I’m your voiceover Chinese water torturer.  I’ve got a one-track mind.  I’m a broken record. . . . YOU MUST KNOW WHAT YOUR INTENTION IS.  YOU MUST GET IN THE WRITER’S HEAD VIA VERY FOCUSED SCRIPT ANALYSIS.  YOU MUST BE, NOT READ. We’ve been doing this work for the last bunch of blogs, allowing you to really SEE a script for what it is in the hopes it will...

Back to the heart of what matters – KNOWING WHAT YOU ARE SAYING. I had a student a few weeks ago who read a script for me.  I asked him, after he finished, to tell me what it’s about.  He said he had no idea.  I had another student just yesterday who said he knows NOW (after a few intensive sessions together) that he just had a “read” and he just “did it”...

I recently found an article written by a voice actor regarding technique for voicing video games.  I think that some of the information there is relevant not only for games but also for many other genres of voiceover work, especially commercial.  A lot of it focuses on how to sound REAL, as it should, and has been said many times before.  The specificity...

You can analyze a voiceover script in a number of ways, but the way that gives your read the most authenticity is to notice how the script makes YOU FEEL.  What you ultimately bring to the read is that you’re not reading a script or making some announcement, but sharing how you feel about something.  This is emoting.  The only way we can truly emote is to...

I am currently on page 134 of The Actor’s Art and Craft, and my mind is being blown apart – in a good way.  The book follows one of the classes taught by William Esper, who is conveying the lessons of his own great master, Sanford Meisner.  You can read a short synopsis on the Meisner Technique as well as on all the other great teachers and techniques in...