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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:
    Casting Trends Nov 07, 2023
    Show notes

    Gain a fresh perspective on the evolving casting landscape. Whether you're a newbie or an industry veteran, this episode will equip you with knowledge on how to market yourself to a specific niche. The Bosses cover the importance of understanding the language and mindset of your clients. Don't miss this enlightening chat where Anne and Lau share the emerging trends in casting, especially the push for diversity and authenticity. They emphasize the importance of staying true to your individuality, advising actors to embrace their unique accents and regional characteristics, as more companies are seeking authentic representations. Transcript: Anne Ganguzza: Hey everyone, welcome to the VioBoss Podcast. I'm your host, Anne Ganguzza, and I'm here with the lovely and most wonderful Lau Lapides. Hello, welcome to our Business Superpowers series. Lau Lapides: Mmm, so excited Anne Ganguzza: Woohoo. Lau Lapides: to be here as always. Anne Ganguzza: And you know, we always need to really up our business superpowers, don't we, Law? Lau Lapides: We do, Anne Ganguzza: Mm-hmm. Lau Lapides: always, every day. Anne Ganguzza: And I think probably one of the most common things, questions that I get asked as a coach, and also you must as well as an agent and casting directors, what are the current trends in casting? And so how can I better prepare myself to evolve my business to keep up with the trends in casting? So I thought it would be a great opportunity to talk, especially with you, who casts on a day-to-day basis. What are you seeing in terms of casting trends these days, Law? Lau Lapides: Mm, trendy trendy, yes. Well, what's been going on for quite a while is diversity casting. Like Anne Ganguzza: Mm-hmm, Lau Lapides: we're Anne Ganguzza: mm-hmm. Lau Lapides: always in need of more diversity, more representatives, both accent-wise, language-wise, Anne Ganguzza: Mm-hmm. Lau Lapides: delivery-wise, culturally. ethnically, I mean, this is all in the mix right now and kind of at the front of the line, Anne Ganguzza: Yeah, Lau Lapides: which is exciting Anne Ganguzza: yeah. Lau Lapides: to see such an international mix of Indigenous peoples that are really representing their country, their region, their, you know, their profile, so to speak. So we're always looking to certainly up our roster, up our game in our roster, finding authentic talent from all over the world, even just Spanish talent. Anne Ganguzza: Mm-hmm. Lau Lapides: I'm totally in need of authentic Spanish talent of many dialects. Accent-free is fantastic, but then if you're not accent-free, dialects are wonderful if we know specifically where you're placed, because we really have to go with the real deal. Anne Ganguzza: Sure. Lau Lapides: It can't be an actor who's just really great at sound or accents. It really has to be the real person representing. Anne Ganguzza: Well, I'll tell you what I love about it is... not just diversity, but authenticity. I think authenticity all the way around, which has been a trend just coming through the years, and especially now, people are just looking for other people to be authentic. And Lau Lapides: Yeah. Anne Ganguzza: so when it comes to my students who originally used to be there, they're like, can you please take away my accent? Or I wanna be good at narration, so should I have this neutral accent? And I'm like, look, as long as I can understand you, number one, important. I mean you don't want to have necessarily you know maybe a speech impediment that would inhibit me from understanding what you're saying. However when it comes to accents I don't think it's as critical as it used to be. It used to be that thing that you had to have absolutely neutral accent whatever that might be these days. But I'm having people in you know embrace their authenticity and if their authenticity is regional right and they have an that would really, you know, work with that. And, you know, I think we've always tried to do that, but even more so now, I feel encouraged to tell my students, don't worry about that. We really just want you to be, I want you to bring you to the party first. That is the most important objective that I have as an educator and as a coach to get you to be authentic. And that really is what I think casting trends today are all about. Lau Lapides: Mm-hmm. If you can be the best version of you and really Anne Ganguzza: Yeah. Lau Lapides: bring that to the table authentically, that's what we're looking for. Anne Ganguzza: Yeah. Lau Lapides: If you can also neutralize it a bit, you know, round it out a bit, Anne Ganguzza: Mm-hmm, Lau Lapides: that's great too. It just gives Anne Ganguzza: mm-hmm. Lau Lapides: you more options. But Anne Ganguzza: Yeah. Lau Lapides: I fear for clients that come in, or I should say talent that comes in, especially at a certain stage, you know, once you hit Like even 30 or 35 or 40, it's very, very difficult to authentically change your Anne Ganguzza: Mm-hmm. Lau Lapides: dialect or shift your accent. It just is. It's not impossible, but it would take a lot of work with a dialectician to do something Anne Ganguzza: Mm-hmm. Lau Lapides: like that. And I don't think it's necessary. I don't Anne Ganguzza: Yeah, Lau Lapides: think it should Anne Ganguzza: yeah. Lau Lapides: be an objective for you. It really Anne Ganguzza: Oh, Lau Lapides: should Anne Ganguzza: gosh, Lau Lapides: be Anne Ganguzza: it, Lau Lapides: like your vocabulary. Anne Ganguzza: yeah. Lau Lapides: What is it, Anne Ganguzza: I mean, Lau Lapides: right? Anne Ganguzza: work with a dialect coach if you want to Lau Lapides: Yeah. Anne Ganguzza: maybe consider other dialects for characters, maybe. Lau Lapides: Yes. Anne Ganguzza: But I don't think it's to remove your dialect these days unless, of course, you have a very heavy regional accent, in which case, if you would like to maybe try to lessen that a little bit, I don't think it's necessary to remove it at all, actually. So many companies embracing that authenticity. And now, of course, in the casting specs, they're looking for talent who are authentically from particular areas and regions. And now, if you kind of had that fake accent or that generic accent, that I don't think is needed as much anymore. Is there such a thing? What was it the other day I was on a panel? What is it with the authentic, Midlantic accent, I think. Lau Lapides: Oh, right, Anne Ganguzza: Is that even Lau Lapides: right. Anne Ganguzza: a thing anymore? Lau Lapides: I don't know, Anne Ganguzza: I think Lau Lapides: I Anne Ganguzza: really Lau Lapides: mean. Anne Ganguzza: it's just, they want to have some sort of a, maybe of a dialect where you can't really tell where you're from. I'm not sure. So Lau Lapides: Mm-hmm. Anne Ganguzza: guys, embrace your authenticity. I think that's so important. And first of all, that's a tall order law Lau Lapides: Mm-hmm. Anne Ganguzza: to embrace your authenticity. Lau Lapides: Yes. Anne Ganguzza: That I think as actors is really one of the hardest things that we have to do many times I encounter talent who want to sound a particular way or they Lau Lapides: Mm-hmm. Anne Ganguzza: feel it should sound a particular way and again bringing their authentic selves to the copy is so very difficult. They're either able to you know do that if the copy is written maybe in a dialogue format but when it's not it's very difficult to do that and also I find that a lot of character actors law like Lau Lapides: Mmm. Anne Ganguzza: their characters