. It will be around as long as there is an entertainment industry. And, there is nothing anyone can do about.
It's what we do. In fact it's part of our job description -- squeezed right between talk and act. It's just part of the game. I know so many people who complain about it. And, I am not above the law here. I have in the past. And, I am sure I will in the future. Sometimes it is extremely frustrating.
To illustrate, I'll run you through a typical day at TVOP:Mike Speaks Out's house.
6:55 - I wake up (not because I have to, but because I'm no longer in my 20's and can't sleep in anymore). Alarm is set to go off at 7. Should I get up? No, I'll wait. I don't have any reason to get up before 9, but Mrs. TVOP has a real job. Besides, she's a "snooze button" gal. So, I don't really have a choice but to wake up to 7 second intervals of bad morning talk radio, bad morning top 40, or commercials for...hey was that me yapping for...no, but I did audition for it. Why'd that guy get it? Okay, I'm up.
7:30 - DIRECTV goes on. Dan Patrick show on the 101. Start the coffee pot. Wait for my coffee. See, I'm waiting already and it's only 7:30 AM. In fact, I don't really have to leave the house for another two hours. Guess, I'll just wait around.
7:30-9:30 - I am on hold for a call back later in the afternoon. Wait for the phone to ring to let me know. I have a session at my home studio around one. Check email for script. Not there. Wait for it. Traffic is light this morning, so, I wait a little longer before I leave. If I leave too early for my audition, I'll be annoyingly early and have to wait there.
9:45 - Stuck in L.A. traffic. Wait for an accident to clear. Now, I might be late. Teach me to wait at home before leaving. The good news is, while stuck here in traffic, my "wait for the phone to ring" ended -- I confirmed my call back for later in the afternoon.
10:02 - Not really late. Got my scripts, got my coffee, got my really packed lobby. Gonna be a long wait...
10:03-12:15 - Wait to audition. Luckily, with a packed lobby comes great conversation. And, remember, it's in our job description, so no complaining. Okay, maybe a little. I do have a session one, and I have to get back home. I can't wait anymore. As I am about to ask if I can squeeze in, I hear my name. I'm up. But, it's a group read with two guys and two gals. Only one gal here. Sit back down. Wait some more.
1:00 - Got my session at home. Got my scripts. Got my...copy changes. Wait for 'em. Record the spots. Gotta upload. Wait for data to transfer.
1:45 - All uploaded. Them: Mind if we throw something together and play it for the client? Me: Nope! Do what you need to do. I'll wait.
2:30 - Back in the car on my way to the call back. More traffic. Wait.
3:15 - Call back. Got my script. Got some water. Got some technical difficulties in the studio. Wait.
3:30 Did call back. Was asked to wait around with one other guy. Cool. Whoever gets it, will record right away. I don't mind that wait at all.
4:10 - Okay maybe I do mind that wait. I didn't get it.
4:15 Heading home. It's L.A. I'm in the Valley. I leave near the beach. There's traffic. Wait.
5:30 - Home. Another day of voiceovers complete. Check email. Scripts for out of town agents. Due in the AM. Guess starting dinner will have to wait...
Wednesday, January 5, 2011
Resolution
It's that time again. The New Year! Ring out the old. Ring in the new. Gather with friends, watch the ball drop in NYC, sing Auld Lang Syne and toast good things to come. Grab a pen and paper and write down what you hope to achieve in the upcoming 365 days.
Most people's hope-to-change-my-life-for-the-better resolutions mean the following to me: my yoga class will be over-crowded for the next two months until the newbies give up their resolve to get into shape. My Whole Foods to be sold out of wild salmon because of all the resolvers who resolved to eat healthier. And, I'll be shot countless fake smiles from everyone who told themselves they would be nicer this year.
Goody.
We all make resolutions on December 31st, and, usually, we all abandon them by January 3rd. In fact, I just saw this FaceBook post today: "Fried chicken and blood orange mimosas...so much for new years resolution." I didn't ask if it was a "drink less" or "eat better" resolution. I really didn't care. I just wanted fried chicken and blood orange mimosas.
Now, I'd like to tell you that I have a long list of resolutions that I will try to keep the year through. But, that would be a flat out lie. I hate making resolutions. Especially this time of year. It's a perfunctory exercise at best (hey, look...a college word!).
Anyway, that being said, I am about to do is probably going to seem somewhat hypocritical, but I think, in the end, you'll forgive me.
I am going to suggest some resolutions for all voice-over actors. Just a few ideas that may make our world a better one to exist in.
One: Stop auditioning desperate. This is not A Chorus Line. God I hope I get it, I hope I get it...I really need this job!! It sounds funny, but you can spot a "if I don't book this, I can't cover my rent" read a million miles away. I get the starving artist thing. Many moons, and several less crow's feet ago, I did it. And you know what? I barely worked. But, when I got a side job, my reads were better, and I worked (just because you are working another job, doesn't mean you're not an actor). Eventually, my voice career took off and I quit that side job.
Two: Make your reads unique. This is not A Chorus Line. In a chorus, you can not stand out. You need to be part of the group. In voice over, you must stand out.
