Showing posts with label actress. Show all posts
Showing posts with label actress. Show all posts

Monday, September 24, 2018

I'M IN NYC

2013, October
On Katharine Hepburn's Block

Sitting in "Nations Cafe" on 49th and 1st. I asked if this has always been a restaurant and was told since 1962, thought it used to be smaller. (A customer, a woman who lives across 1st remembered it opening then.)

On the same side towards 2nd is Katharine Hepburn's Turtle Bay brownstone she purchased in 1937 for $27,500.00. I know this because I'm re-reading her autobiography ME given to me by my grandmother for my 25th birthday, inscribed "To Teri with Love, Nana, October 4, 1991." I have always been attracted to who Katharine Hepburn was. A good actress, yes, but more than being a fan of her work I think I'm a fan of how she lived and how that translated into the roles she played. I've read so many biographies about her and one constant is her strong sense of who she was and where she came from without question. Without question.

Tour buses keep passing by and I wonder if the Hepburn residence is a POI.

Katharine Hepburn didn't go to therapy. I think she got it out on stage and in front of the camera. I do that. Cathartic moments through the work. (Was Katharine Hepburn here at Nations Cafe?) Her driver, Charles Newhill - "Mayor" of her block - was he? Am I walking in her steps?

My grandfather, Elmer Clark, lived and worked in Manhattan on Wall Street in the '20's. Pre-dated Katharine Hepburn a bit. They may have crossed paths. When she first arrived and was going on castings. She drove then. Wrote in ME that one could in NYC back then. It was a different time. Oh, and the $27K she bought 244 East 49th with? There's a 2010 Internet listing to lease the place for $27K a month. Just about the same price Katharine Hepburn bought the apartment for in 1937 will by 1 month, 4 weeks rent, today. (That would be about what one 13-week contract recording about 18 audio books - 180 hours of recorded material - would buy me - 1 month in Katharine Hepburn's Turtle Bay apartment.)

I'm seeing LION KING again in 1 hour and 10 minutes. Taking Molly who lets me stay with her in Queens when I visit. (I think I may be outgrowing these visits...really? Why do I think that?) LION KING is a very God-experience for me. I don't see much theatre anymore since moving to Ohio. I'd rather spend my money seeing the LION KING again and again than on something I most likely find mediocre.

LATER
On way into city - will go to Benetton and see agent.

What do I know or believe after 4 days in NYC? What is true or truer for me?
  • It's not becoming to discuss money. 
  • It's not becoming to criticize or become negative. 
  • I would definitely speed up my aging process if I lived here. 
  • I miss acting on the stage. 
  • I miss acting Shakespeare. Seeing Shakespeare. I'm good at it. 
  • It's good to miss Sam and for Sam to miss me. Sam gets along with his Dad just fine without me.
  • It's important to go away for me. I feel more like me. 
  • I'm thankful for my home. I have so many thanks. I'm blessed. 
  • I need to work. I need to perform. 
  • I don't believe actors in bad productions aren't trying their best (I blame the director.) Romeo and Juliet on Broadway is the director's fault. 
  • I can have hopes, wishes and dreams, but I can't chase them. (Let go, let God.) 
  • One way God reaches people is through me when I'm performing (especially on stage.) 
  • I am very, very open, very compassionate. Very aware. 
  • Despite daily pounding on my emotions, my true self prevails. 
  • I am stronger than my enemies. 
  • I'm not getting older, I'm outgrowing. Growing out. 
  • I don't want to live in NYC (at least not on a permanent basis.) 
  • People are on the whole good. 
9/24/18 tlc



Monday, September 3, 2018

ACTRESS 25 CHICAGO


”I accept the gift of light shining on my path revealing the way to my highest good.”

Mom to Me, 9/27/1992


Chicago

5/19/92

I haven’t been in a show for a month except “Cannibals” (Cannibal Cheerleaders on Crack) those two Saturdays.  

Schiffra didn’t cast me. I think David Zak hates me.  

Had a callback for Pepto Bismal at Leo Burnetts - the 4th time for this now - shit!

All my pix were gone at Emilia’s - Nick was nice - was told that the only way agents will meet you from Harrisse (Davidson agency) is to see a show of yours.

