the changes from happy, the sad that that’s got to be just as, that’s going to be even be more difficult when you’re on camera then as opposed to doing voice over work
and would voiceover work. Um, it’s, it’s much quicker, you know, on camera. Uh, they, you know, it’s usually part of the same and they stopped and then they go, okay, we want to do this a slightly different approach and they, they gave you the time that’s necessary to kind of get into it because you know, you’ve got a whole emotional thing. You’ve got to be able to get to with your, if you’re doing that same as you’ve got a really kind of think about what it is you’re doing and uh, you know, use whatever your acting technique is, whether it’s personalization or sense memory or whatever, whatever it is or you just, your imagination to get into that place where you can, can give that, that attitude that they want. A, I remember working on a, uh, a soap opera that I was on for several years, young and the restless I was the judge on the shelf are probably six, seven years. And those people, those actors on those shows have the ability to turn on and off emotions in a heartbeat. They are just incredibly good at that. And I remember this one actress where she was giving a monologue to me where she was basically pleading for her son not to go to jail and not only was she able to hit all the emotional moments that she wanted to and there’s really no rehearsal. You basically just go through it once to get the lines out and then they shoot it. So they’re just going for it. So you’ve got to, you know, you’re not going to do 10 takes on a soap opera, you get one too if somebody screws up. But usually they wanted in the first take. And not only was she able to hit all those great emotional moments, she was able to cry and not only cry, but the here came out of what we call the camera eye, which is the guy that was closest to the camera.
So in other words, if the cameras to a right, she had the tear coming out of her right eye as opposed to the left side because the left eye, you wouldn’t be able to see it. So she had that kind of control. So the only way you get that is by practice, by doing it a lot, by being vulnerable, by being able to access those emotions in a heartbeat in voiceover. It’s quicker than that because they’ll just throw stuff at you and don’t want you to do three in a row. Okay. Give me three different versions of the guy is angry. Okay. Okay. Now can you give me three versions of, you know, bring that down 20 percent. Okay. Can you make a little bit louder? Okay. Can you kind of make it almost a whisper but keep the intensity? Yeah, sure. So they’re throwing all kinds of stuff because all they’re dealing with is just what they’re hearing on camera.
You got what you look like. So you know, oftentimes you can just kind of give them a look. Okay, we’re just gonna. Keep the camera rolling and I’ll talk you through it. And because of what we need is just a shot of you tearing up. Okay. So let me just kind of work it and they’ll just, whatever they send, then the director just kind of works with you. And, and, and they were able to edit it in later. The editor makes you look like, but uh, you know, voiceover, you just got to be able to kind of move and groove. Plus it’s in, it’s a 32nd spot, so it’s not a five minute scene. You’ve got to be able to get in and out. Quick timing is critical. You know, I had to do this thing a day where I, they wanted me to be a guy that was doing like the, you know, in soccer that, that Spanish narrator or not Spanish announcer that goes, go think long thing. They wanted that. But they didn’t want you to, to do it really well, even though I could do it really well. They said we want you to do it in a way that it doesn’t sound like you’re really able to do it that well, but you’re still doing it. Okay.
Got It. Got It. So you want me to be, you want me to be kind of, kind of bad but, but good at the same time. Yes. Okay. Hey, I’ve got it. So. And then you just kinda go for it. You know, you don’t know what going to sound like you don’t, you don’t go off in the other room and try it a few times and come back in and Sam Ready. It’s like, okay, let’s do it. Okay, take 27, go. But, uh, that’s, that’s the challenge. But it’s also the fun is that, uh, you know, you gotta be sharp, you gotta be able to access everything and be creative all within that short period of time that you were in the recording booth because once you’re out, you’re out. No, you can’t go back and take, you know, I was thinking about this. Let me try it again. No, that doesn’t happen.