seem authentic, but yet when you ask them to bring themselves to the table, that becomes an immense challenge. Lau Lapides: Huge, huge challenge. Anne Ganguzza: Yeah. Lau Lapides: I would say too, in regards to the Superpower show that we're Anne Ganguzza: Mm-hmm. Lau Lapides: working on right now, like one of your superpowers is being a really great business person. Anne Ganguzza: Yeah. Lau Lapides: So a trend I've seen over the last few years is, how qualified are you as a business partner? in terms of your correspondence, in terms of your timing? Are you timely about your responses? We're casting something really big right now with a client and one of our talent, not her fault at all. But our records were just, they either weren't updated or whatever Anne Ganguzza: Mm. Lau Lapides: the case may be. The email never reached her in regards to availability. And so I called her on the phone, I reached her. She said, that's actually not even my email. That's person lets me know when they get my emails. There's something in the system Anne Ganguzza: Mmm. Lau Lapides: that defaults. So my point is, like, are you on top of your records, your Anne Ganguzza: Yeah. Lau Lapides: emails, Anne Ganguzza: Oh. Lau Lapides: your back? Are you flagging your people Anne Ganguzza: I would be Lau Lapides: that you're reaching out Anne Ganguzza: kicking Lau Lapides: to? Anne Ganguzza: myself if that were the case. You know what I mean? If there's one thing that you can prevent, right? In terms of what can you do to help get yourself cast more. Lau Lapides: Right. Anne Ganguzza: It would be making sure your agents and all your, you know, rosters have the most current relevant information and demos as well. Lau Lapides: Mm-hmm. Anne Ganguzza: Yeah, and demos as well. Lau Lapides: And making sure it's easily accessible. You expedite really well and really quickly. And, like, being on top of those trends. Like, when we went to a recent conference, you and I, I found that less and less people were giving out actual physical business cards, even though I still Anne Ganguzza: Mm-hmm. Lau Lapides: love them. I'm old school that way. I like to hold something in my hand. They were doing QR codes. They were Anne Ganguzza: Mm-hmm. Lau Lapides: on their phone going, you know, take it right off my phone onto your phone, boom, it was fun, it was done, it was quick, I got it. My point is, do the physical business cards if that's what you love and do, but know what the trend is for the online business card Anne Ganguzza: Mm-hmm. Lau Lapides: because that shows you've got your finger on the pulse of technology Anne Ganguzza: Yeah. Lau Lapides: and what's going on in our industry. Anne Ganguzza: Yeah, and I think casting trends in terms of, yeah, making yourself available, understanding what your agent expects from you communication wise, I think, is very, very important. And also, I'm going to go back to the sound slash demographic. One thing that I want to make people aware of is a lot of times demographics and casting is based on, and trends in companies selling products to a specific demographic. So there are a lot of companies that may have an older audience, or there might be companies that cater to moms, or products that are catering towards young people. I think there's a lot, a lot of times we see the trend going back towards millennial young, because there's so many companies that are just trying to expand their market. So understand guys, I think sometimes we don't think about it. think about casting in terms of, oh, did I, was I making it sound correct, right? Was I the right sound for them? But sometimes you're not the right demographic, right, for the product. And so just remember that if, you know, the next time you get really disappointed that you didn't land that big gig and think that you didn't perform to your ability, a lot of times it's because it's a demographic, a sales demographic, right? It Lau Lapides: Mm-hmm. Anne Ganguzza: wants to cater to a particular age group. And Lau Lapides: Mm-hmm. Anne Ganguzza: that would be another thing, La I wanna talk to you about. In terms of casting age groups, I see a lot younger, but also middle-aged. What about older? What about the older demographic? Lau Lapides: We're Anne Ganguzza: That's Lau Lapides: getting Anne Ganguzza: always, Lau Lapides: more. We're Anne Ganguzza: okay, Lau Lapides: getting more Anne Ganguzza: okay. Lau Lapides: and more of that. I mean, probably, Annie, now more than ever, we've had the more Anne Ganguzza: Mmm. Lau Lapides: mature demographics. So the senior in the industry is known as like 50 to like 65. Anne Ganguzza: Mm-hmm. Lau Lapides: 50 to 64 would be a young senior, and then a more mature senior would be the 65 and up. Anne Ganguzza: Okay. Lau Lapides: So we're seeing more of 50 and up for sure, whether Anne Ganguzza: That's Lau Lapides: it's Anne Ganguzza: good. Do you Lau Lapides: health Anne Ganguzza: know what Lau Lapides: or travel. Anne Ganguzza: type, yeah, I was gonna say health, Lau Lapides: Yeah, health, Anne Ganguzza: travel. Lau Lapides: travel, Anne Ganguzza: Mm-hmm, mm-hmm. Lau Lapides: finance, you know, even software is seeing more and more of that coming through. Anne Ganguzza: Okay. Lau Lapides: So Anne Ganguzza: That's actually Lau Lapides: I think there's Anne Ganguzza: really Lau Lapides: a Anne Ganguzza: good. Lau Lapides: lot to look forward to. Anne Ganguzza: Yeah, that's really good because I know for a while there, it's tough sometimes, you know, because what products do we have that cater towards, you know, that 55 and up age group? You really have to start thinking about it. And I would always encourage bosses, you know, I do a lot of work in corporate, I do a lot of coaching in corporate and just researching companies in general, researching what products are out there. for what Lau Lapides: Yeah. Anne Ganguzza: age groups and as a matter of fact, I'll always have my students, they fill out one of their very first forms and in the vocal branding form is, let's talk about brands you're familiar with for babies. What are brands you're familiar with for teenagers? What brands are you familiar with for middle aged, for seniors? And really try to come up with the brands that you hear being talked about today for these different groups. And understand, just understand that there is a sound in a demographic for each group, and it's all based on sales. So the next time you don't get that big gig, it could just be for the, and we discussed this during our audition demolition, multiple times, Law, that the person might've nailed the performance, but they just didn't have the right demographic. Lau Lapides: Yes, yes, Anne Ganguzza: Mm. Lau Lapides: actually, that is so much of casting, whether Anne Ganguzza: Mm-hmm. Lau Lapides: you're just, you know, you're a voiceover on camera or both. So much of it is based off of things that, you know, you just is out of your hands. It's out of Anne Ganguzza: Mm hmm. Lau Lapides: your hands. So Anne Ganguzza: Yeah, Lau Lapides: you Anne Ganguzza: yeah. Lau Lapides: have to understand that the profile of who you are, your bio, your background, your is sometimes we can't do much about that. We are Anne Ganguzza: Yeah. Lau Lapides: who we are. And that's why accepting who you are. being the best version of that is Anne Ganguzza: Mm-hmm. Lau Lapides: really, really important. Anne Ganguzza: Oh, yes. Lau Lapides: You Anne Ganguzza: Yeah Lau Lapides: know, and finding Anne Ganguzza: Amen. Lau Lapides: what is your strongest Anne Ganguzza: Mm-hmm. Lau Lapides: suit? Like, what Anne Ganguzza: Yeah Lau Lapides: is your strongest, most competitive value proposition? And really putting that at the forefront Anne Ganguzza: Mm-hmm, Lau Lapides: so that Anne Ganguzza: agreed. Lau Lapides: you're spending a lot more of your energy in that direction than Anne Ganguzza: Yeah. Lau Lapides: in 10 different directions, Anne Ganguzza: Yeah, Lau Lapides: right? N…