Rorie was nicer to me at NTN (National Talent Network agency) AND on the train that one day.

My scene partner is great - he’s worked with Shakespeare Rep. (now Chicago Shakespeare Theatre) and Bob is his roommate. I think Bob likes me. The class is okay so far. I’m dying to read my scene already.  

Bob is Bob Scoggin, veteran actor at Shakespeare Repertory and teacher of my Shakespeare Folio Technique Scene class.  

Ego boost at work today. Bill R. said I was the “audition queen” (“too bad you never get cast in anything” in jest.) At least someone notices.

Shakespeare Rep. has to call me in for Lear or at least their matinee kids series.

I bought a new address book for business names only - I’m important now.





Thursday, August 30, 2018

NEW YORK HEADSHOTS SHOOT

From May 31, 2018

Thursday

Headshots shoot with Doug Gorenstein (3rd time.) Sarah did hair and make-up. Sam along.

1st time with Doug in Michigan - he came over and shot actors. Simple. Good. About 10 years ago.

Then 4 1/2 years ago - January in NYC - garment district. Now same building, different studio.

Doug from Michigan - talked hockey with Sam. Funny how we can all relate some how.

He was set photographer on Celebrity Apprentice - yes, our current Prez - then and now, the same.

Walked after back to hotel. Same as last year - Marriott Fairfield, CPW.

Jenny (step-bonus-daughter) came and we ordered pizza and salad to room.

Oh, saw Sponge Bob the Musical matinee. Sam's school band teacher knows the conductor/musical director.

Friday

Took Sam to Statue of Liberty and Ellis Island and dinner with cousin Zach and Jenni. Found ancestor's name in computer database.

Saturday

At Jenni and Dan's (husband/Long Island.) I could live in New York. 1 bedroom, upper west side. I could do that. There's something about walking everywhere, looking and making beauty in smaller moments.

And the culture.

And the opportunities.

I really could BE here. Yes.

From Set Tuesday (the I See You Film)

Greg Williams and I both know Donna Biscoe. He's been her husband on about 4 films. And, Chicago. He and Bruce A. Young were in Troilus and Cressida - Shakespeare Rep's (now Chicago Shakespeare Theatre) 1st play - my stage combat class in college (Roosevelt University) went to see Bruce (our teacher) in it. Greg was on stage at them all - Goodman, Northlight, Wisdom Bridge - all the Equity houses where I dreamed of working.

All I wanted then was to be a union working actor - like the Mockus's (Tony Mockus, Sr. and Jr.) - Petrea Burchard (Sandel) - Paula Scrafano and John Reeger - Barbara Robertson - Bruce.

Greg told a great story about John Reeger.  He stutters. Call his house and he puts his kids on - but NEVER, not once saw him miss a word on stage!

Maybe if I'd set my sights higher then - want to be a Star - I would have settled around Chicago and the Equity theatre sooner. Or NYC. Instead of living immediately with boyfriends and fiancees - married - waiting tables.

I wasn't selfish enough. Confident enough. Secure in my sense of self and being alone. ("And you give yourself away. And you give yourself away. And you give, and you give, and you give..." - U2, With or Without You.)

Take the money and run.

Sense of self.

Let it breathe. Let it be. "If you build it they will come."

Casting from Instagram accounts now - Followers.

I want to build a different account.

I want to shopping. Trainers. Pink jeans. Summer pull-on sweater. For Sam, jacket.

Audiobook bodice ripper - Sweet Tempest - and maybe booked Nationwide CAT II VO's, auditioned for 2 today - we flew out and did 3rd Thursday on Garage Band (didn't book.)

Thanks to Director (offer to help promote film locally or will fly out.) Go through 2nd AD - text (or agent/website.)

2 books last week. Whisper Me This and Hollywood Heir. More steamy romances from Brilliance (Audio.)

Tuesday

Flight home from NY. 235 headshot images to narrow down.

Sam 1st baseball game tonight.

Following Week

Watched taped Tony's this morning and saw Jeff and Kathleen (Daniels) in audience. I'll forever get excite seeing people I know on screen!

tcl
8/30/18

Wednesday, August 29, 2018

I WAS ON A FILM SET YESTERDAY

From May 30th, 2018

I was on a film set yesterday. I SEE YOU. Thriller. Cleveland.

