Join us as we navigate the captivating world of character creation in voice acting with MCVO Agent Lau Lapides. The BOSSES unpack the essence of building characters across various domains—whether it's animation, commercial, corporate, or e-learning—emphasizing the crucial role of authenticity and depth. Discover how understanding a character's choices, morality, and actions can elevate your performance from mere impersonation to truly embodying the character. By thoughtfully considering the script's intent and adding your unique touch, the BOSSES aim to help you craft characters that deeply resonate with your audience. Tune in and embrace the complexities and creative challenges of character development with us, ensuring your performances are both genuine and relatable. 00:00 - Anne Ganguzza (Host) Do you ever wish boss marketing was as fun as it was being behind the mic? Well, check out my VioBoss Blast. It's designed to automate and make your marketing simpler. You'll benefit from your very own target marketed list, tailored to meet your goals and your brand the ViBoss Blast. Find out more at VioBosscom.
00:24 - Intro (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss a VO boss. Now let's welcome your host, Anne Ganguzza.
00:43 - Anne Ganguzza (Host) Hey everyone, welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and I am here for the Boss Superpower Series with my lovely guest co-host, Lala Pides.
00:55 - Lau Lapides (Host) Hey Anne, so happy to be back, as always.
00:59 - Anne Ganguzza (Host) Ah Lal, I love you. You're such a character.
01:03 - Lau Lapides (Host) I love you right back, super lady.
01:07 - Anne Ganguzza (Host) You know, speaking of characters, I have a lot of friends who do character acting a lot of really wonderful friends and they absolutely love it, they're very passionate about it. As a matter of fact, a lot of students that I talk to that want to get into voiceover. They want to be a character, they want to be in animation and I thought it's appropriate because we're characters, no matter what we do in voice acting today, and not everybody thinks of it in those terms. So I thought maybe we could concentrate on what characters we are today.
01:36 - Lau Lapides (Host) That's an interesting topic because I think that a lot of creatives think of character in a very artificial kind of sense, as almost a caricature a caricature instead of a character, a well-drawn character with depth, and dimension. So like, yeah, what is that character? How do we define that character? It's a great question.
01:58 - Anne Ganguzza (Host) That's a good question. So, Lo, how do you define character and how you need to be a character? Or do you need to be a character, or do you need to be a character in voice acting?
02:07 - Lau Lapides (Host) Well, I think the first thing I think about is from that morality standpoint of thinking about character. When we say, oh, that person has a lot of character, they build their character, they have a very strong character, they have a moral character. I always think of it as someone who is strong, someone who has a backbone, who has courage, and someone who is well-drawn, well-built, someone who has those three dimensions, who has depth, who's interesting, who has integrity. I mean thinking about all the layers that go into what character actually is. I don't necessarily think of like cartoon or animation or something that's unreal. I think of something that is actually real and dimensional. And then I go from there, I start to dive in and say, ooh, what does this building of this character from an actor's standpoint? What does that mean? How do we build a character from the ground up, taking our breakdown, taking our description and really detailing it, really adding our own unique dimension to that that becomes our character?
03:11 - Anne Ganguzza (Host) And is it necessary that you are a character in voice, acting for every script? Are you a character?
03:19 - Lau Lapides (Host) Well, I think that only is about how you define character. If I define character as every single solitary role that I could possibly play is a character, possesses character and has character elements to it, then I would imagine yes, you're a character, whether you are a narrator an audiobook reader or whether you're a medical tech person, you're a character.
03:44 - Anne Ganguzza (Host) Absolutely, and I think that in order to really resonate, I think, with the script and resonate with the listener, you need to truly embody that character, and I think it's important that we're not trying to necessarily impersonate a character, right, it's more or less being that character in the moment, right, and I know that a lot of times when you are speaking in the moment, all the things that used to matter to you like oh, how do I sound right? Kind of flies out the window. And that's why I think it's important that we actually get ourselves in the moment, in the character, because we don't necessarily need to consider what we sound like. We need to consider who we are and what we're reacting to, what scene we're in and how we're talking to our listener.
04:34 - Lau Lapides (Host) And who we are. From an actor standpoint, whatever kind of character you're creating is determined not only by the writer's point of view, but also by the moment-to-moment experience, directorially, from your perspective, your point of view, what's your POV? So, therefore, we need to be fully present, fully engaged in the moment, to really figure out the character, build the character from the ground up and really start to ask questions about what is your character, who are they, what would they do, what would their decisions and actions be? And I like to even go and say are they like me, or is this within me to do, or do I have to create this as part of my character? I don't want to mimic, as you said, I don't want to impersonate, I don't want to be a parrot in that way, but what do I need to do to get the qualities of that character and then put it in so I can organically bring that out as part of me?
