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    Business

    VO BOSS

    The VO Boss podcast blends business advice with inspiration & motivation for today’s voice talent. Each week, host Anne Ganguzza shares guest interviews + voice over industry insights to help you grow your business and stay focused on what matters…

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    Latest Episodes:
    Love Your Finances with Tom Dheere Mar 26, 2024
    Show notes

    The BOSSES discuss how to embrace the intricacies of your finances as owners of your voiceover business. As tax season approaches, they delve into self-employment, discussing how different business structures, such as S-Corps and DBAs, can significantly impact your taxation and payment schedule. They also examine the emotional factors that can influence your approach to money management, taking into account personal backgrounds and societal pressures. Health insurance options are also discussed, from leveraging a spouse's plan to state programs. The BOSSES also explore the merits of keeping distinct business bank accounts and utilizing tools such as Health Savings Accounts and business credit cards. Whether you're a spreadsheet enthusiast or a QuickBooks aficionado, they provide insights on tracking transactions, automating invoicing, and the smart utilization of business credit cards for cashback rewards. 00:01 - 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 V-O boss. Now let's welcome your host, Anne Ganguzza. 00:19 - Anne (Host) Hey everyone, welcome to the V-O Boss podcast and the Real Bosses series. I'm your host, Anne Ganguzza, Again back with the amazing Tom Dheere. Tom, I'm so excited to talk to you today. 00:33 - Tom Dheere (Guest) Yay, always glad to hang out with you. 00:36 - Anne (Host) Except I don't have such a fun topic to talk to you about today, tom, oh no. Well, my accountant. The other day she sent me an email saying well, anne, I'm going to be taking out thousands of dollars for your free payment, for your taxes, for your S-Corp. As April is coming along here, I thought we should probably talk about finances, and I know it's not everybody's favorite topic and I've talked about this before, but I think, getting closer to tax time, it's important for us to have an intelligent discussion right and talk about why it's so important, bosses, for you to have some financial intelligence surrounding your business, and I think, tom, you're going to be the best source of information for this. So let's talk about financial intelligence. What does that mean? 01:25 - Tom Dheere (Guest) Okay, I derive my understanding of financial intelligence versus emotional intelligence from Robert Kiyosaki rich dad poor dad books. If you've never read rich dad poor dad, it is a must read for people who are self-employed in general, and it's really great for voice actors in particular, because it talks about making decisions based on feelings versus making decisions based on facts, and part of my philosophy is that everybody has their own weird relationship with money. 01:55 - Anne (Host) A lot of people are afraid of it. That's a polite way of saying it. It's a weird relationship with money. 02:01 - Tom Dheere (Guest) Yeah, Well, yeah, because some people are terrified of it. Yeah, some people covet it, some people hate it, and a lot of that is influenced by you, but it's also influenced by what your parents taught you or didn't teach you about money, or your culture, or your home or your school or your friends kind of taught you what your relationship with money is, not necessarily what it should be. So, as the VO strategist, there's a lot of grown-up poopy stuff that I talk about. 02:28 - Anne (Host) You made me snort, sorry Sorry. 02:30 - Tom Dheere (Guest) Or maybe I should do them more over there. That was pretty funny. What I mean by that is that a lot of people try to get into the voiceover industry to get away from the grown-up poopy stuff, and what they find is that they have to do all that stuff too, yeah, but they don't know how to do it. No one has told them how to do it, or when to do it, or where to do it, or why to do it, nor being held accountable for it. And the financial literacy is a huge component of that. Yeah, understand the difference between how employees get paid versus how managers get paid, versus how self-employed people get paid, and how they get taxed is very, very different. Yes, and can I just interject really quickly? 03:12 - Anne (Host) I said my accountant right, and of course, I always talk about my accountant and how wonderful it was one of the best decisions I ever made for my business. However, even though I have an accountant, I need to be able to direct my accountant and understand what my accountant is saying. So, yes, I need to be financially literate, I need to understand what's important, I need to understand how things operate, and she can be part of my education. She can talk to me about that. But also it's definitely upon myself to be educated and smart, because if you're going to have someone helping you with your financials, then you want to make sure that you've got the right person. 03:48 - Tom Dheere (Guest) Yes, and there's a lot of ways to do that. There's a website. I'll have to find it. I'll give you the link. I think it's the AEA or AEE or it's like the American Association of Accountants or something like that, and you can do a search based on where you live and what kind of financial advisor you need help with. So there are CPAs certified public accounts who specialize in working with people who are self-employed. So because the way that someone who's self-employed files their taxes, because the way they get paid what tax, if tax is withheld, what tax is withheld, how it is withheld and all of the expenses that you can write off in deductions that you can make is completely different from a person who has one nine to five job, who gets a paycheck every 14 days and gets one W-2 in the mail every year and you take the standard deduction and you're done. 04:33 - Anne (Host) Now I have a bunch of different information right At the end of the year that if I'm paying people I need to provide or I get a bunch of information depending on how much money I've made from different clients I will get a bunch of different pieces of information that are important for my taxes, and I will also mention that, having been a DBA prior to an S-Corp, right, things are different now that I'm an S-Corp. 04:54 I mean, I used to, as a DBA, I would quarterly make an estimate on my taxes and pay it, but now I have to pay myself a salary, and so that is also different and I have different paperwork to file. I'm gonna say the S-Corp saved me a whole lot of my taxes. And again, what's the difference, right, between the different types of businesses and how can they help me when tax season comes about and how can they help save me money? And so, while I am saving money with an S-Corp versus my DBA, because of the amount of money that I'm making, it also becomes more time consuming on my part because I've got more paperwork to fill out, more things to mail in, and I've constantly, for whatever reason, the government is always coming back to me saying, hey, you owe us $13. No, I don't, because there was a number that was reported incorrectly. 05:40 And I'm not always getting it, but it certainly happens a little bit more than when I was working for a company and just had one piece of paperwork to file at the end of the year. 05:48 - Tom Dheere (Guest) Your VO bosses may be freaking out a little bit right now, but I wanna put them at ease. The question is should you incorporate or should you form an LLC, or should you stay self-employed? The answer is different, for everybody. Just because Anne is an S-Corp doesn't mean she advocates that everybody should be an S-Corp. 06:06 - Anne (Host) Yeah, absolutely, Because you all live in different right, Right exactly. 06:12 - Tom Dheere (Guest) And that has a huge effect because different states have different incorporation laws. So what benefits her living in California and forming an S-Corp? May not be good for me in New York forming an S-Corp. So that's why you need to have a living breathing CPA, not filing it via QuickBooks or stuff. You need to have a human. 06:33 - Anne (Host) And I'm gonna say yeah, and not just once a year for taxes. I really highly recommend some sort of an advisor. Now your accountant doesn't have to tell you what kind of business, but mine did because she was very familiar with working with people who are self-employed. So that helped a lot, tom. What do you recommend for people who don't have a clue, like what sort of company should they form? 06:55 - Tom Dheere (Guest) Right, okay, talk to. Well, not all. And to your point, not all CPAs are financial advisors and not all financial advisors are CPAs, right? So if you are gonna have a conversation with someone about it, I would strongly recommend you find in your state a certified fiduciary, that's a person who has literally taken an oath and certified that they will give you financial advice that is in your best interest. This is why you should not walk into some national franchise bank looking for financial advice, because there's always some guy or girl sitting in the corner at a desk who don't care if you are penniless when you retire, they're gonna try to sell you the retirement packages that will give them the best commissions. So I say, stay as far away from them as you can. Go to your credit union also. They may be able to help you. Your credit union is more of a vested interest in your financial wellbeing too. 07:49 - Anne (Host) I just caught you saying I'm gonna sell you a retirement package. Now, that's something that most voice artists, right? If you're working for yourself and self-employed, you're not even really thinking about, right? That's in addition to registering your business, paying yourself a salary or whatever it is that you're going to do. Are you going to incorporate? Are you going to be a DBA? There's also other things like retirement funds and healthcare, right and so? 08:13 - Tom Dheere (Guest) That's a whole other thing too. 08:14 - Anne (Host) Let's talk about that for a moment, Tom Sure. 08:17 - Tom Dheere (Guest) Okay. So if you have a spouse who has an insurance plan, get on it. Yeah, that's probably your best way to go. Also, sag-aftra has a fantastic health insurance program. If you are SAG-AFTRA, you need to earn a certain amount of money every year to qualify for that. So if you can get it through a partner, great. If you can get it through SAG-AFTRA, great. 08:40 - Anne (Host) If you cannot, If you work for the government too, county or state before this this county-state government employees also have fantastic plans. 08:46 - Tom Dheere (Guest) When I was a teacher yes, I had a great plan because I work for an educational institution and I have a nice pension Right. 08:51 Also, the Freelancers Union has healthcare. Nava has health insurance packages that you can look at. I, who live in New York, go through this state New York healthcare program. So my wife and I built an account. We entered all of our information, all of our assets, all of our expenses, and then it says okay, based on your adjusted income, you qualify for these health insurance programs through these companies and it will cost this amount. So that's been fantastic for us. The big thing is that if you are self-employed, you can write off legitimately, legally, ethically, a lot of stuff. Yes, yes. So when it comes to applying for a mortgage, it doesn't look good because your income looks a lot lower. 09:30 - Anne (Host) Absolutely. 09:31 - Tom Dheere (Guest) But if you are applying for health insurance, first-hand experience. 09:33 - Anne (Host) It's great for you yes, first-hand experience. If you're self-employed and then asking for a mortgage, it is something. You will have to provide a trillion pieces of evidence of the money that you make. It is very difficult, because that was my experience when we applied for a mortgage a couple of years ago, before we bought this home, and so, being self-employed, you have to be more financially intelligent than you ever thought, because you're going to have to have lots of different proof of income when do you get your income and how much income, and what are you writing off? And the cool thing is is that, yes, you can write off a whole bunch when you're self-employed. However, sometimes it makes the government look at you a little closer too. 10:13 - Tom Dheere (Guest) Yes, you gotta be careful about that Because if you take a loss too many times, they're gonna designate your voiceover career as a hobby and then financially, you're kind of boned when it comes to that. I will also give another piece of advice regarding health insurance. Is that the best advice that I can give that I give my VO strategist students is to try to get a health savings account, or HSA. This is separate from a health insurance policy. Hsa is basically an IRA or a retirement account, but the purpose of it is to put money into it and take money out of it only for medical expenses. And what's great about it is for those of us who get paid voiceover gigs where there is no withholding. They don't take taxes out. You can deposit that money in that HSA and it will not get taxed when you take that money out for a legitimate medical expense. 11:08 That money does not get taxed, it is protected and a lot of them function like actual funds, like retirement funds where you can choose. It's like an index fund or a retirement fund where you can choose Apple or Microsoft or whatever, and it will be influenced by the market and some of them are purely interest rate based, like a straight up IRA so you can have multiple HSAs. I have multiple HSAs. Some are performance based, some are interest based, and what I do is I don't take anything out of them ever, even if I have medical expenses, because what I'm going to do is that down the road you can reimburse yourself for medical expenses as long as you provide the receipts, anytime you want. So if you've got $1,000 in your HSA and you take out $500 to repay yourself back for a medical expense, you've only got $500 in there. That's growing or performing. If you do it 10 years from now, that $500, and you have $10,000 as a result of market growth and additional putting more money in. Now, when you're taking $500 out, it's a drop in the bucket. 12:10 Yeah yeah, absolutely, and when you hit 65, you can just withdraw from it like a retirement fund. So I strongly recommend a health savings account. It's very, very powerful. A lot of your credit unions may already have one, or you can go to hsabankcom and check it out. 12:25 - Anne (Host) Well, I'm also going to say now what's so important right that establishes you as a business is a business bank account, which is something I think is imperative, and also a business savings account, and I have a high yield business savings account, which is really. I don't take money out of that If I don't have to. That is really, and I don't know if it's just in the last couple of years, but I've seen more and more offerings of this with different banks and with I actually happen to have one with American Express which is doing really well, and so I have that. 12:55 I just put the money in it and I don't touch it and it just sits there and it really is doing well, interest wise, and so if I ever do need it, that's going to be kind of like my little nest egg. But talk about the importance of separating your accounts out from personal into business. 13:11 - Tom Dheere (Guest) This is so important. The biggest reason why you need t…