Three: Please don't make audition waiting rooms something out of A Chorus Line. (You know, I really can't stand that show.) Here's what I mean. We all want the job. We all want to work. We all know why we're there. Can we please NOT talk about your resume, your training, the work you're doing, etc.? We are all talented enough to be in the room, let's expand our minds a bit, shall we?
Four: Be nice. (this has nothing to do with A Chorus Line, I've decided to let that go) It's not really that hard. Working or not working. Be nice. Auditioning or not auditioning. Be nice. To your agents, assistants, fellow actors, casting directors, the guy that cut you off, cops, firemen, cashiers...whomever. Just. Be. Nice.
Five: Be grateful. Which is akin to: Be humble. Or be thankful. It's all encompassing. We are damn lucky to do what we do for a living. Remember that the next time you're bitching that your half caf, half decaf, soy, sugar-free vanilla red eye latte has too much foam. Because, especially if you live in LA., that barista that just made your half caf, half decaf, soy, sugar-free vanilla red eye latte, would switch places with you in a second.
Six: During an audition--Give it your all. Leave it all on the field. Give 110%. [Insert rah-rah "do your best" phrase here.] Then, after your done--Let it go. Walk away. Forget it ever happened. Go live your life. Experience other things. Please. Great actors are really well rounded people. When we go have a cup of coffee, I don't want to just talk about voice over. In fact, I'd love to talk about anything else.
I think if we all try, just a little, to keep these things in mind, we'd all enjoy our time doing what we do (which is mostly auditioning with our fellow actors) a little better.
So, I guess, I did make a few resolutions. Damn.
Well, at least my resolutions won't cause a riot at my local farmer's market when they run out of organic kale...
Most people's hope-to-change-my-life-for-the-better resolutions mean the following to me: my yoga class will be over-crowded for the next two months until the newbies give up their resolve to get into shape. My Whole Foods to be sold out of wild salmon because of all the resolvers who resolved to eat healthier. And, I'll be shot countless fake smiles from everyone who told themselves they would be nicer this year.
Goody.
We all make resolutions on December 31st, and, usually, we all abandon them by January 3rd. In fact, I just saw this FaceBook post today: "Fried chicken and blood orange mimosas...so much for new years resolution." I didn't ask if it was a "drink less" or "eat better" resolution. I really didn't care. I just wanted fried chicken and blood orange mimosas.
Now, I'd like to tell you that I have a long list of resolutions that I will try to keep the year through. But, that would be a flat out lie. I hate making resolutions. Especially this time of year. It's a perfunctory exercise at best (hey, look...a college word!).
Anyway, that being said, I am about to do is probably going to seem somewhat hypocritical, but I think, in the end, you'll forgive me.
I am going to suggest some resolutions for all voice-over actors. Just a few ideas that may make our world a better one to exist in.
One: Stop auditioning desperate. This is not A Chorus Line. God I hope I get it, I hope I get it...I really need this job!! It sounds funny, but you can spot a "if I don't book this, I can't cover my rent" read a million miles away. I get the starving artist thing. Many moons, and several less crow's feet ago, I did it. And you know what? I barely worked. But, when I got a side job, my reads were better, and I worked (just because you are working another job, doesn't mean you're not an actor). Eventually, my voice career took off and I quit that side job.
Two: Make your reads unique. This is not A Chorus Line. In a chorus, you can not stand out. You need to be part of the group. In voice over, you must stand out.
Three: Please don't make audition waiting rooms something out of A Chorus Line. (You know, I really can't stand that show.) Here's what I mean. We all want the job. We all want to work. We all know why we're there. Can we please NOT talk about your resume, your training, the work you're doing, etc.? We are all talented enough to be in the room, let's expand our minds a bit, shall we?
Four: Be nice. (this has nothing to do with A Chorus Line, I've decided to let that go) It's not really that hard. Working or not working. Be nice. Auditioning or not auditioning. Be nice. To your agents, assistants, fellow actors, casting directors, the guy that cut you off, cops, firemen, cashiers...whomever. Just. Be. Nice.
Five: Be grateful. Which is akin to: Be humble. Or be thankful. It's all encompassing. We are damn lucky to do what we do for a living. Remember that the next time you're bitching that your half caf, half decaf, soy, sugar-free vanilla red eye latte has too much foam. Because, especially if you live in LA., that barista that just made your half caf, half decaf, soy, sugar-free vanilla red eye latte, would switch places with you in a second.
Six: During an audition--Give it your all. Leave it all on the field. Give 110%. [Insert rah-rah "do your best" phrase here.] Then, after your done--Let it go. Walk away. Forget it ever happened. Go live your life. Experience other things. Please. Great actors are really well rounded people. When we go have a cup of coffee, I don't want to just talk about voice over. In fact, I'd love to talk about anything else.
I think if we all try, just a little, to keep these things in mind, we'd all enjoy our time doing what we do (which is mostly auditioning with our fellow actors) a little better.
So, I guess, I did make a few resolutions. Damn.
Well, at least my resolutions won't cause a riot at my local farmer's market when they run out of organic kale...
Tuesday, December 7, 2010
Ho Ho Hooooly crap it's Christmas!!
Happy Holidays Everyone!