05:31 - Anne Ganguzza (Host) and who I am. I like how you actually brought in the fold that there's a point of view from the script writer, right, let's say, if we are voicing a commercial or, in my case, like corporate or e-learning right. In my case, like corporate or e-learning right, there's a point of view that you need to consider from the copywriter or whoever it is that is providing you with the work right, because they want you to consider their viewpoint. But then you also have to bring in your own point of view, and I think that sometimes people get confused as to the point of view. Is there just one or is there one that you're melding in with your own point of view? Is there just one or is there one that you're melding in with your own point of view in order to make your take on that a unique take that will engage the listener?
06:13 - Lau Lapides (Host) Well, you know, it's interesting, A lot of VOs who also do on-camera work hear the language of the technical crew talking about POVs when it comes to the camera shot. So I like to think of it in those terms that you know, if you're shooting one scene, it could take four hours, eight hours, 12 hours to shoot that one scene, because the crew is concerned about what are all the POVs in the shot list that we need to get. So when we think about voiceover and we think about, well, we're not on camera, but what are we doing with our voice? What are all the points of view that our voice can stylistically shift to, whether it's written in the script or not, really could take time to develop that.
06:55 - Anne Ganguzza (Host) You know. I love that. You said that because I think you're right and it's funny, because I'll talk to my students and I'll say it's a point of view that evolves, because if you have the same point of view throughout an entire script, it becomes almost like white noise and it becomes very predictable and consistent and it doesn't necessarily tell the story, because I'm constantly in this particular point of view and I'm going to talk to you like this for the next minute or two minutes or maybe even ten minutes, and I'm going to continue with this particular point of view and it starts to become really repetitive and it starts to become where repetitive and it starts to become where whew, that's exhausting to listen to, right? So I think a point of view is constantly evolving and changing along with the storyline and that's something that the actor makes, those choices right, those choices on how to evolve in a unique way that takes the listener on a journey.
07:43 - Lau Lapides (Host) Yes, and it is the very thing that you and I, as coaches, are always pushing home. Pushing home. It is precise, it is detailed, it is specific. We should never be making choices that are like whitewashed, or universal, or generic, or not making choices at all, which is what?
08:01 a lot of talent do because they want to just let happen what happens? Sure, but the truth is we're on a mission for choice making and we know we're going to attain the objective if we make the choice to go get that. If we don't make any choice, chances are we're not going to achieve that objective.
08:17 - Anne Ganguzza (Host) Yeah, then it just becomes like a neutral, flat, kind of like where is that point of view and what makes that different than somebody reading words to me really?
08:26 - Lau Lapides (Host) So therefore we lack character? Yeah, we lack character and characterization, and characteristics, how about characteristics? So therefore, we lack character? Yeah, we lack character and characterization, right right, and characteristics, sure, how about characteristics? I like that.
08:33 - Anne Ganguzza (Host) And moment to moment I love the moment to moment in between the periods throughout the scene Like the scene can evolve, and I think what's so cool about that is that it offers the actor such an amazing spectrum of creativity to just draw upon in order to make that read come to life.
08:53 And it's different for all of us. I think there's, I think, the point of view, that's the intention of the script, that makes sense for the words that are on the page, and then there's what you bring to it moment to moment. It evolves over time, it may change and shift and you may not know what those scenes are specifically Like. We don't always get the storyboard, we don't get the video, we don't know what the music or any of those things are going to be, but we have our own creativity, we have our own imagination, we have an understanding of who we're voicing this for and the context of the words that are on the page, and then it's up to us to interpret them in a logical way that would make sense to accomplish what the client wants from us.
09:35 - Lau Lapides (Host) Exactly, that's exactly it.
09:37 And I think that if you don't do that work, if you don't do the homework or the pre-work, as we call it, the pre-work if you don't do that prep, pre-work, you're really messing out a lot, because you want to be free, that when you're doing the gig whatever that gig is you want to be free to really play and enjoy the character and say, okay, I've created a framework, I have a little blueprint for myself, I can see the visual in my head, I have a sense of where they're going and make some decisions, so that when I veer off and I go outside of the box, I know that I'm breaking my own rules, which is what I want to be doing as a creative.
10:13 I want to set my rules, I want to see if that works, and then I want to break the rules and that might work even better. And so those characters are like, no matter how rule-oriented they are, they're always breaking rules in certain ways as well. And really finding out like, where's the rebel in the character? Maybe she's been saying lines just like this, she's been delivering just like this, and then maybe on this one she changes it. She changes it for a reason to show that she is awake and aware of what the problem is in the community, right. So I'm really developing a character and characterizations that then become relatable and about empathy, that an audience can listen to and go ooh, I do that. Ooh, that's just like me.