I'm Mrs. Braun. 2 scenes.

Drove up night before and stayed at Marriott Courtyard by Cleveland Clinic. 

Up at 4:30 A.M. Basecamp 5:30 A.M.

2nd AD, "Are you Teri?"

Key 2nd AD showed me trailer - "Honey Wagon" like first Indie (I was on) Ocean of Pearls - or Mooz-lum - attached to row of trailers with toilettes in between. Small with paper thin partitions - toilet, sink inside operated by foot pedal.

My make-up stylist and my hair said they were built in the '70's. That would explain the ashtray off my sink.

There was a narrow window with aluminum blinds with the opener wand broken off and a dead spider hanging curled from a middle slat, but a view of the Cuyahoga Channel (saw 2 skull boats going by.)

Hair/make-up had 3 stations. All were semi-cool air conditioned - anything better than the 90 plus outside though. 

And a cushion to lie flat on.

So, despite my feeling of weirdness taking my morning dump in my closet size room and then sitting with it sans fan (and hearing the same from the trailer next to me) I was in heaven with my own private space.

In between scenes I took my undies off and hung them on a wall hook to air out (so hot they were wet - nice image.) So, private.

Despite the script definition for my character having short, close-cropped hair (I was hoping for a wig cap) hardly anything was done to my hair. Little make-up. Looked like me, really. Just like the other films. Like Jack Reacher - had hotel concierge snap iPhone pic on 2nd AD request. Hair told me, "Director doesn't want anything different." Some product run through - a comb. I think it's the color for the frame - either works or doesn't. Like all things.

Wardrobe designer, lovely, drove up week before and she fitted several options on me. Settled on jean skirt with kind of long-sleeve cotton henley tucked in and long sleeveless cardigan. Slip on mules. If it weren't Florida in the summer weather out it would have felt much better on.

Brought Sam up with me to fitting. Finished school 5/18. After, we went to beach. We were in Lakewood where set was house on water (Lake Erie) 3 weeks. Went to find beach and had 2 no-go's before settling on Metropark Huntington Beach (1st was private, 2nd never found.) GPS doesn't trell you public or private on nearby searches, or where entrance is when you've passed it.

Steps only down to the water - 2 tiers - and we settled down (shade - lovely) to have Sam want to walk to other end. We did, settled. Music playing, so up again to midway between stops 1 and 2 and settled. Sam off on cement breakers. Me eyes closed on back on towels. Shade. Breeze. Waves lapping. Bliss.

Joined Sam and eventually we skimmed stones - lots of flat ones - like my dad showed me - then stood on shore and tossed baseball (brought gloves.) Sam kept us out there a while despite my few attempts to quit (he can make a game of anything and did extending our play changing what a throw back and forth's count was from back and forth ='s 1, to 4 rounds =1, 6=1, etc. Very fun day. He went back to rocks and I to towels.

I noticed (as I did when we sat down) a lady with stroller and lots of beach toys talking to her children trying patiently to get older daughter to come in and go. Kids were in swim shirts and she a very cool denim suit cover and sunglasses, and I thought they looked like they probably lived around the expensive area, but their accents said otherwise - British. I thought about my British director I'd met a few weeks back at the callback. Wondered if... sure, because in big cities like Cleveland no one else could possibly have a foreign accent!

I watched "Mum" take 2 loads of toys and a bag up all the stairs and tell her son and daughter she'd be back (and again to get out of the water - 2 more families they'd been playing with and me their with eyes on them) and thought about the huge pram and going up the stairs and decided I'd offer help as SO many had done for me over the years traveling (Spain, airports) alone while (my husband) rode his bike.

Mum accepted my help when she came back and I asked, "Where from?"

"England." I smiled and sort of looked at her like, "Yes, obviously," and she said that some people thought she was from Australia, which I guess is like those in Spain who thought I was British, having no discernment for the accent. 

She said, "London," and that her husband was working there 2 months. 

"You're not with production, are you?"

"Yes."

"I'm playing Mrs. Braun, I'm Teri."

"You're kidding. I'm the director's wife."