It's my favorite time of year! A time when my home town of Chicago is as beautiful as it will ever be. The Holiday lights, the early snow, the clean air. The decorations lining Michigan Avenue. The Christkindl market in Daley Plaza. The windows at Marshall Fields (I will refuse, for the rest of my life, to call it Macy's).
Here in the city of Angels (my current home base), it's a time when the traffic is actually managable. (work with here Angelenos, I'm still trying to find the Christmas Spirit in L.A. when it's 70 and sunny, and I'm at the beach)
It is also the time of year to decide who has been naughty and who has been nice. Santa's list is more than likely much different then my list. I think everyone has been naughty...and that's a good thing.
But, let's try to narrow our focus into figuring out just who the hell you're supposed to buy a gift for during the holiday season. How hard can it be?
For those of you who have ever read the Secret Agent Man column in Backstage you may have come across the Agent's view of gift giving (http://www.backstage.com/bso/esearch/article_display.jsp?vnu_content_id=1003920363).
This article contains some great...if somewhat amusingly narcissistic...advice. (I can say that, I know S.A.M., and no I won't tell you who he really is).
Now let me tell you the working actor's (knock on wood, I do that a lot) point of view:
Do something. If you've had a great year, do something really nice. If you've eeeeked out a living, do something nice. If you've barely worked at all, but hope to work again, do something to remind them you're alive. If you've just signed with a new agency, do something to tell them who you are. Point is...do something.
So, who's at the top of the list? Well, agents for sure. The assistants too. Oh and the receptionist/scheduler. Don't forget any of them. If you deal with 'em on a daily basis, you need to do something. My simple advice...get to know them a bit throughout the year. Do they have a favorite wine/spirit/coffee? A favorite lunch/dinner spot? Do they love going to the movies? I am not saying you have to spend thousands, or even hundreds. But a thoughtful gift to thank them for all their hard work throughout the year will certainly go a long way.
Look, it's obvious that a little ass kissing isn't a bad thing. We, as actors, have perfected the art. Everyone does it, don't deny it. For instance, I once went to watch the Ohio State vs. Michigan football game with one of my agents at an Ohio State bar. I can't stand Ohio State. Why did I do it? A little ass kissing. That should have been gift enough for several years...but come Christmas time, I still got him a nice bottle of vino.
Okay, since we're already at the Holiday Season, you probably don't have time to get to know them personally...short of going into their office dressed like Santa, having them sit on your lap and asking them to tell Santa what they want for Christmas (and let's face it, you probably can't, or don't want to, afford what they might say...plus that might be a little creepy). So, here's a few ideas that are perhaps less personal, but for sure to be appreciated:
- Buy lunch for the office. Get a bunch of pizzas or Thai food or sub sandwiches. Maybe not everyone will eat it, but they'll all appreciate the effort.
- Make a coffee run for everyone. Get everyones order, head over to the local coffee shop, fill the order and deliver it.
- If you're really ambitious (luckily, someone at my agency already is)...start a collective gift for everyone at the office. Ask for a monetary contribution from all the actors and divvy it up amongst the staff at your agency (make sure you let them know who put money into the pot).
- Help organize and run a charitable toy drive. This will get everyone involved from actors to agents to staff. Make it a competition, have simple prizes for the winners. You're sure to be remembered, and you'll be doing something great for kids.
- Finally, gift cards rock.
Oh, while I'm at it...here's what NOT to get:
- ANYTHING promotional. Nobody wants anything with your damn name on it. Other then the lovely card that says "thanks for all you do for me all year, Happy Holidays!" don't give a stress ball reminding everyone to "Use Blah Blah's Voice!"
- A note that says you're "donating x amount of dollars to plant trees in a forest" or "giving to the charity of your choice" in their name. First of all, no you're not. Secondly, no one believes you are. And, thirdly, it's highly impersonal and no one will really care.
- Cheap wine. Everyone knows what wines are cheep. (hello, 2 buck chuck). It just says you're cheap.
- Candy, home baked goods, gift baskets of food. You want to know who really eats all that crap that's send to your agent's office? The actors. Sure, the agents see it, maybe sneak a bite or two, then they let the wolves at it. NO ONE takes it home. It sits at the office, card probably unopened, until the actors have had their fill, then it's tossed in the same place your auditions will go if you send a gift basket filled with Harry and David's best.
Okay, maybe this whole gift giving thing isn't as easy and I thought it was. But on-ward we go.
After the agency, who's next? Producers? Casting Directors? Copy writers? This is where it gets a little tricky. Let me say, in my humble opinion, no one is expecting anything anymore. The way the business works now, you barely have any access to anyone anyway and you probably haven't met most of the people you're working for face to face. And, more then likely, they have no idea who you are anyway.
Back in my day (yeah, I'm just about old enough to "remember when..."), you could take creatives to lunch. Wine and dine them and get work because of it. Now-a-days, you audition, do the work and move on.
I would say that, unless you have a llllllooooooooonnnnngggggg running account...where you're working with the SAME people every week of every month, and you know the people you're working with personally...you don't have to do anything.
However, even then, it's not always easy to do. I've tried, believe me. I've been lucky enough to have an account like this (knock on wood), and I really wanted to buy lunch for everyone who works on it. From copywriters, to producers, to directors, etc. I emailed the producer, told them what I wanted to do...and they basically said, the turn over with half the staff is so quick, most of them wouldn't know why the heck they were getting lunch. I ended up just sending a Starbucks gift card to the producer to say thanks.