    Full show notes at the publisher

    Special Guest: Cristina Milizia Mar 19, 2024
    Show notes

    Voice actor and entrepreneurial spirit Cristina Milizia joins THE VO BOSS podcast to share her VO and GVAA journey. From her iconic performances in "League of Legends" to her shows on Nickelodeon, Cristina's career has spanned, toys, games, animation, and more! Cristina talks about her artistic influences and passion for performance, how being bilingual influences her career, and unexpected stardom in the face of adversity. Beyond the microphone, Cristina's legacy is amplified by her profound impact on the voice acting community through the Global Voice Acting Academy (GVAA) and its pivotal rate guide. We discuss the ethos of leadership, the cultivation of a nurturing community, and the unyielding push for fair compensation in the industry. 00:01 - 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 V-O boss. Now let's welcome your host, Anne Ganguzza. 00:20 - Anne (Host) Hey everyone, welcome to the V-O Boss podcast. I'm your host, Anne Ganguzzaa, and I am so excited to be here with a very special guest who is not only super Uber talented but one of my closest friends. Cristina Milizia is an award-winning bilingual voice actor and coach specializing in animation. She is a 2022 Voice Arts Award winner for outstanding animation character, film or TV best voiceover and is best known for voicing Annie and a Moo Moo on League of Legends, poison Ivy on Cartoon Network's DC superhero girls, Jessica Cruz for Lego DC Carlitos on the Casa Grande's, teresa for Barbie, mattel and Baby Bottle on the Cuphead Show. And while most of you know her for her acting roles, guess what? She is also a badass entrepreneur and a boss like no other, and she's the founder of the GVAA and the creator of the GVAA Rate Guide. Ah, Cristina, I am so excited to finally have you on the show. 01:19 - Cristina Milizia (Host) Thank you so much for having me. Also, any excuse to get to be with Ann is, like you know, awesome. I feel so fancy with your introduction, so thank you. 01:30 - Anne (Host) That long list of credits is amazing and I just want to reiterate, bosses out there, while most of you probably know her for her amazing acting abilities and her characters, I wanted to bring Cristina on because she's a pioneer woman. She is an entrepreneur from gosh knows. We've known each other for how long, Cristina now 10 years, 10 years about yeah, I think, at least 10 years. 01:52 Cristina was like a baby when she started the GVAA, and there's nothing more entrepreneurial than just starting an online school and then having the idea for the GVAA Rate Guide. So let's talk a little bit. Maybe brush people up on your career, because you've been acting for also, you're like 12 and you've been acting for 31 years. 02:12 - Cristina Milizia (Host) At least right. I have been acting for 31 years, so I am about to be 40 on February 1st, so very shortly, Happy birthday. 02:19 - Anne (Host) Thank you. 02:20 - Cristina Milizia (Host) Happy early birthday. Yeah, I know, that's a big 140. 02:23 - Anne (Host) Right. 02:24 - Cristina Milizia (Host) I'm feeling that when I'm like, wow, that's impressive, but no, I started acting when I was about eight years old. Again, my parents are musicians, so I was used to being on stage with them because they couldn't afford babysitters, so they were just like hey, kid, shake this maraca on stage, and that's what we did. So I learned to play all kinds of random instruments and sing three-part harmony and I got used to from a very early age just being like and I say this to my students you need to get used to being a dancing monkey to a certain degree which is like hey time to dance. 02:54 Okay, yes, I can do that. Ta-da Be ready to just go. And I had training really early on for just taking direction, performing on call, being on stage, which was an incredibly valuable skill set to have at an early age before you get to that point where you're more self-conscious. 03:11 - Anne (Host) Yeah, I was going to ask you were you ever scared to be on stage or scared to perform, or was it just because it was so ingrained at a young age? Did it just happen? 03:20 - Cristina Milizia (Host) No, I was never scared again because it just happened. Since I was so small it just seemed like part of my family life, along with sound checks and winding cable and everything else we did. It actually just got embarrassing when I got to like nine or 10 and my parents are performing at the school and I'm up there and I'm like, oh my God, please, all my friends are here. This is so embarrassing. I don't want to be like you are, family is playing and I'm just like, oh my God. 03:46 So, yeah, around between eight and 12, I got embarrassed about it and then I wouldn't play with them anymore and then I wanted to do my own thing and I danced as well and I ended up dancing professionally for quite some time, before I had an accident when I was 25 that made that no longer possible. So, yeah, it was a very artistic upbringing, so that definitely prepped me for just being in the booth. And so when I started doing some voiceover, the very first audition I did I booked and it was with casting director Ned Lott, who went on to cast for Miyasaki and Disney character voices. And, yeah, he cast me my very first job ever and I still work with him, which is really cool. 04:22 - Anne (Host) That's awesome. That's really awesome. And so your transition. I guess, when did you transition full time into voiceover? 04:29 - Cristina Milizia (Host) Well, I was determined not to be an artist because my parents, you know, were very much like kind of starving musicians growing up and it's a very difficult lifestyle, it's a very difficult profession to really make a full time living in, and so I was determined not to do that. So I studied like statistics, I went to like the school of management and I was like, oh my God, no, I can't. 04:47 - Anne (Host) Not unlike being an entrepreneur right and having your own business. I mean, we're all kind of starving artists, aren't we In our own right? Yeah, so you studied statistics and said uh-uh. 04:56 - Cristina Milizia (Host) Yep, and then I went to the School of Management and actually that was very helpful because, even though I didn't stay there, I actually learned a lot about management and communication with teams and how to deliver messaging and communication and people management, and so that actually was very useful. Even though I didn't complete my education there, I ended up going back to transfer to UC Berkeley and then studied theater, but dipping my toe in the business world and management was actually something that was very useful later on when starting GVAA. 05:25 - Anne (Host) Absolutely, and so let's talk about your career then, kind of full-time and voiceover before the GVAA that would be GVAA. How long were you working and doing voiceover before you decided to start a business and what was it that led you to Actually want to start a business or an online school? 05:45 - Cristina Milizia (Host) Well, so I did voiceover from eight years old all the way through lower school, middle school, high school again. I just did it just here and there. It was never like a big deal, it was just something fun and a cool way to make some money, and we saved it, or my parents would use it for things that I needed. What type of jobs did you do at that age? Oh, that's a really great question. 06:02 The Bay Area they have a wonderful, a very robust toy and game industry up there and so all of my early work was toy work, toys and games. So leapfrog is up there in Oakland, so I did a lot of work for leapfrog. And then I worked for a company quite often called creativity and the music annex and they did a lot of work for just toy companies across the US. And I worked for another company called shoot the moon and they did like invention work where they would Create concepts and then present them to the big toy companies to purchase them. So I did a lot of invention work. 06:34 I did a lot of demo vocals as well, so like they'd want to have a product or a toy where they'd have like a celebrity doing, you know, the official voice of Barbie or whatever singing it. But I was like the guide vocal got, so I would do all the guide vocals and I would go through all the revisions of the song to get it to the final form and then they would give it to the celebrity and they would listen to my voice as their guide vocal before they did the final Things did they ever just pick you instead of the celebrity, or was it always the celebrity was because they wanted the marketing efforts, I guess, of the celebrity voice no, there were a few. 07:06 I actually did get cast and I got to do that, but it was actually fantastic training for animation, because a lot of these toy products are from animation Animation losses, you know, like Elmo and Barbie and Dora, and so I had to do a lot of voice matching, so it was actually great training because I had to mimic these characters and get as close as I could to have the client feel what the product was gonna be like. 07:28 So you got then into character then as well as yeah, I tell people all the time, toy work is fantastic training for animation in terms of just the level of skill required, in terms of what I kind of call vocal gymnastics, mimicry, really wide-ranging characters, really big characters that are very silly. I've been asked to do very, very silly things and again, just very like you know, singing a song in pig or in chicken. I did do a whole song, like it was a whole, like it was great, like we did all the notes were second and then they'd make music out of it and like it was wild, like it was just crazy stuff sometimes, and so there was just already a level of silliness that translated so well into animation later, because I was just not shy about You're gonna ask me to do some crazy thing. 08:17 I'm like yeah, sure. 08:17 - Anne (Host) All right, let's go. How do you embody the pig singing oh God, is that work? How do you get yourself into that character? Absolutely, I can totally see that as Helping you and also why you're so successful as a character actress today. 08:31 - Cristina Milizia (Host) Thank you. Actually, one of the areas of animation I've really started transferring in more lately in past year or two, has been creature work and it's been like gibberish, kind of sure, or emotive, like animals or like mystical pets or things that are just like you know just where it's just there's no words, but it's just an emotional performance where you can hear a message but there's no words to it. Sure, very freeing art form. That again, you have to be willing to just let whatever come out of your mouth, right. 09:04 - Anne (Host) Absolutely Come out of your mouth and that's been really cool, so I love that and I would imagine that that also allowed you to really delve into a lot of different ranges for your vocal Performances as well, because I know for a fact that you did a lot of little girl baby voices for the toys and so now, I guess, evolving into creature work, you get to do all sorts of ranges and I always think that vocal placement and understanding where sounds are coming from and where your Voice is coming from is so important in delivering different performances. 09:33 - Cristina Milizia (Host) Well, I originally started as little girl stuff that was on all this really cute. You know I gotta get my game down if I'm gonna do that. I started with just little girl stuff all the time, and then I just got younger and younger and younger. I Went into the baby stuff and that turned into you know, you know whatever, just really crazy. So yeah, I don't know, it just kind of evolved. People just kept asking me to go higher and higher and I was like, okay, now what about lower and lower? 10:10 Yeah, you know, we've done that too as my voice is matured, did get lower, yeah, like, so now I'll do stuff more, like down here yeah, you know, it's like my more big girl voice and then when to get really crazy, like we'll do weird stuff like that, that's awesome. 10:28 - Anne (Host) I know that I fully have to take advantage of my morning voice if somebody wants me at a lower register Right, and then also being able to get yourself down to that place if you can after you've been voicing for hours, that's another skill. That's another skill set. So tell us all about your claim to fame. League of Legends. Was that your first big gig as a character, as a major character? 10:49 - Cristina Milizia (Host) Yeah, I would absolutely say so. I think that was in 2009. There were two characters that were introduced in the very beginning, and one, I believe, was rise, and the other one was Annie, and that was me. So a lot of people have a lot of nostalgia for Annie. 11:01 Sure she's also one of the very first characters that you get when you play, and so she's again nostalgia. She's one of the first characters that you get to play with, so a lot of people have a very attachment to her, and there's also an enormous statue of Annie and a moomoo at Riot Games, which is amazing. That blew my mind the first time I saw, but, yes, that was definitely the first big thing, but when it was done, it was nothing, it was not a known game. 11:24 It was an unknown game. I was one of the first two people to do it and so, wow, I did it and promptly forgot about it, never heard anything about it again. Yeah, because I didn't know that it had become anything. And they give us code names. I didn't even know the name of the game. 11:37 - Anne (Host) Oh, okay, yes, so you didn't even know what game, and so when it came out, did you know that had to come out? 11:42 - Cristina Milizia (Host) No idea, no idea. I didn't know until I met my husband and that was in 2012, so it was like three years later, and he actually worked at Riot Games at the time, working on League of Legends, and we were on our first date. And I laughed and he said your voice sounds really familiar. Oh my gosh, how do I? 12:00 - Anne (Host) not know this story, Cristina, I should know this story. 12:04 - Cristina Milizia (Host) It was part of the magic of our first date. And he was like your voice sounds really familiar If you've heard anything for Riot Games. And I was like I don't know, let me check my resume. And I'm like looked and I was like yeah, I'm some character named Annie and a moomoo, and I pronounced it and he was like your Annie and I was like yeah, and then he told me he's like your voice is famous all over the world and I was like that character really didn't. 12:27 - Intro (Announcement) Wow, you really didn't know. 12:29 - Cristina Milizia (Host) No, and I thought he was just like blowing smoke. 12:31 - Anne (Host) Yeah, I thought he was just trying to like Cause first date. 12:32 - Cristina Milizia (Host) Yeah, yeah, I thought he was like trying to butter me up. 12:35 - Anne (Host) Or like. 12:36 - Cristina Milizia (Host) I thought maybe he had a small cult following somewhere like you know something? And he was like no, go, look it up. 12:42 - Anne (Host) And I was like and so it never occurred to you to look it up, because you weren't necessarily, let's say, a gamer at the time or you were on to other roles or what happened, just probably forgot about it. 12:53 - Cristina Milizia (Host) I didn't even know the name of the game, right. 12:55 - Intr…

