October 11, 2018

Agent Interviews: Part 3 – Voiceover

Actors are constantly striving to know what industry professionals want to see in an audition. As a Take 3 Talent intern, I’ve had the privilege of shadowing our agents on a daily basis. Every agent is different, but most have similar preferences for what they want to see in an audition. I decided to interview each department to provide insight into what agents are looking for, what they despise, and how you can stand out to them as an actor.

Part 3: Catherine Melillo – Voiceover

Q: As a Voiceover agent, what do you look for in an audition that is specific to your department? What is your biggest piece of advice for auditioners?

A: “Specifically for children, I look for ENERGY, DICTION, VOCAL RANGE, and the ability to take DIRECTION well. For adults, I look for the same qualities, however I expect them to read copy with more of a conversational tone. Similar to the commercial department, you are trying to sell something, which must be done naturalistically. Sometimes, a slight rasp in the voice can be nice. I’ve noticed that theatre actors and singers are really good at voiceover, because they have such strong vocal technique and can be very pleasant sounding.”

“With regard to REELS, I don’t expect children to have a demo voiceover reel. For adults, you must have one for me to submit you. As you book projects, you’re able to get copies and build your demo, however you need at least one commercial voiceover reel – period! Edge Studio is a great resource that we work with a lot.”

Q: What is the most common mistake actors make when auditioning for you? What is something that when an actor does, it ensures that they DON’T get the job/chosen for your roster?

A: “If you’re reading copy – JUST GET THROUGH IT! I say that to all of my actors. Don’t ever stop in the middle of your audition to apologize that you messed up or stumbled through a word. It happens, just get through it. Even if that means you have to improvise something, I’d rather you do that then abruptly stop in your tracks. When I sign an actor, there’s a level of trust in believing that they’ll get through the copy when they’re alone on an audition.