Huh, so the ad agencies are a bit hard to take care of...well, then, what about Casting Directors? Don't just send something or drop something off if you're trying to get more auditions. They get hundreds of other actors already doing that, and they know EXACTLY why you are doing it. They're not going to remember you from the rest. However, if you've booked a huge job through them, okay, do something. Same rules apply here as for agents. Another idea? If you're already heading to their office to audition for something, then sure...maybe a little kissing ass isn't a horrible idea. Do they have a Christmas tree? Maybe bring an ornament for it.
Um, okay, what about engineers? I mean, these people rock. But, how often do you go to the same studio AND get the same engineer? A lot? Then get that person something. And, if you do go to the same studio with the same engineer, I would hope that you maybe know something personal about this person and can figure out what to get them.
There, that should just about do it. See, that wasn't so hard now was it? On second thought, I'll leave Santa to the job he does best, and just buy everyone lunch. See you at Dukes...
It's my favorite time of year! A time when my home town of Chicago is as beautiful as it will ever be. The Holiday lights, the early snow, the clean air. The decorations lining Michigan Avenue. The Christkindl market in Daley Plaza. The windows at Marshall Fields (I will refuse, for the rest of my life, to call it Macy's).
Here in the city of Angels (my current home base), it's a time when the traffic is actually managable. (work with here Angelenos, I'm still trying to find the Christmas Spirit in L.A. when it's 70 and sunny, and I'm at the beach)
It is also the time of year to decide who has been naughty and who has been nice. Santa's list is more than likely much different then my list. I think everyone has been naughty...and that's a good thing.
But, let's try to narrow our focus into figuring out just who the hell you're supposed to buy a gift for during the holiday season. How hard can it be?
For those of you who have ever read the Secret Agent Man column in Backstage you may have come across the Agent's view of gift giving (http://www.backstage.com/bso/esearch/article_display.jsp?vnu_content_id=1003920363).
This article contains some great...if somewhat amusingly narcissistic...advice. (I can say that, I know S.A.M., and no I won't tell you who he really is).
Now let me tell you the working actor's (knock on wood, I do that a lot) point of view:
Do something. If you've had a great year, do something really nice. If you've eeeeked out a living, do something nice. If you've barely worked at all, but hope to work again, do something to remind them you're alive. If you've just signed with a new agency, do something to tell them who you are. Point is...do something.
So, who's at the top of the list? Well, agents for sure. The assistants too. Oh and the receptionist/scheduler. Don't forget any of them. If you deal with 'em on a daily basis, you need to do something. My simple advice...get to know them a bit throughout the year. Do they have a favorite wine/spirit/coffee? A favorite lunch/dinner spot? Do they love going to the movies? I am not saying you have to spend thousands, or even hundreds. But a thoughtful gift to thank them for all their hard work throughout the year will certainly go a long way.
Look, it's obvious that a little ass kissing isn't a bad thing. We, as actors, have perfected the art. Everyone does it, don't deny it. For instance, I once went to watch the Ohio State vs. Michigan football game with one of my agents at an Ohio State bar. I can't stand Ohio State. Why did I do it? A little ass kissing. That should have been gift enough for several years...but come Christmas time, I still got him a nice bottle of vino.
Okay, since we're already at the Holiday Season, you probably don't have time to get to know them personally...short of going into their office dressed like Santa, having them sit on your lap and asking them to tell Santa what they want for Christmas (and let's face it, you probably can't, or don't want to, afford what they might say...plus that might be a little creepy). So, here's a few ideas that are perhaps less personal, but for sure to be appreciated:
- Buy lunch for the office. Get a bunch of pizzas or Thai food or sub sandwiches. Maybe not everyone will eat it, but they'll all appreciate the effort.
- Make a coffee run for everyone. Get everyones order, head over to the local coffee shop, fill the order and deliver it.
- If you're really ambitious (luckily, someone at my agency already is)...start a collective gift for everyone at the office. Ask for a monetary contribution from all the actors and divvy it up amongst the staff at your agency (make sure you let them know who put money into the pot).
- Help organize and run a charitable toy drive. This will get everyone involved from actors to agents to staff. Make it a competition, have simple prizes for the winners. You're sure to be remembered, and you'll be doing something great for kids.
- Finally, gift cards rock.
Oh, while I'm at it...here's what NOT to get:
- ANYTHING promotional. Nobody wants anything with your damn name on it. Other then the lovely card that says "thanks for all you do for me all year, Happy Holidays!" don't give a stress ball reminding everyone to "Use Blah Blah's Voice!"
- A note that says you're "donating x amount of dollars to plant trees in a forest" or "giving to the charity of your choice" in their name. First of all, no you're not. Secondly, no one believes you are. And, thirdly, it's highly impersonal and no one will really care.
- Cheap wine. Everyone knows what wines are cheep. (hello, 2 buck chuck). It just says you're cheap.
- Candy, home baked goods, gift baskets of food. You want to know who really eats all that crap that's send to your agent's office? The actors. Sure, the agents see it, maybe sneak a bite or two, then they let the wolves at it. NO ONE takes it home. It sits at the office, card probably unopened, until the actors have had their fill, then it's tossed in the same place your auditions will go if you send a gift basket filled with Harry and David's best.