    Full show notes at the publisher

    Unvoiced Potential: Giving Up Mar 12, 2024
    Show notes

    The BOSSES discuss why adapting to an ever-evolving industry is crucial for standing out in a sea of talent. Anne discusses her own expansion into ventures like VO Boss, VO Peeps, and podcasting, illustrating how you can diversify your skillset and find fresh opportunities without losing your creative spark. Plus, the BOSSES spotlight the immense value of networking through conferences and workshops to elevate your voice-acting business to boss-level status. Join us, for an empowering session that promises to reignite your passion and strategic approach to your voice-acting venture. 00:01 - 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 VEO boss. Now let's welcome your host, Anne Gangusa. 00:19 - Anne (Host) Hey everyone, welcome to the VEO Boss podcast and the Boss Superpower series. I'm your host, Anne Gangusa, and I'm here with the lovely, lovely Lau Lapides. 00:31 - Lau (Guest) Hey Lau. Oh, amazing to see you, as always Amazing. Oh, thank you, Lau. 00:36 - Anne (Host) Wonderful to see you as well. 00:40 - Lau (Guest) What are we talking about today? I can't wait. 00:42 - Anne (Host) Okay, so I always have to open it up with a story. So lately I have heard a lot this year because it's been an interesting year. I've heard a lot from my students that they're frustrated. They have been making investments and they've been doing auditions and they're just not getting any work and they're just like frustrated to the point where they just want to give up. And I'll tell you what. I remember that feeling very well. I want to talk about voice actors who give up too soon, because I really feel like there's something to be said for sticking it out. I mean, building a business is not something that happens overnight. I know we say this all the time but, like my, overnight success took 10 years. I mean truly Lau thoughts on that. 01:32 - Lau (Guest) I'm right there with you and I think that that's a Listen, let's be honest, shall we? It's a very Western philosophy to think I'm opening a business, therefore I'm going to work and be successful right away. I mean, eastern philosophy is like no, at 10 years you're starting your business, right, yeah? So the idea of investment of time and resources and capital and sacrifice has got to be in our vocabulary and that's why we say in the first, three to five years is a typical timeframe, that we're looking at the metrics for what businesses are surviving and what businesses have gone under. We'll give it the three to five years, because you can't do it in a month. No, three to five years is the baseline. Can't do it in a year, can't do it in two years. 02:15 - Anne (Host) I'm constantly saying, oh, but I've spent so much money and I'm like have you? Have you really Like, have you? And again, I think we've spoken about this in many a podcast about the investment aspect of this career I'm like, well, thank goodness you didn't have to open a storefront or buy inventory. I mean honestly, your investment is investing in yourself. Because I constantly, as a coach and a demo producer, I hear this all the time because people are like I just don't have the money. Or I've taken so many lessons and I'm like have you? And I don't mean to be obnoxious here about it, but really, if you think about it and again, I've said this multiple times I always tell people look, we go to school for years. How many years do you go to medical school? How many years, if you want to become a vet, do you go to school? How many hours in a day do you spend at your job? Eight hours a day, maybe. 03:05 And so all of a sudden I'll get people who are like, yeah, but I've taken so many coaching sessions and I just I'm not getting the work and I'm like how many coaching sessions have you taken? And this is how many hours of your life have you actually spent studying the craft of voice acting, and not just for coaching. But let's just say, how many hours have you spent marketing? Like companies have entire marketing departments. They hire multiple people like you know, 20, 50, hundreds of people to generate leads. You are one person, and so you want to know why you haven't gotten work yet. You know what I mean. You're spending your time auditioning, you're spending your time doing a bunch of stuff, but also you've got to spend that time marketing, and so people, I think, are just giving up too soon. Lau. 03:50 - Lau (Guest) Yeah, they're also not paying attention to their environment. They're thinking that I'm in my own private Idaho. I'm going to be successful. This is what I want, and here it comes. You got to look at the world, you got to look at global economics. 04:03 You got to look at the US we're now in a high inflation state right now and how that affects other industries. That's going to make you feel I mean, we don't want injury and suffering of all industry, but you want to pay attention that if all industries are suffering, then it stands to reason that yours will be suffering as well too. And so there's misery. Does like a little bit of company, and so do the work, do the homework. Look around, however, you do that just so you can keep it in perspective, because otherwise we get so isolated and we get out of the bubble times. 04:37 How many times have you heard Anneie, oh, great, I got my demo, I'm ready to work. Okay, how do I work? And you're thinking, no, no, no, this is only the very beginning, the very, very beginning. Right, you're not in the middle, ready to work. No, this is the beginning of like, how do I put a little bit of a footprint out there? How do I get people to know I'm in the world? How do I do that? That's on me, that's all on me to do that. 05:02 - Anne (Host) And people will be very quick to blame people selling the dream, okay. So yes, there are people that sell the dream, but there's people that sell the dream for many an industry, right, and that's part of how they have their business flourish. However, there's a lot to be said for what you just said, and that is pay attention to the world, pay attention to the global market, pay attention to what is it that people are looking for? How is our voice profession being viewed in the marketplace right now? What's in demand, right? What is the going rate? What are people getting paid? 05:38 You cAnneot just say I've practiced, I've got a demo and now I'm ready to work, because there's so many other factors at play. One of the things is that you've got to evolve with the market and you've got to give yourself enough time in the market so that you can get hired. A lot of times, it's people who are established in the market and can show that they're established in the market for a very long time. Clients will tend to gravitate to them. I mean, I know for myself, right? If I'm looking to work with a particular we always use the dentist. It seems like I want a dentist who's got experience? 06:14 I want a doctor who has experience. I needed a breast surgeon right, obviously, for my breast cancer. I shopped for a breast surgeon. Of course, how long they were in business and how many surgeries did they perform it was a factor in who I hired to do such a thing. I think most of the voice actors that get super frustrated and say it's just not working. I put in all this money. I ask you to step back and think about what you just said. Did you really invest a lot of money? Maybe, yes, you thought that you could maybe create a business out of a whole lot less. Maybe it's because somebody sold you the dream. But also do not discount the fact that maybe you didn't look or educate yourself on what this industry is all about. And what investment do you need to make? That's not just monetary investment, it's also-. 07:06 - Lau (Guest) That's exactly right. 07:08 - Anne (Host) What sort of time is invested? What sort of education is invested for you? 07:13 - Lau (Guest) I always think to myself, Anneie, when, even though you may be in inflation, even though it may be hard to get clients at a particular time, I always think, when I'm very low, meaning I'm not getting enough action, I'm not getting enough energy, I always think and again, this is the work ethic of our generation I always think what am I doing wrong? 07:31 - Anne (Host) Did I lay back. 07:32 - Lau (Guest) Am I not working hard enough? Am I not working smart enough? Am I not strategizing enough? I may not be doing anything wrong, but the point is I always put it on myself. I don't look at the universe and say why isn't it coming to me, why isn't it just there for me? Why am I not busy and getting hired? I always think, well, am I putting myself in front of enough people? Do I have the right materials that are suiting the kind of job that they're looking for? Am I missing something? And typically I find it's on me. 08:03 - Anne (Host) Typically, I do find that, yeah, I agree, it is something that you really need to step back and take a look at. If you're not booking number one and I have so many people are like people that are newer to the industry that think, well, I've got a great commercial demo and I think to myself, well, commercial is only a certain percentage of the market. What about the other part of the market? Right, and so maybe you're auditioning, but you're only auditioning for your agents, who are typically commercial. Or maybe you're doing a ton of auditioning on the pay to plays. 08:35 Well, what is the majority of the genre that you are auditioning for? Is it commercial? Because, I guarantee you, there's a ton of competition for the commercials, because that's what all the voice actors tend to gravitate toward, that's what everybody thinks they need to audition for. Well, you can audition for e-learning, you can audition for corporate, you can audition for all different types of jobs. And, ultimately, I think that you need to really again step back and look at and maybe assess right down. Okay, here's what I'm doing on a day to day basis. Right, I'm auditioning for this type of job, I am auditioning for the majority of commercials or e-learning, the majority of whatever corporate, and so now really try to assess what's the demand out there globally right for that product. And are you marketing yourselves, are you writing that? 09:24 - Lau (Guest) letter, especially if it's on a pay to play. 09:27 - Anne (Host) Usually, you can respond with some sort of a hey, would love to be your voice, and make sure to take a look at my additional demos here on my website. Blah, blah, blah, whatever that is. Is that note up to par? Are you writing a novel? Are you quick into the point? Is your auditioning up to snuff? Is your acting skills? What about your audio? Gosh, we've done enough audition demolitions and, by the way, we've got to have another one coming up here soon. Yes, a lot of times audio has something to do with it too. What's your audio like? So there's lots of things that you can take a look at to see where you might evolve, where you might improve. 10:03 And also again, those things don't happen overnight. Great sound, although I will say great sound once you've got it kind of figured out, you shouldn't have to revisit it too much after that, Unless maybe you get new microphones or you move or there's more landscaping going on. I'm not sure. 10:18 - Lau (Guest) Yeah Well, it's inevitable to you and I on the coaching side of things that we'll get so many emails of people that say I don't understand how come I'm not booking what's happening. Could you please do a session with me and give me some feedback? And you and I will do the same thing. We'll give a session and just spend a whole hour with feedback and it looks like a ball, hit them between the eyes like, oh my goodness, I didn't even realize any of that. I didn't think of half of that. 10:45 Thank you for that value, because that value didn't save me and getting a job. That value helped me produce a career potential. Sure, and that's what smart people would say. They wouldn't take offense to it. They'd say, oh wow, this could help me build my career, just knowing one of those things that I would not have thought of. But I somehow feel like and I don't know what it is, I don't know if it's a generational thing, I'm just not sure this idea that, oh, I just know it. I got it all, I learned it all, I trained, I coached with five coaches, I know it all. And I'm thinking I don't think any of the great thinkers, philosophers or religious leaders think they even closely know it all, so chances are you don't know it. 11:26 - Anne (Host) All Right. Isn't that the truth? How about that? Isn't that the truth? I? 11:28 - Lau (Guest) can't imagine someone like Gandhi saying I know it all. It's kind of like the more you don't know. 11:33 - Anne (Host) The more you don't know, right, the more you don't know. Yeah, what was the saying? The more you know, the more you don't know. 11:40 - Lau (Guest) The more you realize you don't know right. 11:41 - Anne (Host) Yeah exactly. 11:42 - Lau (Guest) I think that that's true wisdom. 11:43 - Anne (Host) Can we just stop and say that again? The more you know, the more you realize that you don't know, right? Yes, that, I think, is key to understanding and not giving up Because you can again. We had another episode that we talked about. Well, people just they thought they had it all and they're like well, yeah, no, I sound great and in reality sometimes that is ignorance, is bliss right, or I sound great but in reality do you Like I've invested a lot. 12:11 Well, in reality, have you I market in reality. Do you Like you think about what companies do they spend thousands of? And also, do I spend money? They don't have money to spend on marketing. They don't have money to spend on coaching? Think about the amount of money that companies invest in their marketing departments. First of all, they hire more than one person, most of them, right. They hire a team of people and then that team of people work eight hours a day, maybe more than that, right Trying to generate leads and trying to close sales. And so are you doing that, really so? 12:45 - Lau (Guest) right and it's almost harder when that talent would come to me and they're fabulous and their demo is spick and span and they've got some great credits and they're just not booking the work and I don't have the heart to tell them that I've got 50 people just like that and it's kind of like not insulting. It's so sad for them, it's so doleful for them to have the realization and recognition that it is saturated and there are a lot of talented people and prepared people and people who have spent the investment. 13:20 They're not the only ones, and I think that they might intellectually know that, but put it in the back of their brain. But it's important to know that you have a lot of competitors. You're not so unique. You've got a lot of people. 13:33 - Anne (Host) that are unique too. You bring up a really good point. I'm glad that you said that because, yes, that'…

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    Empowering Change: Female Entrepreneurship Mar 05, 2024
    Show notes

    Join BOSS Anne Ganguzza, alongside guest co-host, Lau Lapides, as they explore the landscape of female entrepreneurship, including in the voiceover industry. Listen in as they discuss the historical and contemporary hurdles women have faced, from the 1950s through modern times. Lau shares her experiences in juggling motherhood and a professional career, providing a real-life perspective on the intricate dance of working from home with children. Anne discusses her non-traditional path to business success in the tech and VO industries. This conversation celebrates the resilience and creativity of women who are redefining success in their entrepreneurial journeys. 00:01 - 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 V-O boss. Now let's welcome your host, Anne Ganguzza. 00:20 - Anne (Host) Hey everyone, welcome to the V-O Boss podcast and the Boss Superpower series. I'm your host, Anne Ganguzza, and I'm here with my special, awfully lovely boss guest, co-host Law Lapides. 00:32 - Lau (Co-host) Oh, thank you, Annie, hey Lau. Thank you, hey. I'm excited about our topic today. 00:38 - Anne (Host) Well, yeah, so Law, I've been watching Lessons in Chemistry and that is on Apple Plus for those of you who have not seen it. But basically it takes place in the 1950s and the main character who is Elizabeth Zott? She has a dream of being a scientist and works in a lab, but she is constantly challenged by a society that says women belong in the domestic sphere. And I just watched the episode and I don't want to give away too many spoilers, but I'm going to give away one spoiler here. So, guys, if you want to watch it and you don't want to have a spoiler, just turn this down right now for sure. 01:14 So basically, she gets fired because she's pregnant. So now that I'm going to date myself. But I said to my husband, jerry, that doesn't make sense, they can't fire her for being pregnant. And he goes oh my gosh, back in that day they absolutely could. And I was like whoa, that just blew my mind and I thought, gosh, I think women have it hard now these days. And that's what I want to talk to you about Law, because I just want to talk about what it's like to be a female entrepreneur. And I want to talk to you because you're one of the best entrepreneurs I know. I mean, you run a studio, you're a talent agent, I'm a demo producer things that aren't typically prevalent, I guess, even now in today's day, for women to do so I thought we should talk about that today. 01:58 - Lau (Co-host) I love the leading lady subject. I just think it's one of my favorites Absolutely. And you're right about that Jerry's right about that Because I remember my mom talking a lot about that that even into the 80s, 90s and 2000s in corporate America there was something called the mommy track. So anyone who was training for financial advisor, accountant and such was very careful about what they said about getting married or having children, because they didn't want to be rerouted into the mommy track, meaning they're capped in every way. 02:33 - Anne (Host) They're capped on promotion, they're capped on salary, they're capped on all of this, they won't get their job when they come back. And it's funny because, now that you mentioned that, I do remember that in the 2000s and it's incredible to me. So here we are entrepreneurs, bosses, out there, you're entrepreneurs as well, and I don't think that this needs to be. This is certainly not a discussion where we're just going to be bitter and complaining. 02:55 However, I think we need to talk about some of the hardships of being an entrepreneur. First of all, being an entrepreneur is a hard thing. What sort of hardships have you encountered yourself, Law, and how have you overcome them? Because I think that we can learn a lot from that, from your story. 03:12 - Lau (Co-host) Such a great question, that's such a huge, open-ended question and the first vision Annie that came to my mind was a client that I work with, a coach on Zoom, and she's a mom and she has a couple younger ones, meaning under the age of like 12, a couple young kids, and when I'm coaching her as a voice over talent, the kids are running in and out of her studio, in and out of her booth, in and out of her curtain and one side of it she's a great mom, like she's really patient, she never yells, she's just great. But one side of me I have to be honest with you. I'm going to be honest with your people because they deserve it. One side of me thinks it's awesome because she can work from home, she can multitask, she can save money, she can still be a mom and be a good role model to them so they can see her working and being impassioned. The other side of me is irked, irked to death, because I'm thinking to myself you're not going to do that with a client, right? You're not going to do that if I represent you and send you out, and then your little kid is pulling down the curtain in the booth right, and I lose trust in that situation. I'm going to be honest. Maybe it's a non-PC thing to say, but that's how people think when it comes to running something. So is a fine line, I think, and I was one of those. 04:35 I raised two children. I was one of those moms where I raised them out of my studio. I actually homeschooled them as crazy as that sound. We had a whole village of people working with them and it was out of my studio and I was constantly multitasking the noise level. I'm killing each other, legos everywhere, them under the desk, and there was a beauty to the whole thing that there was this bonding that you could go through with them. And then there was a horror show as well, because it was embarrassing and there were clients there and some clients love the kids and others hate kids. 05:10 So it's like there are all these levels and layers to that kind of parental mindset, at least from my perspective, that you have to go through step by step, year by year, age by age, and it changes, and it changes often dramatically. It never stays the same Absolutely. And women, no matter how progressive the male is, whether they're a husband, a partner, a friend, whoever maybe they're working from home, maybe they're whatever I find more often than not with all my friends, all my female colleagues, it falls on them, the heavy falls on them. There is still this mindset in 2024, that I got to go to work, I got things to do, I got priority tasks, but because you're a female, you're so good, you can handle it all, you can do it. You take the reins while you're trying to run your business. 06:05 - Anne (Host) Sure, that's the thing, and I think that also there are many, I would say, women pioneers of many different things, and I am of the belief that, yes, women sometimes have to work three or four times harder in order to get any type of credit, and a lot of times there are women who pioneer things who never get credit and ultimately that is very frustrating and I find it even today, as progressive as we've become, I mean, there's still a long way to go, I think. 06:34 For number one, just to be an entrepreneur, I think it's looked upon in terms of, like gosh, when I was trying to get a loan when I worked for myself full time, I felt like I suffered a little bit of, I don't know, discrimination. It was very difficult to assure things like loans, where I feel as though a male counterpart would be able to get a loan a heck of a lot easier if they were an entrepreneur. Also, just getting ahead, I'm going to say that right now there's not a ton of demo producers that are females out there in the industry and I feel like it's tough trying to get noticed out there because there's not many of us out there, and then ultimately, it would be nice if there was recognition, maybe more recognition for the female demo producers out there and I'm just talking about demo producers, but just female, any entrepreneur out there and it wasn't that long ago, really, that women couldn't even get loans. 07:30 - Lau (Co-host) They couldn't even open a bank account without permission from their husband. It wasn't that long ago. So, when you think about just the freedom of being able to have credit go into debt, who would call that a freedom? But I mean the point is, it's like it's an independence as a business owner to be able to say, okay, here's what I'm investing in, here's what I'm incurring for debt, here are the accounts I'm going to do, here's my investments for retirement. And, as a woman, there's a tremendous freedom in independence, in being able to do that. It's not to say that you shouldn't have a team or a partner people helping you and working with you. It is to say, though, that you should take that right, and you should run with that ball and enjoy the right of being able to do these things that we could not do even 30 years ago some of those. 08:24 - Anne (Host) Well, I've spoken to people about this. We even had a podcast episode where we talked about what we did prior to our businesses today, and I was a female engineer in the late 1980s. That was kind of a tough road. And then I went into technology as a female and that was also a tough road, and so being a female entrepreneur is even tougher. Sometimes I'm finding certain things are difficult difficult for us to achieve, difficult for us to get recognition, difficult and, like you said, with the loans and all of that, it's just so interesting. So, la, what do you do to progress and move your business forward as a female? 09:04 - Lau (Co-host) entrepreneur. Yeah, it's a hard thing to answer. I mean, there's one technique that I found myself doing just kind of like, in an autonomic kind of way. It wasn't a planned thing, but I noticed there have been situations where I've been with many men or all male like. Let's say, I'm in a conference room or I'm online and I'm in a meeting and there happens to be very male heavy, which I adore, and I have, like you do, many, many male colleagues which I absolutely love working with. 09:30 But I find there's a different dynamic that happens in the way I communicate versus the way this kind of energy communicates, and oftentimes I find that I start to role play, or I'm either seen in a certain light or I start to role play, and usually it's like the role play of the mother, the wife, the sister, the whatever that I know. To some degree they're seeing me in just because of the qualities that I exude, sure, and I kind of role play with that meaning. You know, I don't play a character, but I role play in the sense that I know that they're looking at these qualities and I also know that there are times where they just bulldoze right over me like they literally won't hear what I'm saying because they're in the middle of their communication and I let that happen. I let that ride. I feel actually empowered by that because I know I have no problem. 10:24 This is a technique we always taught live presenters. I've no problem interrupting them culturally, doesn't matter to me whether it's appropriate or not. I have no problem talking right over them. And I found that in order to redirect energy, sometimes you have to be culturally rude as a woman, because you have to have your voice heard Absolutely. And you have to have that without and here's the thing we were talking about in the last podcast without ruining or stomping on their spirit, without making them feel like I'm at them or I'm hurting them or a threat. I think that there's a fine line, there's a strategy in that, like how you strategize, like being heard, inserting what you need to insert into listening attentively, but making sure you're not the daisy on the wall. You're not forgotten Absolutely. 11:15 And that's on us. I mean, it really is, that's on us. I could easily sit back and get really angry at that and say I can't even get a word in edgewise. Are they not listening to what I just said? Or whatever. Instead, I go in and I correct it. I go in and I redirect it. I go in and I do whatever action verb I can come up with, because I always view it as a teaching moment. Sure, it's a teaching moment where I can teach my audience how to communicate with me. 11:40 - Anne (Host) I love the redirection of it. Yeah, like you said, rather than getting angry or stomping on someone's ego, which it really is a lot of ego anyways, I know in the corporate world that's really what it played out to be. It was a lot of ego and a lot of times, if I was in the boardroom and I was the only female, or maybe one of two females first of all, they always wanted me to take notes or be the secretary. People would always say, well, yeah, you can be the secretary. 12:06 You can be the secretary of the board and I'm like actually I'll be the president. 12:10 - Lau (Co-host) I like that. 12:11 - Anne (Host) Right, and that's really how it worked. I was the president of a board and ultimately, they wanted me initially to be the secretary, and I said, well, yeah, no, no, I'm actually not a really good note taker, so I redirected the energy to say, you know, I'm just no. 12:26 I'm not fast. I'd love to be fast, but I'm not. I'm not fast at all. I type with four fingers. That's great, I love that and that's basically what happened. And so I love how you say to redirect it, because, yeah, I mean I don't necessarily want to stomp on anybody because, again, you take that risk of being looked upon as being the difficult one, the difficult one, the angry one, the witchy one, and honestly, you're darned if you do and you're darned if you don't. 12:50 Sometimes with that, that's right. But I like how you say you don't have any problems interrupting and redirecting. I think that's a great tactic. It's a good thing. 12:57 - Lau (Co-host) It's a good thing to learn how to do that. I also think another option for you and again I try to look at it take a step back and look at a strategy, a choice redefine the role. If someone says I want you to play this role in this moment and I'm like I don't want to play that role, or that's a typical role that they'd ask their mother to play, right, I might say yes to that, and the reason I'd say that yes to that is because I can do it. It's not a difficult thing for me to do. I want to be helpful. But then I'm going to redefine what the role is so the role does not become a passive role of like, in your case, a no-take or a stereotypical role, or get me a coffee, or I don't know whatever 13:34 that stereotypical thing is. I would want to play it as many of the female leaders political female leaders in the world, where they don't mind cooking for their colleagues, or maybe they'd get them a coffee, but then they're going to tell them exactly what the strategy is for the company or for the war or for the whatever. So if you do become that omnidynamic kind of person I don't know if you saw a Barbie you know the billion-dollar Barbie movie, right? But Barbie was always known as, at least in our time, was like. Barbie kept re-envisioning and redefining what a woman could be and evolving. 14:12 And…