    Full show notes at the publisher

    Mythbusters Part 1 Oct 31, 2023
    Show notes

    Ready to lift the veil on the VoiceOver industry and its many facets? My guest co-host, Tom Deere, and I are here to give you the insider's scoop on the role of agents, pay to plays, and emerging technology in the field. We spill the beans on how agents earn their crust, the types of work where they might prove beneficial, and why they're not a must-have for a successful voice-acting career. We also venture into the territory of synthetic voices and the effect they have on non-broadcast contracts, while underscoring the importance of time limits on contracts for one-off jobs. Plug in and join us on this enlightening journey that will offer you a new perspective on the VoiceOver industry. About Tom Tom Dheere is the VO Strategist, a voiceover business & marketing consultant. As a voice actor with over 25 years of experience, he brings his wealth of voiceover knowledge to the table with his 1-one-1 voiceover strategy sessions, Diagnostic sessions, his Mentorship Program, and many public appearances. 0:00:01 - Anne Alright, everyone, welcome to the VO Boss podcast. I'm your host, Anne Ganguzza, and this is the real boss series. I'm happy to welcome back to the show real boss guest co-host Tom Deere. Tom, thanks so much for joining me. 0:00:16 - Tom Hello, thanks for having me back. 0:00:20 - Anne I love having real talk. I think there's so many things in this industry that sell the dream of being a Vio artist, being a Vio actor making money just talking behind your microphone, all of those things. I like to think that Tom and I have been in the industry for so long that, god, we've seen it all. We're just going to be real with you guys, because I think that everyone deserves the real talk, the real story behind VoiceOver. I'm going to tell you that I had a student this week who came to me, a beginner, and who was asking me all about agents. They were under the impression that they needed an agent in order to get the work and that the agent would be the one that got all the work for them. All they had to do was perform behind the mic. Perhaps we should talk about some myths and truths about what this industry is really about. We'll start with agents. 0:01:25 - Tom Tom Sure. One of the biggest challenges for voice actors coming into the industry aspiring voice actors is that most of them feel that they immediately need to relieve themselves for the responsibility of actually doing the work to get the work. 0:01:41 - Anne This leads right into that. 0:01:44 - Tom That's exactly the mindset that your student that you just referred to has. It's like the second I get into the industry, I got to find someone who will do all the work for me, because that's how it works. A huge myth is that you need an agent to be a successful voice actor. 0:02:00 - Anne I'll be honest, tom. When I first started I didn't know. Again, we talk about this all the time. I didn't know what I didn't know. Here we are bosses For those of you just starting out. You don't need an agent, Tom. We're going to expand on that. I used to think that I would get an agent and then that would give me all of my work. I erroneously thought that. Then, once I realized very quickly that that wasn't the case, I proceeded to work for four years before I got my full time, before I got my first agent. 0:02:32 - Tom I don't remember how long it took. I know my longest standing representative I got in 2005. It's been 18 years that I've worked with that particular manager. Everyone before that was either ripping me. Everyone I had that rep me before that was selling me stuff or wouldn't pay me on time. It was just a big mess. 0:02:54 - Anne That was a different time. Tom right, yes, With agents and agents that we didn't really know who they were and there were people that did take advantage. I don't know if that exists so much anymore, but that might be a different podcast. 0:03:09 - Tom Tom One of my students just said this week that there's a particular agent that they have that keeps bothering about. Oh, you need new headshots. You got to come to me to get headshots, but you have to pay me. I know a guy you want to stay on my roster. 0:03:20 - Anne You got to work with him. I know a guy. I know a guy. I know where he's from. 0:03:23 - Tom I think it still happens just a lot less than it used to, mostly because of educational reasons. Most people now know what it means to be a franchised agent, which is one that is certified, approved by SAG-AFTRA. That's one of them. But yeah, you don't necessarily and the operative term is necessarily need an agent to be a successful voice actor, because you, as a voice actor, need to define what success is for you as a voice actor and that will tell you if you need an agent. So, like, if you want to you know you want to narrate audiobooks you don't need an agent. You want to be in fallout halo cartoon network pilot. Yeah, you probably need an agent. 0:04:03 - Anne You want to do a national spot commercial? Probably, although I would say local spots maybe not so much anywhere but national spots, national spots probably you're going to need an agent, and I think the one thing is to be educated on, first of all, what an agent does and truly you know what is in the best interest of an agent. Right, agents are a business as well, right they're? I mean, they want to make money just as much as we want to make money. So how are they going to make money? They're going to develop relationships with clients who will then hire them to cast or help cast right for voiceover jobs, and typically they will be spots that will be paid with usage intact, and so there's an opportunity to make a percentage of money each and every time that voice gets used. And that's why agents will deal in a lot in commercial or anything that's broadcast, and anything that's non-broadcast typically does not require an agent. So, again, as you, as Tom, as you mentioned e-learning, corporate, anything that's one and done. But I'm going to just kind of put this out here, tom, with the advent of synthetic voices and I know we had a wonderful podcast episode about that not so long ago, and actually we're going to be at evocation talking about. Yes, we're going to be on the same panel talking about that, yeah yeah, I think that we have to start thinking about maybe changing that non-broadcast in perpetuity clause. I mean, I know that for me, with the coming up of synthetic voices, I have been really wanting to put like a time limit on all my non-broadcast stuff. Just at the end of my little contract or my email I'll say this is for a year and most people if I'm doing a one-off they're not going to need it or the content will expire after a year and so that's okay. So I actually put a time limit on it. So I kind of give it usage, but not necessarily broadcast usage which every year. Well, of course, it would be great. You're going to pay me again in a year. I'm going to do another content module for you. But yeah, I diverge off of that. So for agents, you don't necessarily need an agent, but I do get corporate work from my agents. 