Okay, maybe this whole gift giving thing isn't as easy and I thought it was. But on-ward we go.
After the agency, who's next? Producers? Casting Directors? Copy writers? This is where it gets a little tricky. Let me say, in my humble opinion, no one is expecting anything anymore. The way the business works now, you barely have any access to anyone anyway and you probably haven't met most of the people you're working for face to face. And, more then likely, they have no idea who you are anyway.
Back in my day (yeah, I'm just about old enough to "remember when..."), you could take creatives to lunch. Wine and dine them and get work because of it. Now-a-days, you audition, do the work and move on.
I would say that, unless you have a llllllooooooooonnnnngggggg running account...where you're working with the SAME people every week of every month, and you know the people you're working with personally...you don't have to do anything.
However, even then, it's not always easy to do. I've tried, believe me. I've been lucky enough to have an account like this (knock on wood), and I really wanted to buy lunch for everyone who works on it. From copywriters, to producers, to directors, etc. I emailed the producer, told them what I wanted to do...and they basically said, the turn over with half the staff is so quick, most of them wouldn't know why the heck they were getting lunch. I ended up just sending a Starbucks gift card to the producer to say thanks.
Huh, so the ad agencies are a bit hard to take care of...well, then, what about Casting Directors? Don't just send something or drop something off if you're trying to get more auditions. They get hundreds of other actors already doing that, and they know EXACTLY why you are doing it. They're not going to remember you from the rest. However, if you've booked a huge job through them, okay, do something. Same rules apply here as for agents. Another idea? If you're already heading to their office to audition for something, then sure...maybe a little kissing ass isn't a horrible idea. Do they have a Christmas tree? Maybe bring an ornament for it.
Um, okay, what about engineers? I mean, these people rock. But, how often do you go to the same studio AND get the same engineer? A lot? Then get that person something. And, if you do go to the same studio with the same engineer, I would hope that you maybe know something personal about this person and can figure out what to get them.
There, that should just about do it. See, that wasn't so hard now was it? On second thought, I'll leave Santa to the job he does best, and just buy everyone lunch. See you at Dukes...
Sunday, November 28, 2010
A Time for Thanks...
As we enter the beginning of the Holiday Season, it's time for That Voiceover Podcast: Mike Speaks Out (TVOP:MSO) to look back over the previous year and give a special thanks to the following people, groups, things, ideas, and/or stuff in general:
1) First things first (kissing a little bootie) - Thanks to everyone who joined Stephan and I on our journey into the world of voiceover. We appreciate you listening to the podcasts and reading this here blog. Without you, there would be no TVOP. So, thanks.
Huh. No offense here, but, I think I should probably do this:
1) First things first, redux (kissing more bootie). Thanks to all my agents. Without you, I don't have auditions. Or sessions. Or a social life. Hmm...maybe I should put my agents thanks first. Okay. This is the new 1. You all are now 2. Thanks for understanding.
Hang on, I have to squeeze someone one else in. You know to be politically correct.
1.a) Firster, things firstly (major bootie kissing). Thanks to all the producers who hire me throughout the year. Without you I wouldn't have a bank account. And, Mrs. TVOP:MSO would probably ask that I get a real job. And, since I have no useful or viable skills in the real world, I have to put producers at 1.a. Between agents and you all. Sorry.
Damn...wait...
1.a.1) Firstest things more firstly. (my lips are getting chapped). Thanks to all the writers out there who like my voice and ask that the producers hire me. Without you, I couldn't live near the beach. And, considering how much I really enjoy living near the beach, I have to squeeze writers between producers and you all, our loyal TVOP listeners and TVOP:MSO blog readers. You understand, right?
Now, this is just getting embarrassing...
1.a.1.a) First things, aw screw it...you get the point...Thanks to all the Creative Directors out there who recommend my voice to the clients. Without you, I probably wouldn't make the minimums set by SAG for my health insurance. And, I really like having health insurance, so I better thank them before you. It's just business, nothing personal I hope you know.
Gee, now that I think about it...
1.a.1.a.1) My unions - AFTRA and SAG. Thanks for all you do for all actors. I know you can't please everyone all the time, but you do okay by me. I'm thankful you have stopped bickering and may actually merge sometime soon. And, since you take care of my retirement fund, I should probably put you somewhere near the top of my thanks.
Whoops...a few more...
1.a.1.a.1.a) To all the engineers and all the studios I work at. Thanks. Without your technology, expensive microphones, sound boards, recording booths, etc...I would sound like crap. And, if I sound like crap, I probably wouldn't work. And, if I don't work, I don't get to eat out. And, I like to eat out. So, um, yeah, I need to put these great people up there somewhere.
1.a.1.a.1.a.1) Thanks to all the receptionists, PA's, parking attendants, and assistants to whomevers--you all rock. Without your thankless efforts, I wouldn't have coffee (black), water (room temp), my car (not dinged), my calls taken (without going to voice mail), and my schedule organized (allowing for maximum beach time). I'm sure you all know how important all these things are and there for realize why I have to put them in the ones.