I took the bottom of the pram as we went up.  She said, "I don't want you take all the weight."

"It's fine." (It was.)

On set I saw the director and said, "I met your wife."

"Yes, she said you'd rescued her." I always think it's a small world (Disney song) getting smaller (me.)

I was given entire script to read (rare)_ and like Jack Reacher it read like a really great fiction book. Much more insight into my character.

Talking with Director and telling him about reading it he (very surprised sounding) asked, "You mean you didn't read it before the callback?"

"No. I only got it after I was cast." (Standard for me.)

I wonder if this was a bit of a wonder for him - "How could she have acted that way without reading the script?!?"

Right after showing up to base (camp) I met actor playing Mr. Braun (I keep thinking of Hitler's girlfriend Eva Braun - am I only one?) Gave big hug - everyone is so nice. He is reason I have photos - he took with his phone - us (selfie) in shuttle - us and Director after wrap at last location - we had all melted but somehow looked refreshed - and us plus Greg Alan Williams and Jon Tenney (leads.)

1st set up was downtown - base camp at Flat Iron district - on street The Deer Hunter film was shot - on porch of "dilapidated middle class house" and supposedly next to house Robert DeNiro lived in during Deer Hunter. Owner (never saw) was home. I shot in front doorway holding open screened storm door so I got to see behind me the entry hallway and partial view of room behind. Paneled wall on left. Old wooden changing table with peeling Winnie the Pooh wallpaper tacked on to half (thought of Sam's nursery in Dexter, MI house and used the emotions nicely for 1st take.) They always shoot stars 1st and though I get to practice this way all the freshness also dissipates slowly before my takes on camera and thus lies 1 challenge of a Day Player.) Some kind of safe maybe along paneled wall next to Pooh table. Across very dusty shelving unit with wedding photo. Miscellaneous figurines. Against back wall to right of entrance to room lots of fishing poles. A shelf along wall in room with cat carrier on it. Dim lighting.

Our brilliant and grounding 1st AD, "Very allergic to cats," and could smell the "cat smell." (Not me - guess after living with them 31 years I'm numb.)

The porch could only have "6" people on a time - made me wonder when 6 and 2 cameras - A and B - were on porch for my scene - whole thing on slant - street on huge slope - very like Pittsburgh or Charleston, W. V. Porch overhang with dark green peeling paint chips hanging from it. Rusted iron porch rails. Rusted dilapidated porch glider. Perfect for scene. Felt empathy for Owner - being judged.

"Told inside is horrible - unlivable and not to use bathroom," et. al. Port-a-potty which another said would "never use" hadn't "landed" and "still hadn't landed" after hour or more and inside toilet was offered. I was going to drop trow behind shed in community garden until neighborhood gardeners appeared, and then thankfully during turnaround went to base camp with Jon who had to go.

Told him my shooting with film students in Texas story - gorgeous location - early morning - where's bathroom? Nearest 1/2 hour away. We'll be here all day taking me back and forth. So had students - females of course - hold blanket up to fence while I went. #1 thankfully.

Schedule had me wrapped before lunch. Ended up staying. Some open area with tents, tables and chairs - lovely really (some, "We're eating OUTSIDE?!?" because of heat really and what we're wearing.) Good food.

Shuttled back to base for touch-ups us in scene (minus Greg, he went earlier) and with kids and dad's - 2 boys whose IMDB credits read like seasoned veterans, and Jeremy (my son.) We were midway through his (and our last) scene our back before lunch. His make-up - a 3 hour job - a real treat to see up close - can't wait to see on screen. Lovely actor.

Note: End of entry - probably had to go to set. Rest of day filled with more of same - despite scorching temperatures even for Ohio humidity in late May, cast and crew did exceptional working through and supporting each other, and at one point a crew member gave one of the leads an industrial sized looking personal hand-held fan. That fan ended up being held by every one of us actors at some point, or one of the actors holding the fan to blow on another one in between takes. We were so comfortable with each other towards the end of the shoot I'd made a comment about blowing the air up my skirt save for it becoming some kind of a hashtag activist movement on social media and another actor had said he'd thought the same.  (I shared my Nana's phrase, "Whatever blows your skirt up," for 'whatever you want' and no one had ever heard it and laughed.) I See You is set for release in 2019.