0:06:20 - Tom Literally. Yesterday I narrated two explainer videos for a company through one of my agents and so, yeah, once in a while it'll be an explainer or corporate thing. But yeah, the majority of the stuff that I get through my agents and managers is political, which is broadcast. And I get a lot of pharma commercials but like spec demo stuff which doesn't necessarily turn into broadcast. And if they do choose my voice and it does turn into broadcast, then I get paid for the usage beyond just the internal usage of the project. So, yes, agents, do you know who is it said that agents are like baseball cards they're fun to collect, but only a couple are valuable. 0:07:06 - Anne I love that. That's actually. I think that's really true. Yeah, somebody in our business and somebody in our industry said that that's very interesting because I at one point acquired I have 11, but in reality pandemics come and go and markets shift and change, and so there are a number of agents who are not. I have a couple of agents that I think I really stick with because they know me, they know my voice, they give me opportunities that are catered to my voice and it's not necessarily a cattle call and I'm not belittling any agent that does that, because agents are busy. I mean, if they've got work, they wanna make it available to their roster, and I think that that's a wonderful thing. But just you don't have to have a ton of agents either. I mean really just work with the ones that you have a great relationship with, and that becomes fruitful for both of you. 0:07:58 - Tom Yeah, and it is a synergistic relationship. And here's another myth when it comes to agents is that most voice actors think that they work for their agents. That is not true. 0:08:12 - Anne You work with your agents. 0:08:14 - Tom It's a complimentary, synergistic B2B relationship, because they can't make money without you and you can make money without them, if you think about it, because you can use other ways of booking voiceover work, which we'll talk about down the road. But yes, but just remember, it's an equal relationship and you need to vet your agent and ask them the right questions to see if they're a good fit for you, if you have determined that they're right for you, at this current point in your voiceover journey and for the vast majority of voice actors who are starting out, you do not need an agent. You don't. You also don't have value, yet you don't have the value delivery that an agent would want you for for the most part. 0:09:00 - Anne For the most part, they're looking for you know you've already done some work, so typically they're looking for some experience in the field and a recommendation, typically All right. Let's talk. Another myth. All right and it's another big one that always causes a lot of controversy. Pay to plays right, pay to plays okay. Do you need pay to plays? Do you not need pay to plays? If you use pay to plays, you're a loser because you're bringing down the value of the industry. There's just so many things, and especially certain pay to plays. Right, oh, if you use this pay to play, you're evil or you're working for the enemy or whatever it is. I think that there are good pay to play online casting sites, and there are online casting sites that maybe I wouldn't want to align myself with. 0:09:45 - Tom But that's a personal preference. 0:09:47 - Anne It is a decision I make for my business. But yeah, I think myths about pay to plays is, if you are on them, you are a bottom feeder. Tom what are your thoughts? 0:09:57 - Tom Here's the thing about that, ann, is that every sector of every industry, of every business on the planet has a percentage of people who are sketchy, shady bottom feeders. 0:10:11 - Anne Every single industry. 0:10:12 - Tom So true, the voiceover industry is no exception. There are a percentage of people, because there are humans doing this. A percentage of them will be predatory. That will try to get you to do voiceovers for as little money as possible and clone your voice or turn it into a commercial. You know, do stuff. 0:10:30 - Anne Speaking of which, if I can just interject, that's the whole discussion about AI as well. You will have bad actors. You will have evil companies that will try to steal your voice. The same thing, right A? 0:10:42 - Tom percentage of them AI, pay to play or anyone else will try to take advantage of you, and there are a percentage of voice actors, regardless of how they're booking their voiceover work, will be unscrupulous, because there are a percentage of voice actors who try to go behind the back of their agent and work directly with the producer. There's a percentage, and just like there's a percentage of them, who are on certain pay to play sites whose guideline says you need to maintain the relationship with the client on site, for reasons that I totally understand. I understand and they will try to undermine that. So pay to plays does not make people unscrupulous Unscrupulous people go to pay to play sites. They have agents. They do all sorts of stuff. So I do not buy that argument. It's also pay to plays is just reflection of technology and the economy of supply and demand. 0:11:35 - Anne Oh, thank you. Thank you, tom, for saying that. I mean really it's, and you know I worked in technology, so I mean just having been in that industry for gosh, you know, over 20 years. It just it happens, guys. Technology happens. We're not stopping it. We can fight it, we can put our head in the sand, we can kick and scream and yell and cry and do all these things, but gosh, it's not going away and ultimately we need to evolve. And, gosh, I will just say this until the cows come home and, tom, you say the same thing. We just need to evolve with it and the market will evolve with it. Ultimately it doesn't happen. I just caution. I tell the story. When I, in the early, well, late, 1990s, I installed voice over IP phone systems and it was early adopted technology and the calls would drop. There would be horrible sound, it would sound echoey, and everybody said this technology sucks, it's never gonna last. Well, guess what? Everyone? We use it today and we don't even realize that we use it. So give yourself, I say for any large disruptor of technology, right, which happens for all of us. Like home studios were a disruptor of technology. Digital music, mp3s were a disruptor of technology. Synthetic voices there, a disruptor of technology. I say it's got a lifespan of. You know, not a lifespan, but let it evolve a good 10 to 15 years, because that's what I saw from voice over IP, and then it's going to be seamlessly integrated somewhere in some way. That will become the norm. And that is something that if we do not accept that right, the norm, then we certainly it's gonna be hard for us to be in business. 0:13:08 - Tom Yeah, pay to plays are now. What was once disruptive 15 years ago is now part of the norm, and I know this because my direct marketing and indirect marketing strategies became, over the few, over span of a few years, far less effective. My cold calls. My emails, my blogging, my newsletters, my social media, all of it just took a nosedive and effectiveness because those clients that I was courting or working with via direct and indirect marketing strategies went to pay to play sites. 0:13:40 - Anne And why? Because it was easy for them. 0:13:42 - Tom Easier, faster. 0:13:44 - Anne Convenient and fast, and isn't that the whole idea behind the technology? So reality bosses right. Reality bosses, is technology right and again myth or you know, we're going to bust the myth. Another myth that I'm going to say that goes along with this is that technology is a disruptor and we can fight it and we can stand up together and we can stop. What we can do is we can maybe stop unfair usage through technology of our voices, but we're not going to stop the technology itself? 0:14:17 - Tom No, no. 0:14:18 - Anne Technology is designed to make lives easier, exactly and convenient and human nature is to do those things right. Yes, that will be easier. Right, I'm. And again, I say it all the time I use Alexa, I talk to Alexa. All the time I use new softwares on my computer that are faster, easier. You know new apps that I download. Oh my God, this is going to be great. I can do this now. I can now re…