10:58 Wow, and all of a sudden they're not thinking of character. They wouldn't even use that word.
11:02 - Anne Ganguzza (Host) They'd say that's a person that's like my sister right, and you know what A lot of times I'll tell people to do. Maybe for the second take right is maybe change your character a little bit, One that still makes sense, but change your character or change the scenario.
11:16 - Intro (Announcement) Change the scene.
11:16 - Anne Ganguzza (Host) Like maybe you're in a hurry or maybe you're in a different place, Maybe you're outside, or maybe you're inside in an office and maybe the person you're talking to right has a different reaction or has got different issues with what you're saying. Or maybe they've got a backstory that you're responding to and that backstory changes, and so you're responding in a slightly different way, but one that still makes sense, right for the words on the page. Right.
11:44 And that can give you a really great second take, more so than oh, that second take just has to sound different, right? So if you can push I'm going to say if you can push your creative mind to always take in the scene creating that character and moving that character through the scene, and then do a take two right, create a different scene, create a slightly different character, one that still makes sense and Law, I'm going to ask you, I'm going to have you probably reinforce what I always tell people Does it matter that we don't have the storyboard? Does it matter that our story is correct from the final version of the video or whatever it is that we're creating, or the commercial? I think?
12:25 - Lau Lapides (Host) that in every single thing we do, Anne, I think that in every single thing we do, Anne, there's blind, there's stuff behind walls that we don't see and we're not privy to and we don't know, and that's okay. That's where us, as creatives, come in and say I can create different interpretations, I can create different scenarios. And then, as they give me the feedback or direct me, or maybe they just say hey, you gave me three, they're fabulous, we like it, we're done.
12:49 - Anne Ganguzza (Host) You know what I mean. And let me ask you another question, which I know a lot of times people will complain about this. They'll say well, why do they write it this way, right? And then we don't know what it means. I have no idea what it means, but yet they want us to sound like we're talking to our friend, or they want us to what they really want. Maybe they're not telling you for a very good reason, right? Maybe they're not giving you that storyboard for a good reason because they want to hear your creative, artistic interpretation or impression of it.
13:28 - Lau Lapides (Host) Right. Typically, I would say don't waste too much time or energy wondering why it was created this way, why it was crafted this way it was. Now let's see what we can do with it. And you know a lot of directors, a lot of young and up-and-coming directors I've noticed stylistically are very different than years gone by. They're doing a lot more impromptu, a lot more improv, a lot more stuff like that. So sometimes, not all the time, but sometimes you're going to have the license and the leisure that you're working with someone who says is that natural for you or do you need to change something there? Right? And that actually happens a lot more than we think, where, in essence, we're editing the script on the spot when we're doing a job because we're coming up with something that they didn't realize works better.
14:13 - Anne Ganguzza (Host) Oh, absolutely Absolutely, and a lot of times it can spur them into new creative avenues as well, to say, well, I didn't think about it like that, but you know what I really like your take on that, and so how wonderful is that? It's wonderful. I often think that we're given this creative challenge and we should embrace that challenge and not be so determined to get in 100 auditions a day in our studio where we're just going and I know what it should sound like. I really feel as though we don't take enough time and sometimes even I have to remind myself right in a busy day. We're always so busy that I need to really sit back and let's think and let's kind of enjoy the process, let's enjoy the creativity, let's enjoy and embrace the challenge of creating a character and really figuring out and it's not easy Law, is it easy?
15:02 - Lau Lapides (Host) No, I mean human relations. Right, human behavior is never easy because you're always dealing with true, authentic interface with another person, like we are doing a reasonable facsimile of real life. That's what we're doing. It's not real life, we're in a booth under a light, but in essence we're doing that reasonable facsimile of it and we have to understand that your character is capable of anything. When someone says, oh, I don't know why she's saying that she would never say that, I say, oh, I don't know why she's saying that she would never say that.
15:37 - Anne Ganguzza (Host) I said, yes, she would. Yes, she could If the situation were appropriate. Yeah, of course she could. If you want me to be conversational, you know, and I feel like that word is now got it's a dirty word now, but I just want to say Well, it's exhausted.
15:45 - Lau Lapides (Host) It is exhausted, they use it a lot and conversational.
15:47 - Anne Ganguzza (Host) there's so many different ways to be conversational. I mean law. I have conversations every day, like every single day of my life. We have conversations.