Wednesday, August 12, 2015

How I Got my SAG Card

How I got my SAG card - Teri Clark Linden, Member since 1993


Well, I was working my rent-job, hostessing at Ed Debevic’s in Chicago - the 1950’s family style diner with sassy wise-cracking servers - when a Bud Light commercial was shot in the back of the restaurant during my shift.  One of the waitresses was a talented actress named Ilene Getz, who television audiences would later come to enjoy as Jane Curtain’s monotone, expressionless assistant on the TV comedy Third Rock From the Sun.  Ilene knew one the of the production assistants, who was helping to cast the spot using Ed’s staff and customers, and with Ilene’s encouragement I got picked.  I ended up getting seen on two commercial spots edited from that one very fun session which became my first SAG job.  Flash forward about a year and Chicago casting director Dick Kordos got me cast on the Nick Nolte/Julia Roberts film I Love Trouble.  My role was an airline ticket reservation agent and I had one line with Nick Nolte.  I was in “must-join” status now, having worked that first SAG job on the Bud Light commercial, and needed my SAG card before getting to set.  Despite my having been promoted from hostess to waitress at Ed Debevic’s I was still a struggling actress and borrowed the money from my parents for the initiation fees.  Getting my SAG card was the professional bar for me I set back in college and I was proud to have achieved it just 4 years after graduation.  I joined AFTRA and Equity (with my own money) soon after, and I am just as proud now as I was then to be a member of these professional performer’s unions.  (By the way, my airline agent role was cut before I even got to the I Love Trouble set, but my parents didn’t make me pay them back and, of course, I got to keep my SAG card!)


Wednesday, February 5, 2014

Film Role

Little diversion from my Voice-Over reporting to write about an upcoming on-camera project I just found out about 3 days ago:

So lucky to be last minute replacement for lead in small indie film produced and directed by Ohio U upperclassmen for their "419 production" class. Embarking on a journey researching an actual leading role (v. the 1-5 line one scene Studio films I usually do) and researching & Skyping & collaborating on everything from script table work to wardrobe.  It's like a Master Class where I get paid for my attendance and work!  I get to Skype with the lad playing my son tomorrow (in our "Thelma & Louise"-like Mother/Son story) and start shooting this weekend.  Oh, and I can add Texas to my list of states I've visited. I'm being flown there for a few days in March to shoot some road trip scenes (where I'll be at the helm of a '63 Ford Falcloln - oh, yeah, it's a period piece...1965.) Living my dream.  Stay tuned.
Fringe I cut tonight for the role.

Thursday, January 23, 2014

FREE VOICE-OVER LESSONS: BASICS/DEMO

I discontinued voice-over training and coaching, and for years still received inquiries about how to start a voice-over career (which simply has no concise response.)  While no longer teaching, I have decided to post increments from my Basics Training Event Workbook here, with a link to an audio track narrated by me.  It's my hope to help those interested in learning more about voice-over and what's involved in starting a career.

The third in the series is an introduction to voice-over demos. 
TCVO Presents…

SPRING INTO VOICE-OVER!

© Teri Clark Linden, 2014

DEMOS

The first thing (after training) you need for your VO career is a VO demo.  You can’t get an agent without one.  There’s no point in having a website without one.  You can’t market yourself without one.  You need one and that’s that.  In Pat Fraley’s “Demo World” he identifies six demo types and suggests that professional voice-over talent “are now encouraged to create and maintain from two to six of the “Top 6 Voice-Over Demos” which are:
Commercial
Animation/Character
Interactive/Gaming
Narration
Audio Book
Promo/Trailer

I have been able to broaden my market to include every genre mentioned even those not controlled by agents, primarily through my home studio use.  

What you need starting out
You are just starting out, and in a smaller market, so you will need to focus on a commercial demo first.  Jason Sasportas, my agent at Stewart Talent in New York, says this about getting your first demo: “I strongly encourage talent who are brand new to the business to avoid putting together a reel until they’ve had considerable training and are very comfortable with their reads.”  This is mainly because demos are very expensive (the well-produced ones that is).  Jason says in New York they generally run about $1,400, and I think that’s about the same for Chicago and LA, maybe a little more in LA.  