1.a.1.a.1.a.1.a) Booth directors. Wow. Can not forget about you all. Without your direction, my auditions would be terrible. Thanks for slipping me extra copy throughout the year. Thanks for actually recording my auditions and sending them. You guys are under appreciated and over worked. And, I just want to give thanks for getting to work with you.
1.a.1.a.1.a.1.a.1) To all the other actors who make me a better actor. Thanks for knocking it out of the park on the group reads. Thanks for being the best wife/girlfriend/son/daughter/brother/sister/best friend/neighbor/cashier/manager/boss, etc. you can be. Group spots are a blast, thanks to all of you.
This is getting a little awkward. The pressure to thank everyone and anyone I've encountered during the past year is a bit nuts. I mean, I don't want to forget anyone. And, I don't want anyone to feel left out. Or think that they are not as important as the next guy. And, at this point you all are probably feeling like the next guy. And, that's not really the point of saying thanks. I just wanted to say thanks. Why is that so hard? Why do people get so stressed out over the holidays?
I mean, I haven't even gotten to half to the stuff I am thankful for. Like Christmas Cookies. Those rock. I'm way thankful for those. And, what about flocking powder? Can you say holiday spirit without it? And, non-stop holiday tunes on XM. And, The Rat Pack Christmas Album. And, my wife for decorating our house to the point that Mrs. Claus would be jealous. And...
I beginning to understand why Oscar speeches really should be written out.
Then again, the best ones are the ones from the heart...
Hm.
Okay, here it is.
Thanks. Thanks for everything from the bottom of my heart. My life is truly enriched by all of you for so many different reasons. Have a wonderful and safe holiday season.
1) First things first (kissing a little bootie) - Thanks to everyone who joined Stephan and I on our journey into the world of voiceover. We appreciate you listening to the podcasts and reading this here blog. Without you, there would be no TVOP. So, thanks.
Huh. No offense here, but, I think I should probably do this:
1) First things first, redux (kissing more bootie). Thanks to all my agents. Without you, I don't have auditions. Or sessions. Or a social life. Hmm...maybe I should put my agents thanks first. Okay. This is the new 1. You all are now 2. Thanks for understanding.
Hang on, I have to squeeze someone one else in. You know to be politically correct.
1.a) Firster, things firstly (major bootie kissing). Thanks to all the producers who hire me throughout the year. Without you I wouldn't have a bank account. And, Mrs. TVOP:MSO would probably ask that I get a real job. And, since I have no useful or viable skills in the real world, I have to put producers at 1.a. Between agents and you all. Sorry.
Damn...wait...
1.a.1) Firstest things more firstly. (my lips are getting chapped). Thanks to all the writers out there who like my voice and ask that the producers hire me. Without you, I couldn't live near the beach. And, considering how much I really enjoy living near the beach, I have to squeeze writers between producers and you all, our loyal TVOP listeners and TVOP:MSO blog readers. You understand, right?
Now, this is just getting embarrassing...
1.a.1.a) First things, aw screw it...you get the point...Thanks to all the Creative Directors out there who recommend my voice to the clients. Without you, I probably wouldn't make the minimums set by SAG for my health insurance. And, I really like having health insurance, so I better thank them before you. It's just business, nothing personal I hope you know.
Gee, now that I think about it...
1.a.1.a.1) My unions - AFTRA and SAG. Thanks for all you do for all actors. I know you can't please everyone all the time, but you do okay by me. I'm thankful you have stopped bickering and may actually merge sometime soon. And, since you take care of my retirement fund, I should probably put you somewhere near the top of my thanks.
Whoops...a few more...
1.a.1.a.1.a) To all the engineers and all the studios I work at. Thanks. Without your technology, expensive microphones, sound boards, recording booths, etc...I would sound like crap. And, if I sound like crap, I probably wouldn't work. And, if I don't work, I don't get to eat out. And, I like to eat out. So, um, yeah, I need to put these great people up there somewhere.
1.a.1.a.1.a.1) Thanks to all the receptionists, PA's, parking attendants, and assistants to whomevers--you all rock. Without your thankless efforts, I wouldn't have coffee (black), water (room temp), my car (not dinged), my calls taken (without going to voice mail), and my schedule organized (allowing for maximum beach time). I'm sure you all know how important all these things are and there for realize why I have to put them in the ones.
1.a.1.a.1.a.1.a) Booth directors. Wow. Can not forget about you all. Without your direction, my auditions would be terrible. Thanks for slipping me extra copy throughout the year. Thanks for actually recording my auditions and sending them. You guys are under appreciated and over worked. And, I just want to give thanks for getting to work with you.
1.a.1.a.1.a.1.a.1) To all the other actors who make me a better actor. Thanks for knocking it out of the park on the group reads. Thanks for being the best wife/girlfriend/son/daughter/brother/sister/best friend/neighbor/cashier/manager/boss, etc. you can be. Group spots are a blast, thanks to all of you.
This is getting a little awkward. The pressure to thank everyone and anyone I've encountered during the past year is a bit nuts. I mean, I don't want to forget anyone. And, I don't want anyone to feel left out. Or think that they are not as important as the next guy. And, at this point you all are probably feeling like the next guy. And, that's not really the point of saying thanks. I just wanted to say thanks. Why is that so hard? Why do people get so stressed out over the holidays?