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    Unions, AI, and You with Tom Dheere Feb 27, 2024
    Show notes

    This week Anne and Tom Dheere discussed the landmark agreement between SAG-AFTRA and Replica Studios. They discuss how this deal will shape the compensation, usage rights, and ethical considerations of voice performances in the age of AI. They look at the details of this complex partnership, examining the potential ripple effects for both union and non-union talents. They emphasize hinges on the necessity for voice actors to stay informed and proactive in the face of advancing technology that could redefine our industry. They confront the pressing issues that voice actors encounter, such as leasing AI technology and the critical need to secure royalties and licensing fees. The BOSSES cover the intricacies of fair AI voiceover rate structures and underscores the urgency for collective bargaining and new legal frameworks. 00:01 - 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 VEO boss. Now let's welcome your host, Anne Ganguzza. 00:20 - Anne (Host) Hey everyone, welcome to the VEO Boss Podcast and the Real Bosses series. I'm your host, Ann Ganguzza, and I'm here with my special guest, co-host Tom Dheere. Tom, I'm so excited to have you back, yes thank you so much for having me again this has been so much fun. 00:35 So, tom, there's been some news in the industry and I think all bosses should always be following up and be current on news that's happening in the industry, because it directly affects our businesses and so there has been a groundbreaking agreement between SAG-AFTRA and Replica Studios, which is an AI company, and I think we should talk about this and how it affects us and how it affects our businesses. 01:01 - Tom Dheere (Guest) I agree. Now just to get disclaimers. One I am a SAG-eligible member. I am non-union, so I am not a member of SAG-AFTRA. So I was going to say I don't have a horse in the race. But all voice actors, regardless of union status, has a horse in the race of what's going on in both the union ecosystem and the non-union ecosystem, because they all have a major effect and influence on each other. So I am a member of NAVA, the National Association of Voice Actors. 01:29 - Anne (Host) Myself included Yay. 01:31 - Tom Dheere (Guest) And we know that NAVA, including providing health insurance and education of the industry, is also a major advocate of making sure that voice actors are both safe from predatory AI practices but also are empowered to embrace AI to move our voiceover business forward if we feel that it aligns with our value system and our business model. 01:52 - Anne (Host) And Tom, I know you and I both we have taken time to educate ourselves within the AI industry and about synthetic voices, and I think we are hoping to encourage others to do the same so that they can make smart, educated decisions, and this is going to be part of that very important discussion. So, absolutely, myself, I am non-union. However, things that happen in our industry this can be setting a precedent for how I'm going to say how AI companies work with voice actors, as well as how consumers view AI and synthetic voices, and I think one thing I remember Tim Friedlander mentioning in one of his discussions was that, if nothing else, it's really started to bring awareness to not just our community but everyone out there of what sort of impact synthetic voices and AI can have on our industry, on our voices and our rights, our intellectual rights, our intellectual property. So talk about what you know of the agreement. 02:54 - Tom Dheere (Guest) Okay, so the first thing I'll say in regards to that is about late 2021, I took a meeting with replica studios to talk about their voice cloning process, and I'm pretty sure you've talked to them too. 03:06 - Anne (Host) Yes, I actually interviewed them on the VioBoss podcast. So, bosses, make sure you listen to that one. 03:10 - Tom Dheere (Guest) Exactly, and different AI production companies have different business models. They have different reasons for entering the industry and how they go about their business. What replica studios does is they work, at least right now, in the video game bubble, which is they work with voice actors to create very specific performances. So, like I think I auditioned for the part of, like the crazy old West speculators there's gold in them, not huge Like. I'd submit it to be considered for one of those. So, and if you do get that, you get paid, and that performance can only be used for that performance, both on a technological level, because they can't turn your crazy mining prospector into an astronaut voice or another voice Now. 03:54 - Anne (Host) is that because that's established with the company? Are you talking about all companies? 04:00 - Tom Dheere (Guest) or I'm talking about Replica. 04:01 - Anne (Host) Okay, replica, okay. So Replica has an agreement in place where, if you create a voice with them and it is used for a video game, it can only be used for that particular video game in that particular instance and they cannot make additional dialogue or additional games from that voice or. 04:19 - Tom Dheere (Guest) It is my understanding. Also, I watched the Navas wonderful but two hour long question and answer thing. So forgive me if I misquote. 04:28 - Anne (Host) No, everyone should be watching that as well, oh absolutely. 04:31 - Tom Dheere (Guest) It's on YouTube. Go to the Navas website and there's a link and you should definitely watch it. It was fascinating, Cause you learn not only about AI, you learn a lot about how Sagrafftro works. Cause Zeke talked in severe detail wonderful severe detail about how bargaining works and contracts work and agreement works, and all of that. But historically, replica would use your voice as a placeholder during production of the video game, as opposed to using your voice to be cast in the video game. Smaller roles. 04:57 - Anne (Host) Yes, yes, when I interviewed them, that was their process and you were paid. You were compensated on it. Not a character, a video game character, but a character. How many characters were used? You get paid on a character basis in a monthly contract. 05:11 - Tom Dheere (Guest) Right, and that one character could be used as a placeholder in production in multiple video game production companies making multiple video games and smaller roles could also be used by that and you would get compensated for that. So this agreement Sagrafftro agreement with Replica basically just sets up the relationship how Sagrafftro members can work for Replica studios and they have set up a studio per hour rate you know of the actual performance and then they have set up the usage or licensing of what happens when your voice is used and how long it's used for and what the compensation is. I think it was per 300 lines or something like that and then there's incremental payment. Zeke made some very, very interesting points, because one thing that a lot of people have been saying is like why isn't Sagrafftro fighting AI? Why aren't they trying to ban AI? And he said that. To paraphrase, he said they had a choice they could either try to prohibit AI or they could try to regulate AI. 06:10 - Anne (Host) Absolutely. 06:11 - Tom Dheere (Guest) And he and Tim agreed that they are five to 10 years too late for prohibition of AI, even if they wanted to prohibit it. So, as a result, their only recourse is to get involved with regulation of AI. 06:23 - Anne (Host) I think we should reiterate that, Tom, yes, rather than prohibition of AI, which, look, technology happens with or without us, right? And so prohibition of AI could have been really difficult, really really difficult to enforce and probably would have, I think, destroyed the industry, to be honest with you. 06:38 - Tom Dheere (Guest) That's what he said. That's exactly what he said. 06:40 - Anne (Host) Therefore, again, we don't have a choice as members of the industry, we don't really have a choice. I mean, we either fight back and quit or we evolve and we work with it. And I think that it's admirable of a company because right now I wanna talk to you about there's no regulation for companies right now, and it's interesting because I just interviewed Auskirkowski from DeepDubb AI, another AI company that does dubbing and localization of voices, who are also very much in the fair transparency, compensation to the voice actor, and there's something to be said for companies that say right, that they are fair and transparent and compensatory. Is that a word? 07:21 - Tom Dheere (Guest) Compensatory. 07:22 - Anne (Host) Compensatory. Thank you For voice actors in the industry, but it's also another thing because there's no other regulation. They say it on their website, they say it in their policies, but there's nobody enforcing it. So I think for Replicca to come forward to SEG-AFTRA and make themselves accountable, at least to an organization that directly deals with our industry in such an impactful way, I think that that was great. Now the nitty-gritty of the contract. I've not been privy to see that. However, what makes me a little bit nervous is that, first of all, we're voice actors. We know voice acting. 07:59 Replicca is an AI company. They know AI, and so I know from working in technology for 20 billion years that there's a lot of misunderstanding. People that don't understand the technology can be talked into things. Possibly they can be coerced into agreeing to things that may or may not serve them in a positive light. However, at some point you've just got to put faith in a company that they're going to be ethical and transparent, and I think this was a good move, and I guess possibly there's loopholes in the contract, but I do believe we're working towards something that's positive in the industry. 08:33 - Tom Dheere (Guest) Here's one thing I've been talking to a lot of people about. Is that? Well, for one thing to your point is that there is no federal legislation to hold AI companies accountable for artists IP right now, and Nava has been working with Capitol Hill and there are multiple bills in the works If you go to the Nava website it has links to show you the legislation that they are working on which is great. 08:59 There are a lot of people I've been hearing in the voiceover industry saying all AI companies are, by definition, unethical. These, I think, are also a lot of the same people that have been saying for 20 years that all pay-to-play sites by definition are unethical. Neither of those are true. They're patently false. No matter where you go in any industry, in any sector of any business all over the world, a certain percentage of the people involved are going to be unethical. 09:26 - Anne (Host) Bad actors, bad actors, bad actors. 09:29 - Tom Dheere (Guest) Every industry. The voiceover industry is no different. So that means a certain percentage of people who are voice seekers on pay-to-play sites are going to be predatory and will try to rip you off, and a certain percentage of voice actors on pay-to-play sites will underbid, underbid, undercut, which damages the industry. Same thing with AI. There's no difference. It's just that people are going to be how they're going to be, so all you can do is bring your value system with you. It's like a bad client, yeah, and we all have bad clients. 09:56 - Anne (Host) And it's something that I'm always talking about. Right, it's one of the reasons why I have my voice in AI series, with over like 35 interviews with AI companies is to educate yourself, and that was really the basis for myself. Educating myself about the industry is just talking, and one thing I think that is so important is that we have a dialogue with these AI companies, we make it known and I think Nava is just doing wonderful work in helping that to happen and for really fighting for voice actors on behalf of the organization and I think that all of us just need to educate ourselves on what is happening and, just like a bad client like I educate myself on a client. There are telltale signs when I can get a feeling about a client, if they're going to be a bad client or going to be difficult to work with. And I think AI companies are no different, and I think, first and foremost, companies that are out in the forefront of the industry today and there's a lot of AI companies or a lot of little tiny ones that have popped up and not survived, but the ones that are there in the forefront, the larger companies I think that they are responsible for providing an ethical ground, Because I don't think that consumers first of all will stand for companies that are not ethical in their treatment of humans, because it becomes like this whole thing. 11:16 I mean again, we're also a product of or a slave to the industry in which we work, right? So if consumers are wanting synthetic voices, or if synthetic voices will provide a space in the market, will provide something of value to a market, and Oz said to me the other day he said well, normally there would be all of this content that wouldn't be dubbed, that wouldn't be created, because it's simply the process of doing so takes such a long time and it's kind of like the audiobook genre and the audiobook AI companies that we're trying to make audiobooks with synthetic voices, and so there is a lot of content out there that won't get produced simply because it is a process to do with a voice actor, now that a voice actor isn't desired or better. However, there's some content that it may not be as necessary to have a human voice. 12:08 - Tom Dheere (Guest) Yes, and I'm pretty sure we've had these conversations before in various circles that there is some content, like a product manual, that would never get narrated by a human because of you know, there's just so many of them and it's not cost effective. But an AI can do that. Our good friend, karen, vice president of NAVA, uses the example of no human can narrate the New York Times overnight, and those who are visually impaired have just as much of a right to enjoy the New York Times with their morning cup of coffee than any other sighted person Absolutely. 12:43 - Anne (Host) An. 12:43 - Tom Dheere (Guest) AI can help provide that service. It's where you get into other areas. And actually there are people who because I've had conversations with people who say, nope, that's still not art, that's still taking jobs from people. That is still unethical. There is a certain percentage of the population that there's just going to be no talking to. 13:02 So it's like okay there's going to be no convincing. And if that's their value system and they think AI is an affront to art and an attack on art, and with some of the bad actors and predatory companies, yes, it absolutely is. But this conversation and it's not really about art, it's about technology Technology always wins. It always wins. Now, when I say that that doesn't mean well, we should all surrender and sell out and clone our voices and get paid a nickel, you know five cents on the dollar and just eat dog food and live in a hovel because we can't thrive as artists in the voiceover industry and get paid rates that are commensurate with the industry standard. 13:45 But there are ways to navigate the industry, whether you are pro AI, anti AI or can't be bothered with AI and have the potential to still be able to thrive as a voi…