As a producer of commercial demos, I would say the key to keeping the cost low is having as much of the material ready to go before you step into the recording booth.  I work with my students to build a script library full of versatile copy and styles, hopefully picking out selections that are not only written differently but, more importantly, show off my student’s vocal ability and range.  

Combination Demo
In the Midwest you can get away with producing a demo type called a “combination demo,” which is basically a commercial demo with maybe a bit of narration, accent, or character, thrown in towards the end.  This is acceptable because our smaller markets might not support enough work in other genres to warrant separates demos.  Of course, say for instance your forte is cartoons and you want to market yourself as an animation voice-over talent from your home studio, then by all means get an animation demo made.  If this is the route you want to go, then I strongly suggest going to where the best teachers and producers for this genre are, and that’s LA.  

Personal Style
While you are here in the Midwest though, get a commercial/combination demo made to have as your base.  Once you have all your versatile material, cuts and bits totaling no more than one minute and are ready to record, you shouldn’t be more than five hours in the recording booth, on average.  It depends how talented and creative you are behind the mic, and how talented and creative your producer/engineer is behind the table.  Pat Fraley says a demo shouldn’t be too heavily produced (the music and sound effects shouldn’t overshadow your performance).  He also says you need to develop a “personal style” and that needs to come forth first thing on the demo.  You need to grab the listener in the first five seconds.  Five seconds!  When speaking to personal style, think about your strengths as a performer.  What do you really like to perform?  What interests you?  What do you feel confident with?  Is it cartoon voices and comedy, or do you have a husky and smoky voice, or a penchant for storytelling?  The more you practice your voice the more confident and aware you become of your ability, which goes back to what Jason Sasportas said about training and being comfortable with your reads before getting a demo!

Research & Rates
In a smaller market like Dayton, Ohio I recommend contacting recording studios and asking about commercial voice-over demo production.  Be specific.  Ask if they produce commercials and work with voice-over talent (maybe they just produce musicians).  If they do produce commercials, find out if their engineer also directs.  Ask if they have any samples you can hear.  Find out rates for their advertising clients (charge per hour for studio time, which should include engineer, mixing, music and sound effects – any “post-production”) and see if they offer a reduced rate for demos.  In Detroit, most do, though your time may be “bumpable” if a full-price paying client needs your time slot and you may have to reschedule.  Still, the difference between $300, and $125 an hour at five to eight hours can be a big one, and its worth checking into.  

Pat Fraley in LA is an amazing voice-over talent, teacher and demo producer.  He offers an Audio Book workshop where at the end of two days you have not only learned about voice-over in the Audio Book world but you walk away with a top-tier Audio Book demo.  Pat also offers private coaching and will produce your demo in a recording studio working with an engineer.  Trained by Pat, I feel confident directing and helping students find their vocal strengths and variety (and personal style) and getting them ready to record a demo.  For the past couple of demos I coached my students toward, I attended their recording session at RMS Recording studios in Detroit for the first hour, being on hand to help direct what we had created working one on one, and working a bit with the engineer and producer to determine what kind of effects and music (if any) we’d like under the voice-over, placement of the pieces, etc.  I also jumped behind the microphone for my male students and did a name slate for them.  I recently talked with a recording engineer who said he did a demo for a talent where it became apparent very quickly the actor had no training.  They did not know what they were doing behind the mic, so all their scripts sounded the same and were the same style.  Yes, you need training.  

You don’t need to wait years before getting your demo either.  There is a lot of prep work for demos you can do on your own that costs little money.  Edge Studios on the Internet offers free practice scripts.  So do magazines in the library or transcribing commercials you record on the television.  Practice and playback your voice on an array of recorded scripts on your own and find a voice coach to work with to help you with training.  Together, you can work towards creating a viable basic demo to begin marketing yourself as a voice-over talent.  Once you begin to make money and gain more skills, you can work toward refining your demo and laying down tracks for a second genre, like character or narration.
© Teri Clark Linden, 2014

CLICK HERE FOR MY AUDIO NARRATION OF VOICE-OVER LESSONS: BASICS/DEMO

CLICK HERE TO WATCH ME NARRATE ON BASICS/DEMOS ON YOUTUBE

Blogging in the morning!