15:54 So, it's a fact of life that we have conversations. Now, when somebody gives me the direction that they want it to be, conversational, there's so many different, like 360 degrees of conversational. It could be casual, it could be authoritative, the conversation could be authoritative, the conversation could be shifting, and again along with the character, right. And so I think that conversational is just meant to be. Well, let's not make it sound announcery, right? So what's the other word for it? But honestly, I engage every day with other people and with things and with circumstances and so-.
16:25 - Lau Lapides (Host) That's your practice. That's your practice is to really do it right, and I can tell you, one of the biggest mistakes that actors make, whatever they're doing, is to say how do I sound, do I?
16:35 sound real, Do I sound? And I said, listen, if I came into this coaching session, I said with Joe. I said, coming in, I want to sound real with Joe, I want to coach Joe and I want to sound real. Wouldn't you think I'm crazy? And he'd say I think that was crazy. I'd say, well, that's what you're doing right now. You're doing that right now with a real person or a real entity, a character that's not coming in and saying I want to feel real, I want to look real, I want to sound real. They're saying no, I want to get a point across to you. I want to help you with something, I want to do something with you.
17:06 - Anne Ganguzza (Host) And I'm going to say that, well, I wouldn't say that right in a normal situation. But the deal is, is that that's not you as an actor? It is your job to make the words on the page sound logical and sound like they would be something you would say. That is your job as an actor. Right? There's no excuse. What do you mean? You would never say that it doesn't matter. We're not asking if you would ever say that In this particular instance, you need to act as though that is a perfectly natural thing to say and a perfectly understandable, logical, emphatically lovely thing for you to say.
17:39 - Lau Lapides (Host) Yeah, you're an actor, act right. But I mean, how do you know that? Do you know that? For a fact Like, why limit your potential? Why put caps on your creativity? Why not say, okay, the craziest thing I could possibly do, I'll think about doing it Now. Maybe if the circumstance and context were right for that, you would do it. Oh gosh, yeah, but chances are, you may never know right.
18:04 - Anne Ganguzza (Host) And what I always am arguing with people about is saying well, yes, you absolutely could say that, as long as you understand what the story is leading up to it. Right Again, you picked that moment before. What is that conversation you're having? What's happening before? Tell me about who you're talking to and what is their pain point. What is their problem? What are they reacting to? Or why are you talking to them with the first words of the sentence? Why are you saying that to them? There has to be a reason. They said something to you, there was an action that happened and you are reacting to it.
18:35 It doesn't mean that your first words out of your mouth may be the exact first words in that, but you can lead into it and you can say well, actually, yes, here's your issue, and I want to tell you about first word coming now, right? So what happens is the first word coming now doesn't just pop out of the air, like I don't think law when we get together, I don't just go welcome to module one or, once upon a time, law. No, we've evolved into a conversation. There's been history. You know I have empathy to. Right now, you're in a hurry, right? So I want to make sure I'm not wasting your time, and so there's a backstory that you have to develop.
19:13 You have to develop it. And I don't care what script, any script, any script. Even if you're reading about a pharmaceutical medicine and the effects that it has, do you know what I mean? Like, I want you to be like telling the person that's reading the back of the label, that thinks that they might have 10 of those symptoms and making them feel better about it, right? So there's a story there. Make that story make sense, okay.
19:36 - Lau Lapides (Host) So the listener says, great, all well and good, but what if I haven't experienced any of this, I haven't gone through it, I don't have the context for it. I say, well, if you can surmise a bottom line for your character, what is happening? Say, the character is jumping out of a plane right now, that's what your characters do, but I've never jumped out of a plane. I don't know what that is. Yes, but you've taken extreme risks and you know what fear is and you know what that moment is. Even just building a business is very risky and fear-based. Call upon that moment in you.
20:06 That's real. It's a substitution method that we have to use, because there's a lot of things in scripts we haven't experienced or industries we're not in. But we have to connect it with very real reservoir of emotion so that the character doesn't become one-dimensional or plastic. It is real. You're fooling us, you're tricking us, what they call in ancient Greek theater you're a hypocrite with a why meaning. You're able to mimic a feeling, an emotion that is very, very real for you because it's coming from you, even though you didn't have the actual experience. And that's what building your character is really all about is really taking from your life, your real history, your real experiences, and matching it up with the characters in her life, the characters' experience, even though they may be different.
20:56 - Anne Ganguzza (Host) Yeah, I agree and I'll tell you what. And again I stress that, no matter what you're looking at, even if it's like a telephony script like thank you for calling Rite Aid, right, yeah, why are you saying that, right? Obviously somebody's called you on the phone and they literally need to check on their prescription. They're probably frustrated because maybe the text came through and it's not ready yet, and so they're calling Rite Aid and they're frustrated.
