Disney Cruise
Voice Direction:
Script:
Do you have Disney wishes waiting to be granted? Wish upon a star no more and hop on board the Disney Dreams Magic Cruise. Sail the ocean blue and mingle with your favorite princesses, adventurers, and perhaps the one and only Mickey Mouse. Anything your heart desires will come to you.
Congratulations to our winners, Tristan Stone, Jennifer Imai, and Noah DeBiase. Walt Disney used to say it’s kind of fun to do the impossible. This assignment wasn’t exactly impossible, but it was a challenge, and auditioning for it should be fun! Here are some tips to help you be one of the people who make the impossible a reality.
Edge Studio VO Tip #1
Be natural, don’t force it. Some people sounded artificial, by effecting the stereotypical “announcer” sound. The VO industry has various names for this affectation, including the sterile description “hardsell,” and the evocative term “radio DJ puke sound” – none of them mean to be flattering. Yet while this commercial calls for happiness, commercials also typically require real credibility. How to be real, and convey happiness? Smile. A lot – while recording the script. You will feel weird. However your voice will sound terrific when mixed with music, sound effects, and the visuals.
Edge Studio VO Tip #2
Remember that happy energy does not require speed. Lots of times, conveying smile causes the voice actor to speed up. Don’t do this! Most commercials require a mid-tempo pacing. Recordings narrated with fast tempos may sound good to you … but listeners may not decipher all the words when mixed with music and/or sound effects. Further, at the outset at least, people might not be listening intently. What’s more, in a commercial, your words will be mixed with visuals, which your listeners’ minds will need time to take in.
Here are some exercises to find a proper pace: (a) Record some mainstream commercials (in this case, Disney spots would be good), write out the scripts, and record yourself reading in synch. But this is important – you’re doing this mainly for tempo. Note the existing talent’s style, but ultimately you want the voice and style to be your own. For all you know, the client wants a change in their promotional personality. (b) Just consciously speak more slowly. It might feel unnatural at first, but the feeling of naturalness will come. It might help to time your reads, and set a target that is, say, 10% longer. Once you get the hang of it, finding a proper tempo will come naturally, so that you won’t be thinking about it – instead, you should be thinking the thoughts you are saying.
Edge Studio VO Tip #3
Be creative. What can you do that sets you apart from everyone else? The Director’s Notes stipulate creativity, but it’s important in virtually any audition. We presume that’s why a lot of people “sang” the script, or portions of it. Sometimes that might be appropriate, but in this case, it was too inventive. In this hypothetical Disney audition, they’re looking for talent to be used on an ongoing basis. Can you imagine if every promo were sung? The audition reviewer wants to hear your read. On the other hand, some people will recognize the last words as lyrics from the song “When You Wish Upon a Star.” Did anyone literally sing “Anything your heart desires will come to you”? No. Depending on your singing ability, that might be impressive, maybe not. But it would have been more appropriate to “reflect” the tune and the words’ rhythm in your spoken pitch and timing, but faster than the classic Jiminy Cricket (Cliff Edwards) recording. And if done well.
Edge Studio VO Tip #4
Do NOT add music. An unusually large number of people did this. Some even did it fairly well. Regardless, it exposed them as novices. Unless specified in the audition instructions, always assume the client or casting agency wants to hear your voice, and only your voice. Music can mask a ton of performance and recording sins. And anyway, it’s “cheating”; it’s not the kind of unfair advantage that casting pros accept. Adding a legitimate vocal effect is often admirable (such as a sigh, “harumph,” chuckle, or other sound that someone would make when speaking).