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    Special Guest: Oz Krakowski - Deepdub Feb 20, 2024
    Show notes

    Anne welcomes Oz Krakowski from DeepDub, a company specializing in dubbing and voiceover end-to-end localization. Oz and Anne discuss the evolving technology and the importance of protecting the integrity and earnings of professional voice actors. They look at the ethical landscape of AI, the significance of artist compensation, and the transformative effect technology is having on voiceover work. With the rise of deepfakes and synthetic voice replication casting shadows of concern, they discuss the pressing need to protect voice artists' identities. They also navigate the intricacies of consent and compensation in voiceover AI models. This episode is a call for trust and clarity in the dynamic dance between technology and the voice talents that bring authenticity to AI-generated content. 00:01 - 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 VEO boss. Now let's welcome your host, Anne Ganguzza. 00:20 - Anne (Host) Hey everyone, welcome to the VEO Boss podcast. I'm your host, Ann Ganguzza, and I am truly excited to be here with a very special guest, Krakowski. Oz is an experienced executive with a rich background in business and technology, especially in the entertainment industry. His current role at DeepDub showcases his deep involvement in the realm of media and film, where he leverages innovative technology to enhance the industry's landscape. His extensive knowledge and insights have made him a sought after figure in film and media conferences. Oz, thank you so much for joining us today. We're so happy to have you here. 00:57 - Tom (Co-host) Hi Anne, so pleased to be here and thank you for inviting me and looking forward to our discussion. 01:02 - Anne (Host) Yeah, absolutely. I'm excited to talk to you about the technology. So, first and foremost, for our listeners, tell us a little bit about DeepDub and your role there and your particular experience in working with voice actors. 01:16 - Tom (Co-host) Absolutely so. Deepdub is a company that is focusing on AI, or generative AI, I should say solutions for audiovisual content, with an aim to democratize the ability to globalize content. We started by focusing on entertainment content, working with big studios small and large, actually and localizing and providing them the capabilities to use synthetic voices and different generative AI tools in order to localize their content. Specifically for me, I'm based in Dallas in the United States. I am responsible for business development, partnerships, strategic accounts, been with the company almost from the beginning. The company started in 2019, so we're pretty young in the world of, in the traditional world of localization. However, in the world of AI, we're among the first. 02:06 - Anne (Host) You're veterans, you're veterans. 02:08 - Tom (Co-host) Exactly, exactly. I always joke that it's like dog years every quarter it's like another leap forward in technology and advancements. We were there before. Generative AI was a common phrase on everyone's discussion. Absolutely this is generally about DeepDub DeepDub is really committed to the entertainment industry and asked about how we work with voice actors. There is a lot and I'm sure we're going to unpack it here in the discussion. 02:33 - Anne (Host) Oh yeah, obviously, as you know, being a voice actor myself and you having worked with voice actors in the industry, I'm sure you understand the concerns of, basically, actors and artists in the creative fields and their concerns about AI. I think that it's important that all of us, voice actors included, we educate ourselves on this evolving technology to figure out how we can work with it, because I don't think we're going to stop it. Number one I've certainly seen lots of evidence of that in the past few years. I mean, it has just been breakneck speed in developing synthetic voices. From your perspective, what would you say are the major concerns surrounding the usage of AI in entertainment? In the entertainment industry? 03:21 - Tom (Co-host) Absolutely. I followed your podcast and I see the work that you've done on AI. I truly respect the will and intention to actually be aware of it. Like you said, I think it's also acknowledged today that this is pretty much unstoppable. The question is, how do we get in front of it? How do we actually address the concerns? How do we work together and not necessarily try to do anything that is one-sided? 03:45 In the end, everyone has fear when it comes to change and changing landscape or changing conditions, especially when it comes to a person level. People have their fears and a deep that we're trying to address them instead of not trying to behind anything. We're addressing them by working with the industry, by adhering to common practices, to the most recent laws or ethical codes that have been published. One of the things that we've just recently announced about a month ago I think it's almost like a month and a half ago, just when the actor strike was concluded we announced what we call the Voice Actors Royalty Program, which is a clear step forward in terms of giving voice actors, specifically professional voice actors, the ability to get compensated for the use of their voice in AI-powered projects. 04:40 That specifically addresses professional voice actors. We did not open it to the public. In fact, when you join the program, we actually ask for proof that you are a professional voice actor. Once we get that proof, we vet it. We actually make sure that this is the right that you are indeed who you claim you are, or with the specific credentials. 05:00 - Anne (Host) You have to do that today, in this age of AI. 05:04 - Tom (Co-host) Because essentially I have a microphone, I can claim that I'm a voice actor. It's not that it's not going to be open ever to everyone, but the intention initially is to ease voice actors that we are not going to use their voice without their full consent and without them getting compensated for it. I think that's very important. 05:23 - Anne (Host) Yes, I agree with you 100%. I think one of the biggest issues now is because it's the Wild West out there I like to use that term all the time in the voice acting industry because it's always been like a Wild West of rates. With new media and digital media, it's the Wild West of synthetic voices in AI. Now there are so many technical things that arise in terms of how can voice actors protect their voice? There are… a lot of companies out there drafting up these ethical policies and agreements that they post on their websites, and I think there is a bigger issue at stake where I think that it's wonderful when companies can proclaim and create policies and ethical guidelines, but what's out there? Who's out there that's enforcing them? Number one, I think really at a federal level or a global scale, there needs to be laws and regulations on that, and I think that's where we're going to be playing catch up, for maybe I don't know, this is my guesstimation the next 10 years, maybe more. What are your thoughts on that? 06:23 - Tom (Co-host) You know what? You're absolutely right and this is, I think, the key challenge that we have, that the legal system is so slow to progress. However, you know, technologically we're advancing fast. So what happens? It leaves the playing field, you know, open for interpretation, and this is where it really matters. 06:42 - Intro (Announcement) And, just like you, said this is the wild west. 06:44 - Tom (Co-host) Exactly, and this is where it's really important when you partner with a company to actually do the background work, make sure that you're working with a company that really cares about not only the output, but also how you achieve that output, because today you can achieve that output in many ways, but it's really important who are the people, what's their track record, how do they do things, and not only what do they achieve in the end and why? Because there is no global enforcement right now. 07:12 I think it's going to get there eventually. There's no way around it. 07:15 - Anne (Host) It's going to have to get there, but it's just going to yeah. 07:18 But what happens in the interim? I think that's the biggest thing. I have so many questions for you and one of them, of course, I wanted to like wait a little bit, but obviously I'm sure you've heard of the groundbreaking agreements between SAG-AFTRA and Replica, another AI company, in terms of working with actors and voice actors to protect them, and I think that that was a step in a positive direction, toward companies wanting to be more accountable, to not just themselves and not just their own ethical guidelines. Like I know, there's so many wonderful organizations out there trying to create guidelines and research, and I think that that's great, but I also think that is a step towards I would say, at least a company solidifying that they are serious about protecting the rights of creatives and actors and voice actors. What are your thoughts on that? Is that something that you have been looking into or a place where you might go in the future? 08:09 - Tom (Co-host) Absolutely. First of all, sag-aftra is in the United States, so I think it's a great step forward for sure Definitely protects and sets the tone for unions and guilds worldwide. We have been discussing for some time with the BFFS, which is like the SAG-AFTRA or the similar union in Germany. I, just for the sake of discussion, I was invited by them last June to talk about AI in the film industry at the Munich Film Festival and we had a very interactive panel discussion there at that event, and I think that goes back to how we started the discussion today, saying that we need to acknowledge that this is coming and let's be in front of it and have the dialogue and talk about how we do things, and I think that agreement with SAG-AFTRA is important and an important step forward. 08:57 I believe we're going to see similar things happening also worldwide, not only in the United States, and I think also from SAG-AFTRA perspective, it will be their intention to have that type of agreement with as many, I would say, ai companies create some kind of standard in a way. 09:11 - Anne (Host) Yeah, let's talk a little bit about in the technical aspect of things, because, again, I don't work in AI, but I try to learn as much as I possibly can so that I can make educated decisions about how I can go about evolving with the industry as we move forward with the rapid advancements of AI technology, specifically generative AI I mean, is it discussed in any other realm anymore as generative AI? How can artists protect themselves from their unauthorized usage of their voice or their likeness or whatever that might be? I mean, right now there has to be technology that can be put in place so that we might be able to find out if our voice is being used without our permission or our likeness. 09:52 - Tom (Co-host) The reality, I would say, is that technology today allows that to be abused. I mean, that's the reality. And it goes back to what I said before If you're a very famous voice, talent or it could be a talent or just a voice, talent or talent of your voice. 10:10 I mean, or a celebrity, for example, and there's enough information about your voice. We actually today we don't even need a lot. Then your voice can be out there. We don't need much. You know it's like a sentence. Basically, your voice could be out there. The thing is, you know what happens. If it does. You can take it, for example, into places where we see non-entertainment related voices, like political people. You know people from politics where you know their voices can be replicated and can be abused. Actually, you know, especially if we're going into an election year in the United States deep fakes are very real very real, exactly I will say that. 10:49 - Anne (Host) That gives me hope, though, that it is a political season, that maybe it'll get more government level. There may be more action taken quicker because of that. I don't know, that's just. That's just my speculation. 11:01 - Intro (Announcement) But in reality. 11:02 - Anne (Host) So, and even this podcast. I mean gosh, I've had a podcast for seven years. I mean, not only have I done thousands of auditions and given my voice freely, after being paid for a job, to my clients, there are so many ways that my voice has probably already been put into a database somehow. And I think that, technologically speaking, how does deep dub? First of all, how do you create voices? I guess the creation of the voice and then usage of the voice. How do you protect your actors, your voice actors, in both of those cases? Can their voices be used for training other models, and what's the usage requirements? 11:40 - Tom (Co-host) Yeah, and that goes back basically I'm connecting my two answers before basically of first, there is no way really, I mean, everyone can use your voice because your voice specifically, you have that podcast with hundreds of hours it can be used without your knowledge. And then it combined it with partnering with the right company that actually you can trust, that is committed to working with you in terms of doing things in a legal way, in an ethical way and also compensation wise. So this is, if you combine it together. Now it goes back to the way we had deep dub require voices. 12:16 There are two ways for us to acquire voices. First, with non-professional voice actors, where we actually pay them for the voice. We approach people that do not use the voice as their profession and ask them in a very consent way to contribute their voice. They're getting paid for it and once their voice is in, we actually use those voices as the baseline for our bank voices. They're not necessarily going to hear their voice in the outcome, because those voices get transformed internally and mixed with other voices, essentially, and the output is different. But this is the baseline for how to acquire voices. 12:54 - Anne (Host) Yeah, so they're being paid for their voice being a training model then, to generate or create new voices, and then do they get paid if that new voice is being used since they were part of the training model or no? 13:06 - Tom (Co-host) No, not necessarily. No, they're contributing their voice and, again, they're not professional voice actors. They're not getting paid. They're getting paid for the work that they did and they're not gonna see their voice in the output. Also, it's not gonna be their exact voice yet. 13:19 - Anne (Host) Okay. So then now the case of a voice actor. If a voice actor wants to be on your roster. 13:24 - Tom (Co-host) So in a voice actor, it's a different case. A voice actor, their voice is actually going to be in the output and they're going to be paid in the same way as they're getting paid today for doing the voice acting, only that they don't need to be in the studio. 13:40 They could pretty much be anywhere else or be involved in a different job. So, essentially, you know, they're basically going to contribute their voice. We're not going to use their voice for training. We're not going to offer their voice as a bank voice. It's going to be offered as a voice that is essentially a royalty based or not royalty based, but a professi…

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    Voiceover Virtuosos Feb 13, 2024
    Show notes