Tuesday, January 21, 2014

FREE VOICEOVER LESSON:BASICS/VO DEFINITION & GENRES

After discontinuing voice-over training and coaching and for years receiving inquiries about how to start a voice-over career (which simply has no concise response) I have decided to post increments from my Basics Training Event Workbook here, accompanied by an audio track narrated by me.  It's my hope to help those interested in learning more about voice-over and what's involved in starting a career.

This second in the series excerpt is about voice-over definition and different voice-over genres.
TCVO Presents…

SPRING INTO VOICE-OVER!

© Teri Clark Linden, 2014


VOICE-OVER DEFINITIONS & GENRES

According to Miriam Webster on the Internet, one definition of “voice-over” is “the voice of an unseen narrator speaking.”  The definition expands to include “voice of a visible character” and “recording.”  Going forward I’ll sometimes refer to voice-over as “VO,” an abbreviation used commonly in the voice-over world I have been performing in for quite some time now. 

I practice voice-over acting, using techniques and talent acquired over the past few decades at the microphone recording in several different voice-over styles, or “genres.”  Mainly, I lend my voice to radio and television commercials and audio books, and once in a while narrate corporate business projects, or “industrials.” (Industrials are used primarily to promote policy or training within a company, without advertising it to the public world, either recorded for employees to access in-house or through the Internet.)  Whichever voice-over genre I work in I use acting as a way to give the best performance and vocal quality as possible.  I also utilize an array of voices depending on the project (there are quite a few characters and cartoon voices out there in commercials, audio books and industrials.)  Below is a list of several voice-over genres I have come to identify through my years as a professional voice-over talent:

Commercials (Radio,  Internet & Television)
Animation (also called “Character” in some markets)
Narration
Audio Book
Trailers (Major Motion Picture Previews)
Promotional & Radio Imaging (Radio Station Identification)
Gaming (Interactive, Video Games, Arcade Games, Amusement Park Rides)
Acoustiguides (The voice in the headphones at an exhibit)
Phone System Prompts (also called “IVR” or “Interactive Voice Response”)
Talking Toys
Film Dubbing & Voice Match (also called “ADR” – Additional [or Automated] Dialogue Replacement [or Recording], or Looping)

In VO Basics I’ll focus mainly on commercials.  Just because a script (also called “Copy”) is created to sell a product, doesn’t mean it can’t tell a story, elicit emotions from its listeners or be full of characters in its advertising.  Recently, I rarely get copy that calls for anything other than being “real” and “conversational,” even though the part I’m reading for is labeled “Announcer.” Also, there are many funny commercials needing character voices for people as well as animate objects (think “Scrubbing Bubbles” and “Raid Ants”).  This is where acting skills are a must.  

Improvisation skills are also essential in a successful VO career.  Improvisation is un-scripted performance where actors create characters and story on the spot from within their imagination (think Second City Chicago where many performers get scouted for Saturday Night Live).  Improvisation and acting training will give you the ability to think on your feet at an audition to make your performance stand out from the rest, give several reads that all sound different, and perform during a recording session when the client is out of ideas and gives you my number one impression of the worst directing advice an actor can receive: “Try something different this time.”


You don’t have to live in a big city to take acting classes.  Most towns will have a community theatre where you can get your feet wet in acting.  Universities, community colleges and community centers are a good place to look.  Improvisation specific classes may be harder to find in smaller towns, but good acting teachers will always address basic improvisation in their basic acting classes.  If all else fails there’s the Internet, with an array of resources to find instructional material and maybe even an on-line course.  Some of my favorite books on acting are Respect for Acting by Uta Hagan, Acting in Film by Michael Caine, Sanford Meisner on Acting by Sanford Meisner.  (Please know I am not trying to sell books here, but only offering my opinion on a few that I personally have found helpful and like!)

CLICK HERE FOR MY AUDIO NARRATION OF VOICE-OVER DEFINITION & GENRE!

CLICK HERE TO WATCH ME NARRATE FREE VOICE-OVER LESSONS FROM MY WHISPER ROOM RECORDING BOOTH!