21:19 Right Now I'm building empathy, right. I'm building empathy for the person who's going to be on the other end of the line from my message that says thank you for calling Rite Aid, right. So I understand that they are busy. I understand that they're frustrated, so I'm going to approach that with a character that's going to make them feel at ease or feel better, and so I've developed this story, I've developed my character and maybe I'll be bright, but I'm not going to be overly bright so that they get really annoyed at that. And it's funny, because I do telephony, I have no ego. Look, I get paid to do it. I do telephony, I do corporate, I do explainers, I do e-learning, I do commercial.
21:58 I mean I do a lot more of the non-broadcast Of course, but the funny thing is is that for every single script I am talking to someone, I am a character. I have a couple of different characters that I have worked on for my telephony scripts and, depending on the on-hold messages which, by the way, lollapiedes, on-hold messages are nothing more than 15 to 20 second commercials. Did you know?
22:22 - Intro (Announcement) Right and I actually have.
22:25 - Anne Ganguzza (Host) the majority of my customers ask me to be very relatable and not like that. Hey, did you know 99.9% of people do this and for $9.95, we have today's special deal. No, they want me to be real and so I have to create that character that is engaging with someone who's super frustrated, that doesn't want to be on hold, that is going customer service customer service and you know what.
22:53 - Lau Lapides (Host) If anyone has hosted a party or hosted a dinner in their home or in their apartment, you know what it's like to host. You know what it's like to welcome people into your space and make them comfortable, and that's what they're asking you for in that situation.
23:09 - Anne Ganguzza (Host) How do you say thank you for calling and mean it right? Everybody in the world wants to go. Thank you for calling right, hello, no, I want to hear it as if you really are thankful, that you're really thankful that they called Right and so you've got to really dig deep for that. I'm just saying dig deep for that telephony because you are a character, no matter what.
23:31 - Lau Lapides (Host) We could talk about this forever. Character is in everything, it's everywhere, and everything it's all of life.
23:37 - Anne Ganguzza (Host) Yeah Right, it's a wonderful conversation. I think we should have part two of the series.
23:41 - Lau Lapides (Host) I was just thinking that Part two, part two for sure.
23:43 - Anne Ganguzza (Host) So yeah, bosses, be a character. You are characters. Be a character for everything that you do in voiceover, and you can be a character and find out more about IPDTL, who is our sponsor, going to give them a great big old shout out. Find out more about IPDTL at IPDTLcom. You guys have an amazing week and we will see you, bosses, next week. Bye, see you next time.
24:06 - Intro (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguza, and take your business to the next level. Sign up for our mailing list at VOBosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.
24:37 - Lau Lapides (Host) Absolutely. You know what I mean.
24:38 - Anne Ganguzza (Host) Otherwise.
24:38 - Lau Lapides (Host) I wouldn't. I wouldn't do it so quickly. Hang on one second. Do you hear that. What is that? I don't know. Okay, maybe it was something outside. Jerry, okay, I'm podcasting, I'll be. Was something outside Jerry?
25:03 - Anne Ganguzza (Host) Okay, I'm podcasting. I'll be out in a few minutes. Okay, is Jerry out there? Yes, I think that's my husband being loud. Well, jeremy's out here.
25:10 - Lau Lapides (Host) So it was one of our husbands. Oh, was it one of our husbands For.
25:12 - Anne Ganguzza (Host) God's sake.
25:14 - Lau Lapides (Host) Jerry's over there and Jeremy's over here.
25:18 - Anne Ganguzza (Host) Tell Jeremy to be quiet.
25:20 - Lau Lapides (Host) Annie says be, he's over here, tell Jeremy to be quiet. And he says be quiet, shut the fuck up. What are you doing, jesus Christ? Oh my God, that's so funny. I can't even close these doors.
25:31 - Anne Ganguzza (Host) Oh my God, but that's so funny because normally I don't hear anything, but I couldn't tell if it was Jeremy, if it was outside of yours or mine. But my, my husband just opened the door and I was like, what the heck Like so well, we did, we did the show. You want to do an outro? I mean, we did this is going to be well, just FYI, uh, this is going to be good for you, james. This'll be like an outtake. So, by the way, bosses, when you're, when you've got people running, this is why studios still have signs that say shh, recording, because even though we have great studios and I've, I've got, you know, acoustic panels and everything, if somebody's right outside this door and they're screaming or they're being loud, we're gonna be able to hear it. Yep, so, anyways, back to our back to our, uh, our discussion. Okay, so pick up.