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    VO and Comedy with Tom Sawyer Oct 24, 2023
    Show notes

    The stage is set, the mic is on, and the cue is yours. In this episode, stand-up comic and voice actor Tom Sawyer shares his golden nuggets for aspiring voice talents hoping to benefit from the power of comedy. From the importance of having fun in the booth to taking a well-deserved break, and the power of belief in oneself, Tom is a reservoir of invaluable insights. We talk about standing out in a sea of talents, catching the ears of the right casting person, and the art of continuous learning. But remember, feedback is the breakfast of champions, and as Tom says, it's all about enhancing your performance. Get ready, it's showtime! About Tom Tom Sawyer ran lengendary San Francisco comedy club, Cobb's for over 30 years. After stepping away from the comedy business, Tom was encouraged to explore voice acting by after famed comedian and voice actor Carlos Alazraqui (Rocco's Modern World, the Taco Bell Chihuahua) who knew Tom was an excellent celebrity impersonator. Tom signed with JE Talent in San Francisco and Aperture Talent in Los Angeles in 2017, and the rest is history. https://kitcaster.com/tom-sawyer/ 0:00:01 - Announcer 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, Ann Gangusa. 0:00:20 - Anne Hey everyone, welcome to the V-O Boss podcast. I'm your host, Anne Ganguzza and today I am super excited to be here with very special guest actor, comedian, entrepreneur oh my God, the list goes on Tom Sawyer. Tom ran the legendary San Francisco Comedy Club Cubs for over 30 years booking legendary greats, and this list just goes on and on, but I'll give you just a few of them Jerry Seinfeld, dana Carvey, Bob Saget, Jim Carrey, Rita Rudner, Joe Rogan, Sarah Silverman and the list just goes on. He stayed on as a booker until 2012 and then ultimately stepped away from the comedy business. After that, he was encouraged to explore voice acting by famed comedian and voice actor Carlos Ellsrocki, a good friend of his. He signed on with JE Talent in San Francisco and Aperture Talent in LA in 2017, and the rest, they say, is history. But boy, we've got a lot of history I'd like to talk to you about, tom. Thank you so much for joining us and welcome. Thank you for having me. Oh, it's my pleasure. So, gosh, there's so many things I want to start with. I mean the first tell. You have such a large history of comedy, so, of course, I'm sure a very common question you get asked is were you a funny kid, or have you always loved comedy? What is it that drew you to comedy? 0:01:44 - Tom Well, yeah, I was the kid in the back of the class making all the other kids laugh, so that was where I started and I always did impressions. So when I was a kid I was doing Don Adams from Get Smart and Ed Sullivan and Richard Nixon and you know, it's probably a little weird seeing an eight-year-old doing Richard Nixon but that's what I was doing. When I was very young I realized I could do voices and never stopped and that's what kind of led me to voiceover when I got out of the comedy club business. 0:02:15 - Anne But boy, there was a long history of being in the comedy business. I label you as entrepreneur 20 times over because I think just following that passion of yours and then ultimately opening up a club that literally was just famed and just housing some of the comedy greats. Tell me a little bit about that history. I mean, that is just so, so fun and impressive. 0:02:36 - Tom Yeah, actually, I went to San Francisco to become a stand-up comic and there were all these clubs, the Punchline and the Holy City Zoo and the other cafe. They were very packed all the time and getting stage time there was next to impossible. Or you'd get on at one o'clock in the morning in front of a very tired, very small, very drunk audience. And then there was this little. 0:02:55 - Anne Sometimes that helps, I'm not sure Mostly doesn't, oh okay. 0:03:00 - Tom But there was this little club in the Marina District in San Francisco called Cobb's Pub and they were trying to do comedy there and there was no audience, but there was stage time. You could get on stage there. In fact, sometimes you couldn't get off stage because there was no one there to take over, so you had to stretch, stretch and that was terrifying sometimes. Especially if you're the third or fourth comic going, hey, where are you from? And the audience goes we all know where we're from, so stop asking. 0:03:29 - Anne That's so funny. I just wanted to say that a lot of my actor friends I feel like being on that comedy stage is like a rite of passage almost, and it's probably I would think one of the toughest things to do is to stand on stage like that and try to make people laugh. I mean, that's just to me it's comedy without a net. Yeah, exactly. 0:03:48 - Tom And the thing is it's like you're stuck there, literally. You have an allotted time that you have to perform and they give you 10 minutes. You have to do 10 minutes, doesn't matter if it's horrible right from the word jump, you're on stage for those 10 minutes. That's the time you have to do and that's one of the things you learn right away is like if you get on stage early. you're not going to get back on stage. So you have to go through the rite of passage of bombing, and I've seen comics bomb from Paula Poundstone, kevin Meany, kevin Nealon, the list goes on and on. Every comic has bombed. But even later on you get in front of an audience that just doesn't dig you. 0:04:27 - Anne And again, nowhere to go. You can't run off the stage. 0:04:31 - Tom You're mean, I get that. 0:04:38 - Anne And it's funny because I literally I just went to a comedy club a couple of weeks ago and I was thinking about that, like what do you do? I mean, they are there until the next comedian is called on stage. And it feels interesting as being a part of the audience, because a lot of times I think, as the audience, you are part of maybe not part of the act, but it's very interactive, it's very back and forth and engaging because, of course, you're trying to make us laugh. 0:05:02 - Tom Yeah, you have to communicate to the audience without really engaging the audience, because you're the boss on stage, you're kind of like the crowd master and you're crowd control and entertainment at the same time. And because comedy, some people feel like, oh, I'm going to be as funny as the comic. 0:05:22 - Anne And that's when things get really sideways. 