    Voice acting is more than just a dulcet tone; it's about connecting, taking direction, and sometimes swallowing your pride. In this episode, we explore how frustrations in the booth can mirror challenges in personal and business relationships—choosing success over being right is an art in itself. We underscore the importance of humility and remaining teachable in an industry that demands constant evolution. Whether you're a newcomer to the mic or a veteran seeking to refresh your skills, this episode promises to arm you with insights and strategies to elevate your voiceover career. 00:01 - Intro (Host) 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. 00:20 - Anne (Host) Hey, hey everyone. Welcome to the VO Boss podcast and the Boss Superpower series. I'm your host, Ann Gangusa, and I'm here with my very special guest boss co-host Lau Lapides. Hey Lau, hey, Annie, how are you I? Am doing amazing. How about yourself? Wonderful? Happy New Year. Happy New Year to you too. 00:40 - Lau (Host) This is our first podcast since New Year's. 00:42 - Anne (Host) That's right. Right, you know I'm starting off the New Year with some new students and I have come across this before and I want to ask you if this has happened to you. 00:53 There are some students if they're just starting out and I know we've spoken about this before Sometimes you don't know what you don't know, and sometimes it's hard for you to hear what you sound like. And there are many students who come to me thinking that they don't need coaching and that they're fine. They just need to be able to create a demo and they sound fine. And people tell them that they have the best voice, and so I like to call them voiceover virtuosos, and I was just wondering if you've come across that as well, where you've had maybe talent that seemed to think that they don't need coaching, or that they're better than maybe they are, and I don't mean to be so bold to say that, but I'm not quite sure how else to explain it. 01:37 - Lau (Host) And this is a really tough kind of non-PC conversation because we want to be kind and have some etiquette, Absolutely, and be courteous. We're not here to rip people apart and make them feel bad about themselves. That's counterproductive to who we are and what we're here for right. 01:52 - Anne (Host) Right and actually Law. I remember when I first started I did not have an ear and I would think to myself I think I'm delivering what I'm supposed to be delivering. It sounds like what I hear out there in the other commercials, and so I don't hear where my coach is coming from. I don't understand their direction, I don't see what I'm doing wrong. 02:11 - Lau (Host) So I don't think I'm doing anything wrong, and so I understand it from that perspective, because, as a talent, I felt that way a little bit myself, and I think it could be a combination of all sorts of things, whether it's lack of resources, whether it's pure laziness, whether it's not having the ear, or it could even be that I don't know what I don't know. 02:33 - Intro (Host) I don't know what I don't know, like I don't know what I'm missing because I haven't done it yet. 02:37 - Lau (Host) I haven't done the training right. 02:39 - Anne (Host) Yeah, and I don't know what it's supposed to sound like. 02:42 - Lau (Host) And so how do I know if? 02:43 - Anne (Host) it's incorrect. And sometimes it ends up being where you're like I don't understand what my coach is saying, and then sometimes you'll question the coach. Even I've actually had some people question the coach. It's so interesting. It's such an interesting phenomenon. 02:58 - Lau (Host) It is an interesting phenomenon and it happens at all levels too that I observe. I had a coaching session for a client, a brand new client, on Saturday and a working actor a working voice actor clearly booking and booking a good ratio overall was frustrated. She wasn't getting the natural read and getting commercial bookings. Long story short, she's a pro, she's working no-transcript. After we did that hour she confessed. She said I have to be honest, law, my mind is a little blown because I didn't even think of any of this stuff. I didn't work on it. I said well, that's our reality. That's why we're always in professional development. Yeah, yeah, there's new ideas, new techniques, new ways of thinking about things that bring out Something in you that you simply can't do on your own. You're not able to do it on your own right. 03:46 - Anne (Host) Well, I think, when it comes down to it, you are providing a service to someone and you need to be able to be directed To the sound that they would like to have, right? There are lots of performances out there that are simply directed to how the person that's directing here's it in their head. Now, does that mean that it is, I don't know, that natural Conversational read that everybody asked for in the specs, because that just seems what everybody asked for a lot of times. No, I mean what comes out in production. It may not be that. 04:19 However, over and over again, casting directors and agents are looking for that read. And I think when you get to the level where you have an agent and you have casting directors that are asking for that, you need to bump up your acting to that level. And just because you're booking Over and over and over again, first of all, consider the source of where you're booking, consider the source of who you're booking with. It might be an e-learning gig, it might be a corporate gig, and they may not be as how shall I put it as Selective, yeah, of a director that's looking for that natural read. Now, myself as a coach law and you as a talent agent, I am always asking my students to give the most natural engaging acting performance, because that is the only way I know to teach my students to be able to have the Versatility to give a director what they want. No matter what they want, whether they want a commercially sounding read, an Announcement sounding read or a natural read and there's. 05:18 - Lau (Host) You know, you can't skip over the fact that there's a fun factor. 05:21 There's a performative fun factor that when you're working with a director or a coach or an outside party who's giving you suggestion, giving you food for thought, pulling things out of you, there should be a right keyword, should there should be this Excitement, this energy, this yeah, herb about doing that and making discoveries and having that audience with you. 05:42 And I think if you miss out on that, you say I don't need any, that I'm gonna skip over as much training as I can, I'm gonna save money. I think you're really skipping over a pivotal part of what makes us us that when we're in the booth alone and when we're doing our own self-tape or whatever we're doing, we can call upon those experiences. It's like a sense memory thing. I can remember what my coach said to me, I can remember how I was directed and then I hear their voice, like as an actor, I literally hear their voice and I can go with that. If I miss all of that, then I almost have to put a lot of stress on myself to create that, to inspire the creation. Yeah, you know what I mean. 06:25 - Anne (Host) I think there's a lot to be said for really knowing the director, or understanding the director that you're working with too, in terms of there's a lot of things that come into play here. Where is this going to air? Is it local versus regional, versus national? Is it going to be an internal website? And so understanding and being able to supply the read that the director is looking for is so very important, and I think that the more you develop your acting skills, the better you can understand that and be able to give that director what they're looking for and also understand, like, for example, I was just discussing with you earlier that I had a local political spot right, and, of course, they ended up putting a ton of verbiage into a 30 second spot, which is almost impossible at the speed. 07:17 I was going to sound natural and engaging and conversational, because I needed to step up the pace. I kind of knew that. I knew, okay, here's a local spot, I'm going to have to step up the pace a little bit. I'm not going to be able to give this person a natural read. They weren't asking for it either, though, and so they really just wanted certain words that were inflected properly, and just having the experience and understanding what they were looking for, I was able to provide it almost I'm going to say not immediately, because there really were too many words for the scripts that we did have to cut out a couple of words. 07:48 But once that happened I mean I had a good idea in the beginning of what they were looking for. And I think as you get more experienced in this field and you start working with different directors, you'll understand. You'll be able to kind of read a director and figure out what it is that they're looking for and then be able to adjust your performance appropriately. But you need to have those acting skills in order to be able to adjust your performance. 08:12 - Lau (Host) That really is what makes you the pro that you are, because it's not only about the talent and the delivery, it's also about the timing, how quickly you work. 08:21 Are you focused, like all the bad habits that we have as people in the world we have to train ourselves out of, and we need help doing that, because sometimes we're just not aware of them that I'm constantly looking at my cell phone to check messages, or I'm fixing my whatever, or I'm not listening, or I'm not acutely taking notes on what I'm hearing, and so that's really important too, to practice that, that taking direction. 08:48 Really, that could be the kiss of death for you. If you're not good at listening, if you're not accurate about interpretation, asking just the right question and giving them what they need, then you look like a time waster, then you look like someone who's just kind of like flailing around and costing a lot of money on the other end, versus someone who can get right to. You know, one of the bad habits that I have a number of actors that do this and voice over, that do this is they explain, they start to get into explanation mode, they start giving the narrative oh, I'm so sorry, and the apologies unnecessarily. I'm so sorry. I was only doing that because you know I was thinking about my mother and not understanding the difference between what is a coaching session and what is a casting session and what is a booking session and what are really the differences, you know, and not expecting something from the wrong person, like I can't expect feedback from casting, necessarily, or from a client necessarily. 09:44 Sure sure, you're either going to book me or they're not going to book me, right? So clients are busy, right? The coaches should be giving me the feedback that I'm looking for. So if you don't do the process, then you don't get the feedback, then you literally are in the dark. Yeah, what you're giving, right? What you're giving out. 10:00 - Anne (Host) It's also hard to and again, we're not trying to shame anybody or make people feel bad. 10:04 It's just simply when you are first starting out and you're questioning. But here I feel like I sound. I sound better than that commercial, I sound better than that person. Again, developing an ear and I think there's a whole scientific process to it as well is what you hear in your head and what you hear in your headphones. If you have your headphones on and you're delivering something or you're recording something is very different than what somebody else is hearing on the other side of the glass. 10:30 I should say across the pond, across the pond on the other side of the glass, because on the other side of the glass they have their own ideas as to what they are looking for. That sound to be like Right and you always want to assume that if they've given you casting specs where they want it to sound natural, like you're talking to your friend Right? There's so many things to take into consideration. Yes. 10:53 And first of all, I'm going to say there are some clues. If it's probably someone who's been in the business for a long time, I think you can bet on the fact that they're going to be able to tell you if you're sounding natural and authentic. And also sometimes, if all they do is automotive commercials, what is it? Tier 3? Cliff Zellman would know this. Tier 3, tier 1. Tier 3 automotive commercials. That's typically a high powered cell. You'll also be able to tell a little bit by how it's written. So I think there are clues that you can research before you're in the middle of that session and also understand that when you're in a live directed session, just like you said, that can be entirely different than when you're in a coaching session. And so when you're in a coaching session with a trusted coach okay, it has to be a trusted coach, and again, that's hard for people that are just coming into the industry who's a trusted coach? Well, there's lots of ways to find that out and I think we probably have a couple of episodes on that. 11:46 How do you know, like, who to coach with? And a lot of times, word of mouth will be one of your best bets on that, and also testimonials and ask around and talk to potential coaches to see what's their experience level. Do they work in the industry? I'm not saying all coaches need to work in the industry in terms of do they need to do voiceover. There's very few out there that are good that they're not actually voice artists, but they're actors, they're teachers who teach acting as well. But also, if you've got a coach that works in the industry, that's going to be helpful too. And if you're new, just because you're frustrated and that's a big thing law that I see is that people get so frustrated and when they don't understand well, I don't understand what you're asking for, or I don't understand what I'm doing wrong, or you're not. 12:34 - Intro (Host) And they start to argue and they say you are not. 12:36 - Anne (Host) I don't understand your direction, and so they'll start to put the blame on the fact that there's not good direction. Now, sometimes there isn't good direction, right, sometimes there just isn't if you're not with somebody who may have been in the industry for a while and is good, which is why I don't love pure lead workout groups law only because I don't either. When you're listening to direction from another peer, who may not have enough experience. 13:00 - Lau (Host) that may set you on the wrong path, in a way though, annie, isn't it good in the sense that you're going to get bad direction at times? Yes, you really are Like we can't assume that. Oh, they're professional, they're a company, they're going to give us great direction. Sometimes you…

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    Agent Relations Feb 06, 2024
    Show notes

    In this episode, we talk all about relationships with your agents! We provide insightful advice on timing your communications effectively, being respectful of the recipient's time, and staying top of mind by sending short, meaningful messages. Also, we stress the importance of following up and consistently being professional. In the latter part of the episode, we highlight the essence of open communication and mutual trust between voice actors and agents. So, whether you're a voice actor looking to break into the industry or an established talent seeking ways to enhance your networking game, this podcast episode has you covered. Join us as we bring you the premier business owner strategies and successes being utilized by the industry's top talent today! 00:01 - 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. 00:20 - Anne (Host) Hey everyone, welcome to the VO Boss podcast and the Boss Superpower series. I'm your host, Anne Ganguzza, and I'm here with my lovely, amazing boss, co-host Lau Lapides. Thank you, ann, awesome to see you today. Hey Law, yes, so awesome to see you too. 00:38 So the other day I was prepping for a new year of my VO Peeps group, where I have guest directors come in once a month to do online workshops, and the very popular ones are typically ones that have agents such as yourself and casting directors. And I was going through the list okay, what casting directors, what agents do I know? And there are some agents that I don't know but I would like to know, and agents that I do know that I've dealt with before, and I thought there has to be a protocol because I need to introduce myself to them. Right, and I know a lot of people when they want to get an agent, they have to introduce themselves to an agent, and so I thought it would be a good time to talk about protocol when working with an agent or reaching out to an agent or casting director and then maintaining a relationship. 01:29 - Lau (Host) That's a great topic. Let's talk about that. Yeah, absolutely. 01:33 - Anne (Host) So I'm going to ask you, because you are an agent, so tell me, what is your preferred method of? Let's say, a new talent wants to be represented by you. What do you recommend, or how do you prefer that someone reaches out to? 01:48 - Lau (Host) you Right, that's a great question. 01:50 I'm one of those people that is out in the world, so I'm not just at the office, I'm also out in the world. 01:55 So I'm speaking at conferences, I'm invited to events, I'm doing online training. I'm like all over the map and partly it's to educate and partly it's to meet new talent, and I make that very clear. I'm very transparent about that and that's a very New York LA sentiment for actors that if they want to meet casting and agents, they oftentimes will take classes, they'll work with those people in the training, in the conference, in the group, so that they can see a little bit of their work or at least get to talk to them, because I feel like a human interface is so much better for me than just getting an email if possible. So I love it when people are in a class, in a group, in a session, and they point themselves out, and that could be as simple as maybe they ask a really smart question or maybe they volunteer to do a read, if they're allowed to do a read, or maybe they put their contact information in the chat if it's online. 02:51 My point is I love proactive people because I know proactive talent are going to be much easier to work with than talent who's passive or shy or just unknowing or newbie and they're waiting for magic to happen. I love people who are partnering with me and creating magic on their own too, so I love when they reach out in person at an event, at a class, at a happening. Number one that's my favorite. If it doesn't happen that way, it's okay to email and submit. I welcome that and I need that because we're still growing our roster. However, I will say one thing Kiss it, keep it short and sweet. I get too many emails and I know you do as well that are three, four, five, six paragraphs long, telling me everything that's going on. Do it Even with someone. I know I can't get through it. I just don't have the time to read through that whole thing. Just one paragraph right and just throw in your links. 03:51 - Anne (Host) I think anytime you send an email these days, the shorter and the sweeter you can make it the better, the better. Every person has time to read a full page of email. 04:03 - Lau (Host) No, and I need to see it right up front, like we call it, above the fold. So if I get to the website for instance, if you have a website that's terrific. Anything you have online I just need to see it quickly. If I have to scroll all the way down or go to another page, it's hard because I don't know what I'm looking for and I don't always want to hear all of the animation, demos or all of the other kinds of work that you do. It's a great reference point to have, but I don't always need that. So targeting the person you are courting is really important. If I'm courting a commercial agent, the commercial agent just isn't going to be as interested oftentimes in your animation work. 04:40 They'll like to know you have it, because they'll consider you're working pro, but they may not represent that kind of work versus an animation production house. You have to have your animation demos with an S, not just one, but more than one, and that's got to be front and center. So I say target your market, know exactly who you're reaching out. To. Keep it short and sweet, kiss it. Keep it short and sweet and give them exactly what they're looking for upfront. If they want more info, they'll ask you. 05:08 - Anne (Host) Oh, I like that. So how do we know what information to send? 05:12 Because here's the thing, right, let's say, if there is an opportunity to meet them in an online workout or at a conference, that's a great way to get in front of an agent and I think that that has worked really well for a multitude of students I know that have gotten taken on a roster after they've appeared in a workout at VOPEAPS and also at conferences. I've seen that work out really well for people. But what if there are some agencies that maybe are not looking to fill their roster just yet, or maybe their roster is full but yet people want to introduce themselves and maybe make an impression? Is that a favorable thing to do and how should they do that? 05:48 - Lau (Host) Absolutely. And you have to remember just because you're in front of someone does not mean they're interested in working with you. It doesn't mean they're even interested in receiving a submission from you. So I do find the more I meet fellow agents and casting and producers, the more articulate they are. If they're on a panel or if they're doing a workshop, they'll tell you oftentimes the very straightforward people and they'll say hey, yeah, I'd like to see your submission, I'd like to see your work, or no, I don't give out my contact information. I'll check in with you in a couple of months if I need anything. So typically they're pretty articulate to say if they're comfortable you contacting them or not. 06:27 And if you do contact them, what exactly are you contacting them for? They don't fool around across the board. They wanna know exactly who you are and what you want. What are you contacting them for? Otherwise you're bothering them. You know what I mean. Like it's a typical letter that you would send out to any prospect in business. Like say don't give me your life story, no one cares. What they care about is why are you coming to me? Sure, what are you looking for? 06:53 - Anne (Host) And I think that it's very important to understand. Just as in direct marketing, I deal with this with the VO, boss Blast, right. I have a lot of clients that are like look, I sent out my marketing materials to all these people on the list but nobody's contacted me. It's very much a timing issue, meaning there has to be a need. It's not like you've submitted auditions right. When somebody's come to you with auditions, right here I've got an audition for the spot. There is a need, right. It's a demonstrated need that I've got a commercial I'm producing or I've got some sort of promotion that I'm going to produce and I need a voice artist or I need a voice actor for that. When you're direct marketing and kind of saying hi, I'm here, can I get on your roster you don't know at what time you're reaching right. Is there a need for you on that roster? And if not, it's gotta be one of those things where it's a gentle sort of inquiry into and, as you said, keep it short and sweet, because otherwise you are bothering them because maybe there is no need. 07:54 And I always go back to my old how do we buy? How do we purchase, how do we acquire things, or how do we get things that we need Right now? It's been a crazy holiday season, right? So I am signed up for all these mailing lists, right? And I get three or four emails a week from the same companies, but yet I don't have a need for anything that they have. But when I do have a need, I'm then looking at that subject line, I'm looking into the email, and that's a very important part of determining whether I'm going to read that email and then purchase or, let's say, entertain the option of having somebody on my roster. 08:34 So the timing has to be right, and so sometimes you could send emails and nothing happens, and that's very true, I think, with reaching out to Asians or casting directors, right. I mean, you may not get any response, and then you might be like, oh gosh, have I done the right thing? And I'll tell you that, the one thing that you want to do, just as in yourself, right? You don't want people to be annoying. You don't want to read a book because I don't have time to get through that book. It needs to be short and to the point and respectful of their time. 09:04 - Lau (Host) I would agree, oh my gosh, totally agree. And I would say, you know, it's the old FOMO thing. It's like keep top of mind. If they see you, enough, you're branding yourself, so you're seeing you they get to psychologically feel that you've been in business forever. Even though you've been in business for two years, they start to say, oh, they've been around, I don't want to miss out on just seeing quickly what John Smith is doing like and then they trash it. Great, that's what you want. So that then when they have the need, they think John Smith, I always get his stuff right. So it's that sort of keeping your finger on the pulse of what is happening in all of their worlds and not falling into that mindset that you and I speak about all the time, the narcissism of, like I'm ready to work, I'm here, why aren't they hiring me? Well, they don't need you. 09:51 - Anne (Host) Right, top of mind is so interesting for an agent, right, like I love that. We said you do need to be top of mind. So that means you reach back out, right. If you don't hear anything, you reach back out. But how often, law? This is the question. How often do we reach out Now for marketing and soliciting voice acting services? 10:09 I think you can reach out to somebody once, twice a month, three times a month, and if you give them the option to unsubscribe right For direct marketing, that's awesome. I personally think we should add that option to unsubscribe if you're reaching out too many times to an agent or a casting director, because that will tell you right away if they have a need or not, or it shows that you're considerate of their time. And I actually just kind of came up with this right now. I'm like gosh, that would be nice, a nice option, if you just threw at the end of your email just say hey, I would love to connect with you. Please let me know I'd like to follow up with you. Maybe not next week, but I'd like to follow up with you in a few months. If you would prefer that I don't, please let me know by hitting reply and that kind of thing. 10:52 - Intro (Announcement) I love it. 10:52 - Anne (Host) I think that would show number one, that you're considerate of their time. Number two, that you know how to conduct yourself professionally and not be a pain in the butt, because I know that when people send me unsolicited emails, I get annoyed. If there's more of them that come in the next day, or what happens in I have Gmail, it shows in a thread. So I see like, oh, you've sent me five emails already pretty much following up and I have not responded to you, so you would think take me off your list, right? 11:19 - Lau (Host) Right and I think that that's honestly. I think it's inferred nowadays that if I don't want to get your stuff, I go to the bottom of your email. I find my preferences, I find my M subscribe me or my assistant can do it in like 15 seconds. It's okay, I'm used to doing that. It's like that's part of our thing that we do these days. But most of the time I actually don't do it, unless it's a big box store or a huge corporation that I have no interest in at all. 11:42 I want to know what my talent's doing. I want to know what prospects are doing, and what we will say is we try to be really kind, both as the studio and an agency. So if someone comes in and they're sending me their stuff and they're not a good fit, we'll write to them, we'll let them know. We won't just let them hang in the balance. We'll say, hey, you're not a good fit for our roster right now. Could you please come back and check in in the next three to six months? Perhaps you'll have updated materials, perhaps you'll have a couple of cool jobs to share with us and we'd like to relook at that later which we would we would, and that's really nice of you, but not all agents will do that. 12:16 No no, they won't, and so if they don't. 12:18 - Anne (Host) I think that it's absolutely a professional thing to actually, in the email at the very end, just say I would like to contact you in three to six months Again, if that would be okay with you. If not, please let me know that kind of thing and that just shows that you are respectful of them and their time. And also don't forget, bosses, to really research the person that you're sending out to, like you should know like what is this agency specialized in? What does their roster look like already? Are you filling a hole in that roster? Because, again, there has to be a need. I have to have a need to buy from Old Navy that pair of shorts or that T-shirt. 12:55 - Lau (Host) I'm glad you said that Because so few people are Googling or going to websites Like you should be. Before you blast anyone, go to the website. Make sure they're legit, see where they're located, see if that's the market you want to cover. See the kinds of voices that they're working with. Now when do you fit in that whole realm? It only takes you five minutes or less to do that. And let's say you're going to paste. What I call…