Thursday, January 16, 2014

FREE VOICE-OVER LESSONS: BASICS/INTRO/ABOUT ME

I discontinued voice-over training and coaching, and for years still received inquiries about how to start a voice-over career (which simply has no concise response.)  While no longer teaching, I have decided to post increments from my Basics Training Event Workbook here, with a link to an audio track narrated by me.  It's my hope to help those interested in learning more about voice-over and what's involved in starting a career.

The first in the series is an introduction and a little background on me, Teri Clark Linden.


TCVO Presents…

SPRING INTO VOICE-OVER!

© Teri Clark Linden, 2014

This workbook is designed to compliment my “Spring into Voice-over Event,” which I created as a basic introduction to voice-over performing.  In it you will find information which I hope will help you decide if pursuing a career in voice-over is right for you.  Please keep in mind this information is based on my opinions and experience working as an actress and voice-over talent professionally for 25 years.  I am also acting in part as a translator sharing with you what I have learned first-hand from training and working with voice-over masters over the past decade, as well as from on the job experience.  This information is a guide, and my hope is there will be at least some information that will resonate within you and that you will find useful.  I do not hold a magic vision into the future and cannot tell you whether or not you have what it takes to be a successful voice-over talent.  No one does.  You know you the best.  You need to trust yourself and your instincts above all others as you move forward toward researching this new career in voice-over.  I will help guide you with information and training to the best of my ability, but ultimately, the choice is yours.  Thank you for trusting me to help you with your choice, and enjoy your endeavor and this Event!

Regards,

Teri

About Me

As you know, my name is Teri Clark Linden.  I was born Teri Lynn Clark and for years went professionally by “Teri L. Clark.”  I got married and when my son was born, he was given “Clark” as his middle name, and I officially became “Teri Clark Linden.”

For most of my life I have resided in the northern Midwest, primarily in Ohio, Michigan and Illinois.  I have loved acting since I was 13, took my first drama class in middle school, and have been performing in some capacity ever since.  My parents still remind me of a joke I made early in my career when they asked, “Is anyone else in your family an actor?”  I replied, “Yes.”  We all are, but I’m the only paid professional.”  I acted in plays in high school and received a BA in theatre from Roosevelt University in Chicago.   

For several years after graduation I worked in Chicago and regionally as an actress before relocating back to Michigan, where I lived for the next 15 years.  In Detroit, I performed at all the union theatres as well as commercially on camera and in voice-over.  In 2006, I set up a home recording studio and began marketing myself as a voice-over talent.

I was soon represented by a New York agent and narrating audio books, as well as auditioning from my home for local and national voice-overs.  I gained a reputation in Detroit for being a top voice-over talent and had clients booking me regularly without auditioning.  Also during this time I was regularly asked, “How do you get into voice-over?”  In 2009 I realized a need for professional voice-over training in Detroit and decided to host Sherri Berger (VOU Chicago) for a 2-day weekend basic training workshop.  This was so successful that I began coaching students privately and producing more training workshops.  I hosted Pat Fraley from LA for an “Accent on Dialects” workshop and several workshops on character voices and film looping with Pamela Lewis (Talking Funny for Money).  Between 2006 and 2010 I also continued my training.  Aside from absorbing information from the masters I hosted with every workshop, I traveled to Chicago and LA to study with Pat Fraley (my mentor and now friend) on several occasions.  Today, I still re-visit materials gathered over the years on the art and technique of voice-over performing, as well as look for new training opportunities.  I highly believe in training, and that you can never stop refreshing what you already know or that you can always learn something new.

My husband’s career brought our family to Ohio in 2010.  Initially saddened to leave what I had built in Detroit, I believed and still believe that new doors open where old ones close, and am able to now bring my talent and teaching to the Dayton area.  While not on stage acting in plays in the capacity I was in Detroit, I am auditioning and working regularly in voice-over and on-camera, specifically narrating audio books and acting in motion pictures.  

I am fortunate with the support of my family to work in a profession that is also one of my passions, and I am thankful to be able to share it now with you.
© Teri Clark Linden, 2014
CLICK HERE FOR LINK TO AUDIO NARRATION BY ME!
In my booth recording today's blog.  Video available on YouTube!