0:05:24 - Tom You're there to be entertained. Sit back, relax and leave the talking or the driving to the person with the microphone. So you got some stage time on Cobbs and and then I realized that I just kept seeing these shows that weren't very good. The guy who was booking the club at the time wasn't doing a great job, and I was a big fan of stand up as well. So I started thinking about what I would do instead, and then I started telling the owner at the time first owner of Cobbs. I was telling him you know, here's what I would do differently, and then I could tell him at the beginning of the show how the show was going to fail. And then he was started realizing that everything I was saying was happening and he went what do I get to lose? We're doing horrible business. And so he gave me the job of booking and from there I started getting the people I really, really like to perform and it started going great and we went from being like about 20% capacity to 90% capacity in about a year. 0:06:23 - Anne So let me ask you a question that, to me, is very interesting how do you get, at the time, the talents that you booked? I mean, they were big names. Were they big names then? And how did you get them to book? I mean, that's a skill, right? It's something that we do in our businesses every day, right? We've got to try to get clients to like us and to work with us. So how did you do that? Did you have a secret? 0:06:42 - Tom Yeah, my secret was I paid really well. 0:06:45 - Anne Okay, okay, that's a good piece. 0:06:48 - Tom My biggest competition, which was twice the size of our club. We were out paying that Because we decided that the most important thing was getting butts in the chairs and the only way to do that was having acts that actually brought an audience. So the only way to do that was to offer these guys more of an opportunity to make more money. So we would give them a percentage of the door and say, hey, the more people come to see you, the more you're gonna make. And because of that we had people that would call up and go, hey, I'm gonna be on the Tonight Show in six weeks with Johnny Carson, do you have anything open? And I would move stuff around and get them in there and then I would get a Tonight Show plug or a Letterman plug or Arsenio Hall. At the time and that was kind of my thing was I'm gonna pay everybody. Really well, so everybody could. Percentage of the door. In the early days before all the big agencies came in, sure, and remember this was at a time where there were just like a couple agencies doing personal appearances for comedians. Comedians were pretty much on their own. They were doing their business themselves. So if I wanted Bob Sagan, I'd call Bob Sagan, so I get his number from another comic and everybody was kind of looking for each other and I would bring one comic in. They'd go, hey, you should book these guys. And I go, okay, great, and call them up. And they'd go, right, when can you give them me a date? And I'd give them a date. Plus, we flew people up and we put them up in the hotels. So we didn't personally make a ton of money. That wasn't my thing. My thing was having the best shows I could possibly have and making a name right. And making a name for the club? 0:08:24 - Anne Absolutely, and that's interesting because, again, I like to talk about the entrepreneurial business side of what we do as creatives and freelancers, and there's a lot of thinking outside the box and also recognizing the value of the talent, that if you wanna put out great work, then you wanna hire a talent that's amazing and great and pay them fairly and absolutely. And so talk to me a little bit about the networking aspect. I mean, the cash is a good draw, but you also had to communicate effectively, I would say, to really book these talent. 0:08:58 - Tom Well, the thing that separated me from everybody else, besides being generous with the money that was brought in, was that I knew what they were going through, no matter what it was going on on stage. If they were dealing with a heckler, I'd gone through that as a comedian. If they were bombing, I knew that pain, so I could empathize with them, I could be their counselor, I could give them advice. I looked at it like I wasn't really a good comedian, and mainly that was because I wasn't true to who I am personally. So my mantra after that was be yourself. 0:09:32 - Anne I love that. 0:09:33 - Tom Yeah, that's who I wasn't. I was trying to fit in and have everybody like me and that really affected the quality of my stand up because I wasn't being true to me. So that was my mantra to everybody be yourself. Because nobody can take that away from you. 0:09:49 - Anne That's so interesting because I never ventured into comedy myself. However, I find that people find me the most funny when I am being my dorky self and I'm making mistakes and I'm just being oops, sorry, and I think in voiceover as well. I wanna talk more about that. I think it's all about being authentic and being yourself and that's really, I think, what connects you to people and engages you to people and endears you to people. 0:10:14 - Tom Yeah, I think it's really important when you get a job, and especially if it's somebody you want to get more bookings from play around, have fun. I mean, I booked a video game and the first thing we did we went through several of the lines I had to do and then we went through all those and I just did just the lines, basically no acting or anything like that and they went. Yep, that's about it. I went great, thank you. 0:10:33 - Anne Love it, love it, bye, bye. 0:10:35 - Tom So everybody started laughing. It loosens everybody up and that's really it's just. Don't be a pain on the ass. Realize that you're always learning. They're always learning. Everybody's a professional too, and so be courteous and nice and smart and be entertaining. You are the talent, so show some talent as a professional as well. 0:10:53 - Anne Show some talent. I love that. So talk about in the transition while booking talent. So you did that for a very long time, I mean 30 years, and so, wow, I mean, was there a point? I mean, were you just so busy for 30 years Did you think about voiceover? Was that a thought in your head or something that you would do, or you just were completely. You loved running the club and booking talent. 0:11:18 - Tom Prior to moving to San Francisco, I lived in Florida, lived in Sarasota, Florida, and I did a lot of theater there. That's why, I fell in love with theater and acting. You know, I always thought like, oh, stand up might be a good gateway to getting into acting, but then I got into the business end of it. So I didn't really think about it until I got out and I didn't know what I was gonna do. And I was talking to Carlos and he said dude, you do so many voices and stuff. You'd be great at voice acting. Cause I've always done impressions, never stopped doing impressions. In fact I would teach other people like Kevin Pollack or something, if they had an oppression and they couldn't figure it quite out. They were doing it but they weren't quite right. We'd kind of jam and help them get there, or they would help me get there and we'd all do our really weird outside the box impersonations. You'd have to spend five minutes explaining who that guy is Right right right. 0:12:07 - Anne So you can't do that one. 0:12:09 - Tom But for comics, we love doing those, especially impersonators, impressionists, we love doing those for other impersonators. It was kind of like our jazz moment, you know, where you get to jam behind the scenes with another musician. 0:12:20 - Anne Absolutely. 0:12:21 - Tom So Frank Calliendo, I had the club, and Dana Carvey, of course, was the master of the not perfect impression, but getting the perfect funny it didn't matter, that's what his genius is. Bye, you know, is finding the perfect funny to any voice. And then Tom Kenny played. The club started at Cobbs as well Again, the guy who did so many crazy voices. It was another inspiration for me to move there, and every once in a while I talked to him, cause I'll get a audition for something that I know is directing or in, so I go heads up and he's going dude. I have nothing to do with casting, you know sometimes they cast people and I'm scratching my head. So yeah, but I'll put in a good word for you. 0:12:58 - Anne So Well, hey again, networking totally helps. Now comedy skill. I think comedy is a skill and art form. What are your thoughts on that? 0:13:07 - Tom I mean cause, oh, absolutely. 0:13:08 - Anne Yeah, it's not something that I can go on a stage and execute. 0:13:11 - Tom Yeah, it's like anything else I personally believe. my philosophy is we all have a gift somewhere along the line. We might not be in a position ever t…