I mean, I haven't even gotten to half to the stuff I am thankful for. Like Christmas Cookies. Those rock. I'm way thankful for those. And, what about flocking powder? Can you say holiday spirit without it? And, non-stop holiday tunes on XM. And, The Rat Pack Christmas Album. And, my wife for decorating our house to the point that Mrs. Claus would be jealous. And...
I beginning to understand why Oscar speeches really should be written out.
Then again, the best ones are the ones from the heart...
Hm.
Okay, here it is.
Thanks. Thanks for everything from the bottom of my heart. My life is truly enriched by all of you for so many different reasons. Have a wonderful and safe holiday season.
Sunday, November 14, 2010
You Never Know...
I could use my time here to perk up the world wide webinet with a flowery blog post. A positive affirmation to all your hopes and dreams. A virtual "Hang On!" poster complete with the picture of a cat gripping onto a curtain for dear life. "You never know" when the big gig will drop into your lap. "You never know" when you dreams will come true! "You never know"...aw screw it.
If you've read even one other blog post, you'd know that ain't my style. I'm not a cheerleader. (I look horrible in a mini-skirt, even though I do have nice legs.) So, if you need ego boost, talk to someone else. Sorry. That's what your friends and family are for. I don't want to be bothered.
Wow. That was rude, huh? Didn't like it much, did ya? Interesting. Let's look further into this. What if, instead of being a meany head...you're actually nice to people. Huh...what if...
Now, how can I make my point? I know. Story time!!
Many, many years ago, my dad was working on an industrial film. He had a P.A. assigned to him to make sure he was taken care of. The poor kid was so nervous he couldn't help but screw up a few things. So, Pop pulls him aside and talks to him for a while. Tells him to relax, take it easy. In plain and simple terms -- He was nice to him. The kid pulls himself together and rallies. Many, many years later that kid is now a producer. He thanks my dad for his kindness by giving him a role in a national commercial.
Moral of the story? Be nice. To EVERYONE. Why?
You never know who you are talking to.
Here's a few examples:
Number one:
Why not? I mean, seriously, is it that friggin' hard to be nice to people? Having a bad day? Suck it up, the person you don't know may be having a worse day. You never know...
Number two:
Why give anyone an edge? Other actors can be malicious. SHOCKER! Think someone won't bad mouth you for being rude? Think again. A-hole actor person may just tell Casting Person, Producer, Writer that you are just "not a nice person" therefore effectively making you difficult to work with, because you are such a mean person. You never know...
Number three:
You get what you give. Want to have no friends and have everyone treat you like crap? Don't be polite. It's a sure way to have a lonely life that may include you hardly working. On the other hand, if you treat everyone with a little respect and positivity, hopefully, they'll treat you the same way. It's pretty simple. This business is all perception. If you act like a miserable jack rabbit, people won't want to work with you. You never know...
Number four:
Peons could eventually grow up to be somebody. Here's how this plays out...You come in and are a complete shit to an assistant. That assistant tells their boss. You don't get the job. Flash forward a few years. The biggest job ever in the history of all voice acting comes down to you and the other guy. The assistant you were a complete shit too is now the producer. Guess who gets the job? You never know...
Number five:
Murphy's Law. That waiter you're pissing off is also serving the Casting Director of the call back you just had. The waiter mumbled under his/her breath around the C.D (to say nothing about what they're doing to your food). Then points you out as the worst customer ever. Bye, bye work. You never know...
Number six:
The valet/parking attendant at the studio you're working at parks EVERYONE'S car. It doesn't take much to say hello, please and thank you. Maybe even find out their name. He can't help pass on what a nice guy you were to the producer of the national campaign who just pulled up. Hey, you never know...
Number seven:
Driving around L.A.? Don't flip off that other driver, they might be a producer. Jumping in a cab in NYC? Don't push that other guy out of the way to jump in first, they could be a casting director. Grabbing the "el" in Chicago? Don't rush to slide into the last seat, bowling over that copy writer along the way. Each of these can directly effect your pocketbook.
Now, I could go on and on with reasons to be polite. And, I am not saying that it's always easy. It's not, especially when people aren't being nice to you. But, it comes down to this: Karma. What goes around comes around. Yin balancing with Yang. Whatever you want to call it.
But, you say, Al Capone once said: You can get a lot further with a kind word and a gun then you can with a kind word alone. To that I say, Al Capone was gangster who was running booze during prohibition and growing a criminal empire that, to this day, the FBI is still trying to undo. If you are trying to compare your life to that, you're loony.
Let's look at how your future could go:
Nice Person:
You go into the agency, you say hi to the receptionist and ask how their weekend was (and actually LISTEN to the answer), you're polite to the actor you're working with, you treat the booth director with respect and on the way out, hold the door open for the guy who's running into the building, obviously late for a meeting.
The next day, the receptionist is now your agent's new assistant and makes sure your audition time is exactly what you want, the other actor recommended you for a gig, the booth director is a new agent and gives you some extra copy because it's time to stretch your range a bit, and that guy you held the door open for...yeah, he's a writer for a new cartoon and he'd love to have you audition for his pilot.