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    Work From Home Jan 30, 2024
    Show notes

    Anne Ganguzza and Tom Dheere, discuss fresh strategies to balance work, health, and personal life while excelling in the voiceover industry. We share our trials and triumphs in navigating the voiceover industry from home. We open up about the challenges we've faced transitioning from a structured office job to the freedom of working remotely, and we discuss the importance of creating our own systems and structures for success. Tapping into our entrepreneurial spirit, we delve into time management strategies that have kept us afloat in the world of self-employment. This episode is chock-full of practical tips and insights. So get comfy and join us as we demystify working from home in the voiceover industry. 00:01 - 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 VEO boss. Now let's welcome your host, Anne Ganguzza. 00:20 - Anne (Host) Hey everyone, welcome to the VEO Boss Podcast and the Real Bosses series. I'm your host, anne Gangusa, and I'm here with my real boss co-host, mr Tom Dheere. Hey, tom. 00:32 - Tom (Co-host) Hello, hello, hello, hello how are you, I'm good, how are you? 00:35 - Anne (Host) I'm excellent. You know, Tom, I dressed up today just a little bit. I still got a little bit of sparkle going on here and if you're just listening to this, bosses, you'll just have to trust me on this. But I did dress up, and you know that's very unusual, tom, because I work from home. And I cannot tell you how many times I'm in the booth here in my sweats and t-shirt and shorts, or whatever it might be. 00:58 And that's one of the advantages that I really love working from home. But I'll tell you what. I've known a lot of people that work from home and it can be a real adjustment. I think we should discuss that and let's talk about what it means really to work from home, because sometimes it's really hard to be productive or sometimes it's hard to stop working. 01:17 - Tom (Co-host) Yeah, that's one of the biggest challenges for people who are transitioning from being in a full-time or part-time environment, possibly for decades, and then coming home and then working from home. One of the biggest challenges is that if you get a job and you someplace you go to whether it's an office or a restaurant or a bank or wherever that you're working you have a set job description with set hours and you're supposed to do this then and that then, and this is when you can have a lunch break and this is when you go home and this is how much vacation you can take. 01:48 - Anne (Host) Yeah 95. 01:49 - Tom (Co-host) And a lot of people are like, oh, I hate it, it's so oppressive, da-da-da. But then they come home and then there's zero structure, there's almost no job description. 01:58 Apart from auditions and bookings, there are no deadlines. So at first the newfound freedom is very liberating and refreshing, but then they're like I have no idea what to do. I have no self-discipline, so I'm kind of all over the place. And to your point, and since I don't have any set hours, some people are working two hours a day, some people are working 14 hours a day, and neither of those are particularly good. Obviously, working not enough is not good, but working too much is not good either. 02:25 - Anne (Host) So, yeah, the struggle is real. I'm in that category, yeah. 02:28 - Tom (Co-host) Where I tend to work those 14 hours? 02:31 - Anne (Host) Yeah, I try not to, but it's very difficult. And there are some people who just it's not conducive to just joy, bringing joy to them, because they find it so hard to either turn off or to focus or to concentrate to get things done or they need that social aspect of being out in an office. I know that my husband was working from home for a good couple of years. He is now again working from home and he's much more attuned to it. He's much more adjusted to it. The first couple of years he was working full time from home he hated it and I know that for me, working full time from home was a big adjustment. I mean, it took me a good year or two to get used to it. I think I was really like okay, so when should I like market? Okay, I've got auditions to do. I know I can do that. Now what do I do? 03:23 I was also still trying to grow my business, and so I think in the beginning I wasn't as happy because I didn't have any direction, I didn't have any guidance, I didn't know what I was supposed to be doing and I thought maybe there is a formula right. Is there a formula for success in working from home? 03:40 - Tom (Co-host) There is. The problem with it is that everybody has to build their own formula. Everybody has to create their own systems and their own structures. I talked to my students about systems of thought how to think about what you're supposed to think about and systems of execution what's the practical application of your systems of thought? And there's so many different parts to it. I basically break it down into time management and workflow how to manage your time and then how to develop systems to do all the things that you need to do. Time management is very, very tough, especially if you're going from a job job a nine to five job where all the time management is taken care of for you for the most part because this is your hours, and you have to do this within this amount of time, and either you get it done or you don't, and if you don't consistently enough, you will no longer have that job. 04:32 That's it. 04:33 - Anne (Host) You know what I mean Exactly. 04:35 - Tom (Co-host) So, understanding how to prioritize and understanding how to focus, those are the two big things. What is more important than other things and how much time should you spend on it? And how to be able to maintain mental, physical, logistical focus on any given subject marketing, billing, audition, booking, balancing your checkbooks, invoicing you know all of that stuff. 04:58 - Anne (Host) Well, let's break it down in terms of your business, Tom. What is your first priority on any given day? 05:03 - Tom (Co-host) Health. 05:04 - Anne (Host) My health. I like that. 05:06 - Tom (Co-host) Understanding that if I am not physically, mentally, spiritually, psychologically, emotionally in good shape, I will not be able to engage in effective time management, and the rest won't matter. 05:17 - Anne (Host) That's actually really an excellent point. Thank you. 05:21 - Tom (Co-host) The third part of it is what are the things that I need to do 24 hours a day to maintain optimal health? Obviously, some days are better than others, some weeks, some months, some years are better than others. 05:31 - Anne (Host) Sure, I got you there, yeah. 05:34 - Tom (Co-host) It starts with and this is a big one, for a lot of people is waking up in the morning. When do you wake up in the morning? Some people are night owl, some people are early risers, and all of that is fine, as long as it's like oh, I'm not an early riser, I'm an night owl. You get out of bed and start working on stuff at like two in the afternoon and then you're done at four. 05:58 - Anne (Host) You know what I mean, unless you had the six hour work week. 06:00 - Tom (Co-host) Yeah, Getting up exercising if that's what you need to do, having a good breakfast for a lot of people, showering, cleaning yourself up getting dressed getting dressed on some level. Making the bed and making the bed, making the bed's big for a lot of people. Our friend Corey Snow, voice actor. He puts on a tie Because it mentally prepares him for his day. 06:20 - Anne (Host) Yeah, absolutely, well getting dressed up and putting makeup on helps me to just, you know, okay, I'm prepared now and I'm ready to go and exercise, of course, now, but that was not the case. As you said, some years are different, right? I mean that was not my priority during the pandemic, which it should have been but it wasn't. But things evolve and change. But now I find that I need to get up and do that Because and sometimes it's exercise after the day is done, because that helps to really relieve stress. 06:47 - Tom (Co-host) Helps you decompress? Yeah. 06:49 - Anne (Host) So it really kind of fluctuates a little bit for me. But yeah, I love that health being number one for you. And what would be your second priority, would you say after that? 06:58 - Tom (Co-host) The structure because, like I said, without the good health you can't operate within a structure. Structuring your time, getting up at roughly the same time every day is extremely important, and then setting up a system like, for example, roughly between 7.30 and 8 am every morning for me is auditions. 07:17 I get as many auditions, as done as I can between 7.30 and 8. That's between the pay-to-play sites, my agents and manager auditions myself, marketing, regular clients auditions. I do as many as I can, so sometimes I sit down, do that and then shower and get dressed and have breakfast. 07:31 - Anne (Host) Sometimes I do it in the inverse, depending on timing of the auditions are all so based on timing. Now I have agents that like to send it around 6, 5 and 6 o'clock and I try to get them done that night if I can, if I'm not too exhausted. Just because if I wait until the morning, I will have a morning voice, which is kind of cool in certain instances. 07:50 But I might need to do some warm-ups to get rid of that voice. But for me right now it's funny because years ago I would never have said this. But right now I am preferring my morning voice. And so I will prioritize my auditions to do the ones that I feel will call for a lower voice first. 08:08 - Intro (Announcement) I do that too Before. 08:08 - Anne (Host) I go ahead and do a series of a bunch of them. 08:12 So, that's very interesting. So, yeah, auditions I think the things that you cannot always depend on being at a consistent time, because auditions for me come in at different times all the time. But I like how you have a period in the morning where you can do those auditions that are not necessarily like I feel like all of my auditions that from my agents I feel are more timely, where I feel like I might have to respond to them within a certain amount of time, and maybe I can't wait an evening or a morning, but certain other ones I can wait, and so I put it in two categories. So I have a specific time, like I like, in the morning, to do auditions, but I also, if anybody needs them right away, I will have to respond right away. 08:51 - Tom (Co-host) Oh, of course, and I tend to batch them. So when I sit down at my desk in the morning at 7.30, I see what I've got, I prioritize and I do the warming up the voice based on what it is. 09:01 But then I'll probably do another batch, like right after lunch, unless there's one, and then maybe I'll do one or two at the end of the day around four-ish but usually by then my voice is kind of like it's not great because I auditioning all day, I've been booking all day, I've been working with students all day, so around four o'clock I'm kind of like on my way out vocally. 09:22 - Anne (Host) That's typically me too, because I've been yapping all day either coaching or doing auditions, and then, yeah, I have to be very careful. Sometimes I choose not to respond to auditions until the following morning when I have more energy because my performance is going to be better. 09:36 - Tom (Co-host) Right and my next priority to actually get around to answering your question. I like to manage my finances. 09:42 - Anne (Host) Next Okay. 09:43 - Tom (Co-host) I like to balance my checkbook, pay my credit card bills, generate any invoices that I need to, reconcile any invoices that I need to. I like to do that first, Like I do my auditions. Then I like to do my finances because, well one, it's the easy to check off boxes, but also I don't want to have those tasks lingering in my head while I'm doing my other things, like my marketing or auditioning or booking or working with students. 10:11 I just like to be like okay, all of my financial stuff for the day is done, it's out of the way it's over here because I know it has a very strict beginning, middle and end balance checkbook, pay credit cards, generate invoices, send invoices, reconcile invoices. 10:26 Sometimes it takes five minutes, sometimes it takes a half an hour, sometimes it takes an hour. But I like having all that done because I want to allocate the creative energy when it's time to get creative or work with students or do the booking. So I like to kind of get that non-creative stuff like done out of the way. You know what I mean. 10:45 - Anne (Host) Now for me I hire an accountant, so my accountant takes care of managing the balancing, which for me is just makes me very happy. She's been working with me for about 10 years so she knows pretty much the categories. But we do meet when we need to and we also have a once a month kind of standing meeting where we make sure everything is synced up and she understands, like if there's any bills that are outstanding and I'll have to check on them and that sort of thing. So my accounting part, for me it takes a little less time, just because that's not one of the things that brings me joy. It brings me joy. I know it does. I know it does I? 11:21 love to do it and I totally get that and it brings my account and joy too, because she loves doing stuff like that. But yeah, and this is a daily thing for you. Do you have to do it every day or no, not every day. 11:32 - Tom (Co-host) I'd say solidly twice a week, once earlier in the week or once later in the week. I mean, I used to say that a project isn't done until the invoice is sent and I used to be very disciplined about sending the invoice as soon as I send the audio files. 11:45 - Intro (Announcement) I don't do that as much. 11:47 - Tom (Co-host) It depends on the gig, obviously. If it's a long form gig or a long term gig, you know if it's an audio book or something like that. But if it's like a quicky explainer video that may require a retake or two that I'm not gonna charge for, I'll just whip it up and send it off. You know what I mean. But sometimes I batch them. Sometimes I'll wait a couple of days and do all the credit cards Because if I'm reconciling invoices, I'm updating my checkbook. You know they're all related to each other. You know what I mean the bills, the checkbook and the invoices. I'd say twice a week I'm probably doing that financial stuff. 12:18 - Anne (Host) Sure, well, the nice thing for me is that I live by my calendar. I live, live, live by my calendar, especially with students and coaching. So I have days that I coach and hours that I coach, and different coaching happens at different times, and so I know when I can set aside time to. You know, I have to go to the doctor or I have to do things like get my hair done or do my nails, and they are in certain days where I'm not working with students. And thankfully I work a lot of non-broadcast stuff so that I have some time, so that if I am in the middle of getting my hair done I don't have to audition or respond right away. I have a few hours. 12:53 I'm always able to like finagle the schedule of when do they need a job done by around my other schedule. But understanding my calendar and having it that consistent is important for me. To have a sc…