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    Expanding Your Creativity Oct 17, 2023
    Show notes

    In a world dominated by templates and a constant push for efficiency, Anne and Lau are serving up a fresh perspective on using creativity for business success. In this episode, The Bosses dissect the art of brainstorming, the power of accountability groups, and the role of improvisation in expanding your horizon of creative thinking. Hear about our unique take on how a business coach can help you conceive novel ways to stimulate business growth. Anne and Lau also break down the process of taking a raw idea and creating a tangible vision for it through research and education. 0:00:01 - Intro 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. 0:00:20 - Anne Hey, hey everyone, welcome to the VO Boss podcast. I'm your host, Anne Ganguzza, and I am here today with the lovely and most talented Law Lapides. Hey everyone, ah, law, it's a wonderful day today. A wonderful day today. It is. Yeah, I am feeling a creative spark in the air Law. 0:00:43 - Lau I felt that too. I wonder if it's change of season or with the new fall rush coming on, I don't know. There's a little mixed with vacation-ish August. We've got that spark going on. I feel it too, Anne. 0:00:56 - Anne And you know what? I just got together. As you know, we just got together with a bunch of creatives and there's nothing to help spur your creativity rather than being with more creatives. Right, I think we should talk about ways to expand your creativity, because expanding your creativity is going to help you in the booth, it's going to help you create your characters, bring something new to the table and just, I think, get a lot of fulfillment and joy out of what you do, as long as you can find the creative angle. And I'll tell you what I get so many people that want to come into the voiceover industry because they say I'm creative and I don't feel like I'm able to express that creativity. And I'm always of the belief that, no matter where you are, you can find your creativity. You just have to sometimes be a little more, maybe, resourceful than at other times, but I always feel as though you can express creativity or expand your creativity by just digging in a little deeper and thinking a little bit outside the box. 0:01:57 - Lau Absolutely. And why do they call us creatives? We're creatives because we create. We love creating. We should be creative at all times, even if we're resting or on vacation. There's all different ways we can be creative, whether you're trying a new food or a new restaurant, or you're going down a new street to look at architecture. How are we expressing our creativity in our worlds that then we take into the booth and in the studio and in the office. That directly informs the kind of business and the kind of process that we create. And you know what's funny? One of my pet peeves was you know, when you get asked on a forum what are your hobbies? What do you like to do? I don't know. I don't know how to answer that. I don't consider myself having hobbies and yet I'm a very creative force and love doing a lot of things. I just never categorize it as a hobby. I always feel like it's integrated with my identity and who I am. 0:02:55 - Anne Yeah, and it's integrated on what you do on a daily basis. And I'll tell you one area where I think that expanding your creativity or knowing how to delve deep into that part of you will help is that I have many students where you know I'm teaching acting for long form narration and a lot of times, long form narration doesn't have an obvious story to it. So I will oftentimes and I know you'll do this as well for your actors You'll tell them to create that scene, and we are constantly needing to create a scene, and I can't tell you the amount of times that I've had students say, well, that doesn't make any sense, I don't, I can't know. And I'll say give me the scene, what are you doing? What's the conversation? And they'll just be like well, this is hard. Well, your creative brain is a muscle, guys, and so I truly believe that you can exercise that muscle on a day to day basis and you can come up with scenes. You can come up with things that will allow your voiceovers to be believable and authentic and really relate to your audience that you're talking to. So one of the things that I like to do to delve deep into my creativity is I used to have this little jar where I had all these little creative ideas and it didn't have to be creative ideas for voiceover, although I think I could tailor it to that right and you would pick one idea out of the jar and it'll say create a character that is based on your favorite aunt or uncle and record a five minute monologue. Okay and so right there, it really requires you to delve deep in and focus and focus. I think focus is one of the most important things to really start to dig deep and find where your creativity is and to think about all the possible ways. Law what are some tips you have for delving deep into that creativity? 0:04:43 - Lau Ooh, what a good question. And it's like if we can make it a real thing, a technique, a process, then we could be more mindful, potentially, of doing it every day to help balance our health and our mind and our body and everything. I think that's fantastic. I would give one tip and I would say that mindfulness is something that you have to structure. So I think people think, oh, it's an aesthetic and it's sort of impulse or knee-jerk reaction. When I think of it, I do it, but really I feel like the strategy and the structure comes, the habit that you do over time and then goes from creative technique into a business strategy. So, even if it's a small thing, like every day, I wake up and I mindfully do a brain dump and I do it on paper, I speak it out loud to empty my brain. To me that's a very creative thing to do, because I could not only feel better and feel more neutralized, but I also may make discoveries about what's in my head that I didn't actually realize was there. It's subconscious stuff that's kind of rolling out and I find that very useful. Especially you and I are idea people. We're like advertising agency people, like we have to come up with ideas just like that, whether it's for a script or a delivery that helps come up with ideas. 