Not Nice Person:
You go into the agency and barely acknowledge the receptionist, you step all over the other actor you're working with, you're rude to the booth director and practically slam the door in the face of the guy who's obviously running late for a meeting.
The next day, the receptionist is now your agent's new assistant and can't seem to be able to move your audition time to better fit your day, the other actor talked a producer out of hiring you because he didn't want to work with you again, the booth director is a new agent and doesn't think you're right for anything and that guy you slammed the door in his face...yeah, his new cartoon will not include your voice.
Hey, it could happen. I mean you never know...
If you've read even one other blog post, you'd know that ain't my style. I'm not a cheerleader. (I look horrible in a mini-skirt, even though I do have nice legs.) So, if you need ego boost, talk to someone else. Sorry. That's what your friends and family are for. I don't want to be bothered.
Wow. That was rude, huh? Didn't like it much, did ya? Interesting. Let's look further into this. What if, instead of being a meany head...you're actually nice to people. Huh...what if...
Now, how can I make my point? I know. Story time!!
Many, many years ago, my dad was working on an industrial film. He had a P.A. assigned to him to make sure he was taken care of. The poor kid was so nervous he couldn't help but screw up a few things. So, Pop pulls him aside and talks to him for a while. Tells him to relax, take it easy. In plain and simple terms -- He was nice to him. The kid pulls himself together and rallies. Many, many years later that kid is now a producer. He thanks my dad for his kindness by giving him a role in a national commercial.
Moral of the story? Be nice. To EVERYONE. Why?
You never know who you are talking to.
Here's a few examples:
Number one:
Why not? I mean, seriously, is it that friggin' hard to be nice to people? Having a bad day? Suck it up, the person you don't know may be having a worse day. You never know...
Number two:
Why give anyone an edge? Other actors can be malicious. SHOCKER! Think someone won't bad mouth you for being rude? Think again. A-hole actor person may just tell Casting Person, Producer, Writer that you are just "not a nice person" therefore effectively making you difficult to work with, because you are such a mean person. You never know...
Number three:
You get what you give. Want to have no friends and have everyone treat you like crap? Don't be polite. It's a sure way to have a lonely life that may include you hardly working. On the other hand, if you treat everyone with a little respect and positivity, hopefully, they'll treat you the same way. It's pretty simple. This business is all perception. If you act like a miserable jack rabbit, people won't want to work with you. You never know...
Number four:
Peons could eventually grow up to be somebody. Here's how this plays out...You come in and are a complete shit to an assistant. That assistant tells their boss. You don't get the job. Flash forward a few years. The biggest job ever in the history of all voice acting comes down to you and the other guy. The assistant you were a complete shit too is now the producer. Guess who gets the job? You never know...
Number five:
Murphy's Law. That waiter you're pissing off is also serving the Casting Director of the call back you just had. The waiter mumbled under his/her breath around the C.D (to say nothing about what they're doing to your food). Then points you out as the worst customer ever. Bye, bye work. You never know...
Number six:
The valet/parking attendant at the studio you're working at parks EVERYONE'S car. It doesn't take much to say hello, please and thank you. Maybe even find out their name. He can't help pass on what a nice guy you were to the producer of the national campaign who just pulled up. Hey, you never know...
Number seven:
Driving around L.A.? Don't flip off that other driver, they might be a producer. Jumping in a cab in NYC? Don't push that other guy out of the way to jump in first, they could be a casting director. Grabbing the "el" in Chicago? Don't rush to slide into the last seat, bowling over that copy writer along the way. Each of these can directly effect your pocketbook.
Now, I could go on and on with reasons to be polite. And, I am not saying that it's always easy. It's not, especially when people aren't being nice to you. But, it comes down to this: Karma. What goes around comes around. Yin balancing with Yang. Whatever you want to call it.
But, you say, Al Capone once said: You can get a lot further with a kind word and a gun then you can with a kind word alone. To that I say, Al Capone was gangster who was running booze during prohibition and growing a criminal empire that, to this day, the FBI is still trying to undo. If you are trying to compare your life to that, you're loony.
Let's look at how your future could go:
Nice Person:
You go into the agency, you say hi to the receptionist and ask how their weekend was (and actually LISTEN to the answer), you're polite to the actor you're working with, you treat the booth director with respect and on the way out, hold the door open for the guy who's running into the building, obviously late for a meeting.
The next day, the receptionist is now your agent's new assistant and makes sure your audition time is exactly what you want, the other actor recommended you for a gig, the booth director is a new agent and gives you some extra copy because it's time to stretch your range a bit, and that guy you held the door open for...yeah, he's a writer for a new cartoon and he'd love to have you audition for his pilot.
Not Nice Person:
You go into the agency and barely acknowledge the receptionist, you step all over the other actor you're working with, you're rude to the booth director and practically slam the door in the face of the guy who's obviously running late for a meeting.
The next day, the receptionist is now your agent's new assistant and can't seem to be able to move your audition time to better fit your day, the other actor talked a producer out of hiring you because he didn't want to work with you again, the booth director is a new agent and doesn't think you're right for anything and that guy you slammed the door in his face...yeah, his new cartoon will not include your voice.
Hey, it could happen. I mean you never know...
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