    Full show notes at the publisher

    Finance 101 Jan 23, 2024
    Show notes

    Intimidated by the daunting world of finances, specifically in the voiceover industry? Tag along with the BOSSES as we demystify the intricacies of money management. Our banter-filled conversation is set to shine a light on the critical role of financial discipline, understanding taxes, and the art of investment categorization for your business growth. We provide crucial insights on all things expenses - from domain names and web hosting to the nitty-gritty of audio editing software. We also tackle home studio costs and the relevance of physical inventory for product sellers. And for those lean times, we've got you covered with our practical strategies that ensure you stay on top of your game. 00:01 - 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 VEO boss. Now let's welcome your host, Anne Ganguzza. 00:20 - Anne (Host) Hey everyone, welcome to the VEO Boss Podcast and the Boss Superpower series. I'm here with my superpower boss co-host, Lau Lapides. Hey hey. 00:30 Lau. How are you? Hey, I'm fab. How are you? I need to activate my accounting financial superpowers because it is a new year and I've got a business that I want to grow and I need to make some investments and I need to really, I think, get my finances in order. So I think we should talk. I know people hate talking or even thinking about finances. However, I think we need to discuss what could be on the agenda for your business this year and how can you financially prepare. 01:09 - Lau (Co-host) I love that, and if we don't understand our status with our money and we don't have a good relationship with it and we don't have trust with money and we don't know how to treat it, then we will not have financial discipline and therefore not have the cash for the investments we need to make throughout our year. And I speak about that at every level. I mean, if you're making millions, even more so because I know colleagues of mine that are millionaires that are busted by the end of the year because they don't know how to save, they don't know how to spend, they don't know how to invest. 01:43 They're used to being managed by other people, and I think management is wonderful when you're at a certain level, but it can also be a curse and take a lot of that micro management over you and then you're left with like, wow, how do I live life? How do I earn money? What do I do with it? 02:01 - Anne (Host) Absolutely. 02:02 I've always tried to be so independent, just in my life and financially independent as well, and so it really behooves us as business entrepreneurs to understand even if we do let's say, I always talk about my accountant and the best thing I ever did was outsource my accounting but you also need to have an underlying understanding and concept of financials so that you can direct your accountant or also understand where's your money going, because maybe sometimes your accountant I don't know maybe they're taking it or maybe they're putting it in place is that you're not familiar with. So not that I want to infer that there's anything shady going on, but hey, we want to be educated. 02:43 - Lau (Co-host) Yes, I also want people to think let's talk taxes, baby. Oh yes, I am not an accountant, my husband is. 02:50 I do not get into that, but I will say running businesses, as you know, Annie, everything at the end of the day, whether it's quarterly, whether it's annual, you have to put you know one of the first things we say and we're fairly conservative fiscally my husband and I we joke. We say, oh, we just got a ton of money and that's awesome, what are we going to do with it? Put it away. I'm going to say I'm going to put 50% of that away from taxes for the next quarter and I'll say good move. 03:16 - Anne (Host) And I'm so glad that you brought that up. As a matter of fact, for the next three months I have a certain amount of money that is coming out because it might escort. I need to pay myself, and so I need to pay myself. I need to prep. So by the end of the year I'm not going to be paying tons and tons of money and taxes. 03:32 - Lau (Co-host) And has that ever happened to you? Because that happened to us a couple of times. It's devastating. 03:37 - Anne (Host) Gosh, when I first started off in voiceover and I started making money and I wasn't prepared, right At the end of the year I was just like, yeah, I'll do the taxes at the end of the year, put it off, put it off, put it off. And then, ultimately, at the end of the year I was like, oh, my God, I owe. And then it was like, oh, I don't just owe a little, I owed a lot. And then I was audited one year. I'll be very frank in telling you that? 03:58 Not because I mean, I wasn't doing any funny business, but literally sometimes you're a small business, right, and a lot of times if you are making claims, they want to substantiate those claims and make sure that you're doing your taxes properly. 04:12 So it was a random audit. Actually, I was audited twice. I passed both audits with flying colors. As a matter of fact, the last audit they owed me. So it really goes to show that I was prepared, and thank God I was prepared. 04:24 Again, like I said, I don't wait until the very last minute and I don't know if I was intending for this episode to be talking about taxes the whole time, but it all comes down to the end of the year, right when you got to pay your taxes. And so you have to understand, like, where is your money going, where is your investments going, what costs do you have? And I think that's super important, what are your costs and what is your income coming in? And you should be looking at your profit, your PNL statement. What is a PNL statement? I have people like I'm not even sure what a PNL. It's a profit and loss statement. So that is something that you should be familiar with, and if you're not, we're here to kind of talk to you about the basics at least. I'm not a financial advisor. However, I can share my experiences and I can tell you how important it is to be educated and to understand that there will be investments and you need to categorize those investments and you need to categorize your profits. 05:19 - Lau (Co-host) Yes, and at the end of the day, even though we don't want to talk about taxes the entire time, we're not on a barter system. If IRS comes, they're not going to take a cow right. They want money, they want cash. So, just being honest, having integrity about your business, just doing everything by the book, being very careful, having a bookkeeper, having an accounting team having the people you need on your side couldn't be more worth. 05:43 It just couldn't be. But let's talk about money in terms of, like, fixed costs. Putting together your understanding what are my fixed costs versus my movable, shakeable, flexible, variable costs, which do vary month to month? How do you set it up, Annie? When you set that up? 06:01 - Anne (Host) Well, I don't remember which episode it was, but I did touch upon this at one point. In terms of fixed costs, like for running your business, there is the cost of I'm an S corp, so I have to pay a certain amount of money every year right to maintain that license, and so I also have to make sure that things that it costs for me to run my business so not only the cost of the business itself, which I pay to the state or I pay to the federal government I also am paying things that would be like my website, my web hosting right. That is something I pay on a monthly basis. That happens each and every time. So those recurring costs I found to be well managed, number one by my accountant and it's categorized in my system. 06:46 But also I downloaded an app. I pay for this app on a monthly basis called Rocket Money, and Rocket Money will go out and grab all your subscriptions, cause a lot of times you can be subscribed to things that you forget about. This is the new way of doing businesses those subscription models which I pay monthly for my domain names, for my web hosting, which is the place where I host my websites, kind of think what else, my subscriptions to my audio editing software, twisted Wave or Adobe Audition. I also pay Adobe because I have Adobe Acrobat, the Adobe Suite that I pay for. Goodness gracious, this is so much, and I pay for a lot of things too, like my Riverside subscription. Right, this is what we record our podcast on. I pay for my Zoom connection. I pay for gosh, all these backblades, which is my backup system Right. 07:40 - Lau (Co-host) So here's the key, though, annie, is like we're lumping them all together because that's everything that you do every month and in your mind because you've been doing so long. Those are fixed costs, right To a new person coming in for the first couple of years. Some of those may be more variable in cost because, let's say, let's say hypothetically, you're ready to do a blasting service like Constant Contact or MailChimp or VO Boss or VO Boss, but we're blasting things out to your hundreds or thousands of leads, right, and you're gonna pay for that monthly. Now, we consider that kind of fixed because we've been doing that collectively so long. But someone coming in who's fairly new and say, well, can I spend that $40, $50 a month or $90 a month to do that? That's more of a variable cost, because they may or may not feel like I'm at a point where that's gonna be beneficial. I may not have enough leads to do that too. I'll do that in a year and see where I am in a year, but I can't do that with my rent or my mortgage. 08:39 - Intro (Announcement) I have to do that every month. 08:41 - Lau (Co-host) That's a fixed cost right. So that's really interesting for us to just reevaluate every year or every quarter, like what are our variables that we're thinking of as fixed, Like if I think of Google or I think of like storage on? 08:57 - Anne (Host) Zoom, or I think of this. My mind it's fixed. My iPhone, my phone bill for myself, I'm paying on a monthly basis that to me. I consider that a fixed cost. But you're right, I mean, it all comes down to what is it that is necessary to run your business? But, interestingly enough, because most of us are home-based businesses, now, brick and mortar, brick and mortar. Are you paying Brick and mortar as well as I mean, we gotta consider our offices, our home studios, right? Yes, as part of it. So for me it translates into I've gotta pay the mortgage because if I don't have a house or I don't have my home studio, I don't have my studio in my house. 09:33 - Intro (Announcement) You gotta pay. 09:33 - Anne (Host) Your insurance, gotta pay the water bill, gotta pay the internet, oh my gosh internet. 09:37 - Intro (Announcement) Utilities yes, Gotta pay electricity. 09:39 - Anne (Host) Otherwise I'm not gonna have all of that to be able to run my business at home. And you law have a brick and mortar as well, so there's all of that which is considered fixed for you as well. 09:50 - Lau (Co-host) Yes, it is, and that's not to say it can't shift and change. So if I decide to move to a different place, then the costs would shift and change, but they're always there. In other words, they don't really leave, unless the caveat is I'm 22, I'm trying to save money. I move in with my parents. They're gonna pay a lot of those bills for me for a year. I don't have to worry about that. They're gonna let me save money. Okay, that's your caveat. But other than that, when you're in the world, those are now part of our business, because if we don't take care of those, we literally can't run the business. 10:22 - Anne (Host) And, believe it or not, on a very small scale. Right, I have physical inventory because I sell a vocal throat care line and a vocal spray along with my vocal essentials, right? So there's inventory. I need to purchase inventory so that I can create those sprays, also to run that business. 10:41 - Lau (Co-host) And we would have merchandise Exactly that we may wanna take to a conference or we may wanna do a swag bag giveaway at a networking meeting or whatever. That's the inventory you speak of. That is really variable, it's not really fixed, it's still a variable cost. But for us it's important that we continue to do that to promote the business. 10:59 - Anne (Host) Absolutely absolutely. 11:00 - Lau (Co-host) Right, I love this conversation. This is so good. So what happens? I get in trouble. I find that I'm not doing as much voiceover work this month as I see happen Quite often times. People come in, they start crying, they're upset, they're like I might have to get another job. I might have to pull back on my spending. Where do we go first to pull back on that spending? We go to the variables. 11:24 - Anne (Host) Yep, great question. Yeah, absolutely, the variables. I mean, what can I do to save money, number one, or cut down on costs? And again, as your business evolves and as things evolve, everything, that's really important that we take a look at that, gosh, at least I mean I look at that every month, if not more than that. And I know that, especially when things are lean right, you've got more time right. If you've got more time, you've got more time to. Let's take a look at our marketing. Let's take a look at our investments. What are we spending right and what can we cut back on? 11:59 And I know, for me, some of mine was subscriptions that were no longer serving me, right, I was like, okay, well, I guess I don't need that. And then I've got things like I have a Peloton subscription. Am I using it? Because that's a certain amount of money? Am I watching the Discovery channel? Can I cut back on that? Those subscriptions? And in reality, by the way, my cable, and well, I guess, do you call it cable, my streaming, my streaming subscriptions are part of my business because I am researching the market, right, and I'm listening to commercials, I'm seeing what's out there, I'm educating myself on trending sound, trending voices, educating myself as a coach for my students right. So that is considered a business expense. 12:45 - Lau (Co-host) I would add a personalized list to this. So you have your fixed cost, you have your variable, but then you have your very personal expenses. That could be one or the other but if I'm hurting for money and I gotta go skinny one month, I'm gonna go to that personalized list. 13:01 So a very simple example of that is I'll always ask a client. I'll say listen, what are you doing this weekend? What did you do last weekend? Oh, I went to the movies cool. What did you spend on that? Oh, that was 15 bucks great. Did you get any food or drink there? I did. I think that was about 30 bucks great. Did you go out to dinner Super. I think I spent 25 bucks on fast food great. Did you spend on gasoline? Yeah, I think I spent five or six bucks. Add that up. That is the money that can go into your investment piece when you really need the coaching session. 13:32 - Anne (Host) You really need that event. You really need that. Can I skip the Starbucks? I remember that's the biggest thing. Can I skip the Starbucks? I'm gonna skip the Starbucks. 13:38 - Lau (Co-host) And I have to say, annie, I'm…

    Full show notes at the publisher

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