Something occurred to me a while back. It seems pretty simple, but it seems to escape a lot of artists.
What’s the concept?
Acting is acting is acting. VO, on-camera, stage, whatever.
Simple, right? Apparently not.
See, I’m always surprised how resistant some actors are to exploring VO as an acting form. They have no problem checking out theater, film, TV or even commercials, but VO? That’s a foreign object to them – a confusing, fuzzy no-thank you.
I’d like to spend some time convincing VO actors – you – that they should consider on-camera acting, and on-camera actors to consider VO.
Because when we train for one, we’re secretly training for the other. Every cold reading skill we learn, every storytelling technique we acquire, every emotional moment we create can be sold to producers both on-camera and on-mic.
Developing a character for on-camera, placing that character in the script’s situation, and playing that character in the scene, is no different from how we do those very same actions on-mic. The only difference is the collector device.
I call it “mutual muscles.” (I actually created a class for it: Mutual Muscles – it’s available to you here)
And our marketing strategies and tactics hold true for both areas as well: just as surely as we create a portfolio of headshots to show the different facets of our on-camera brand, we develop a portfolio of demos to show the different buyers of VO the disctinct flavors of our on-mic brand.
The more you realize how much all of our acting modes are alike, the more you ease into all of them, and share expertise across all of them.
And…the more money you make.
I hope that got your attention.