0:06:04 - Anne I love that you segwayed so lovely into that, because I was gonna say you have to have an end goal in mind, right? I also used to scrapbook and that was one of my passions. And I say I used to, I feel bad because I really want to scrapbook. Still. Other things started taking up my time, but it used to be that I would see a picture of a scrapbook page that I thought was gorgeous and it was just a layout and I said, oh, and it was a layout of, let's say, the first date with my husband or the wedding, or it could be my hobby, where I used to ride horses, and so it would be maybe a page or a layout that I saw about that, and it would be a creative spark and that would allow me to go and delve deep into like, okay, let me go find my pictures, let me go write something about that, because in scrapbooking it's very much about journaling and one thing that I love the most about scrapbooking and I know things have gone digital, but I'll tell you what there's nothing like looking at a paper scrapbook and just thumbing through those pages of memories, looking at pictures and reading, and I absolutely it was going to capture those memories and I love just looking back on that. And so I still believe that there's something to the writing it down on a piece of paper and having something tactile that you can touch and feel, and I think the end goal can be something to start with and then kind of work backwards to think about how are you going to reach that end goal? So, perhaps in voiceover, maybe you want to create a new character, right, and your new character would be maybe some like give it a characteristic, right, you want to have that funny, dorky character? Well, okay, work backwards from that, okay. And so who is it in your life that's funny and dorky? What do they say all the time? Write that down. Those could be funny lines that you could then practice and just really shape your character to that. I think that's one good way to do that, and I love your brain dump in the beginning in the early morning, because that's great, just getting all that stuff out and then maybe setting a long-term goal for your creative Like creativity can also be. It doesn't just have to be let me create a character voice. Creative is let me get better at telling stories. So how am I going to develop my creative style to be able to tell stories better? And I want to be able to tell stories better on, let's say, really dry material. Well, I got lots of that for you because I do tons of long format narration. I can help you with that. Just go find some really dry material out there and let's figure out what's the storyline, figure out how to break it down. And again, I think number one is have that end goal. Number two is educate. Gosh, I'm such an educator, right, I mean I love education. I think along the way, if you can educate yourself. You can certainly Google storytelling, key steps for storytelling, and you can also work with someone as well to help you develop key steps for storytelling. But educating yourself like that, I think there's just nothing that can beat that. 0:08:53 - Lau You know. It's so true. When you get it down on paper, there's something that becomes real about it. To get it out of your head and do, the process of writing it down or typing it out becomes real, and then even speaking it to someone becomes even more real. Before you manifest these ideas as actual events, I'm gonna give a tip too, and I'm gonna call it alchemy. So I always feel like what we do in our craft and in our art and in our businesses as bosses is create alchemy and meaning taking nothing and creating something out of it. Unlike a magician, which I always think of magic as something where we're making something disappear or removing something or we have an illusion going on. This is a little bit different. I think of this almost more scientifically, like nothing is there and then all of a sudden, something is there and it's very real and you did it and you manifested it so creatively. Do anything you can do where nothing is there and then you create something. So, for instance, take a blank canvas, create a visual, take clay and then create something out of the clay. Or take a seed and plant it and then there's a flower, so that you can manifest the idea that my ideas may not all come true, they may not all manifest, but because they're there and they're present and I'm allowing them to come out into the world that there is a chance that alchemy can happen from that process. And that's that risk that we talk about, that's that falling off the cliff and saying, oh, sometimes things actually happen and are created out of process. So, creatively speaking, I think that's a tremendous hobby, if you will, to just practice that, practice creating something out of absolutely nothing. And now where? 0:10:40 - Anne do you go for ideas? That's a good question, right, gosh. I just say the internet is at your disposal, right? And also other creatives, right? Other creatives doing brainstorm sessions, you know those accountability groups. I mean I say take five, 10 minutes and talk about, hey, what can we do to expand creatively? And there's lots of things that can help you to expand creatively too. That's within the realm of voiceover. One of the biggest I can think of right now is improv. Right, improv is creative. Take a conversation and go with it and run with it. 0:11:10 - Lau That's the best of Alchemy, actually. Yes. 0:11:12 - Anne Exactly and just create that, but I think also getting together in brainstorming. I do have a business coach that I have had for the past gosh 12 years and I absolutely love my business coach and we brainstorm, we brainstorm. Once a month we have a session where we brainstorm and we say where is it that Anne wants her business to go? But that is a creative brainstorm and what can we do? And I'm constantly evolving. I think we had an episode on either parallel streams of income or what is your plan B, right? You should always have that backup plan. And so what else will you do to grow your business right? And that's a very creative endeavor. And for me, I'm going to tell you that the VO Peeps and the VO Boss podcast the very podcast that you're listening to, bosses was a creative endeavor because one of the things I saw was an end goal of like, oh, a podcast that sounds really cool, I wanna do that. And then I took that one idea. That was really nothing and I had said, okay, now what do I have to do? What are the steps that I have to take in order to create that right? And the first step was what's the vision for it? What is it that I wanna do, or what is it that I want to conceive and will other people and it doesn't always have to benefit other people, but for me, I wanted it to be a resource. So that was within the realm of my project scoped. Okay, I want this to be an educational resource. Now, how am I gonna get there? Right, what am I gonna do? Well, first step started brainstorming it with somebody and then educating myself on the process, and I did that a lot. When, as a scrapbooker as well, right, I saw a scrapbook page with paper flowers and I'm like I should be able to make paper flowers, like there are some really beautiful paper flowers out there. Right, there's techniques, there's things that you can do, there's all different patterns and kinds of paper and techniques, and you can crumple the paper first and then you can put layers of that with a different pattern paper. It's amazing, and I think, even if you're doing creative things that don't have to do with voiceover or don't have to do with your business, they will absolutely, number one, bring you joy if creativity is what you are seemingly lacking in your life, but it can also open your mind to doing things to propel yourself forward personally and professionally. 0:13:26 - Lau Ooh, I love that. So you're really looking the fine details, the really small little minutiae in what you're doing, rather than just the big task of it. But look at the little moments that happen, that really are like sliding doors. They really change the trajectory of where your piece or art or business is going to go based on those little tiny details. I think that that is phenomenal. I would even motivate people to be very visceral and very kinesthetic about it every day, meaning don't stay online, go outside, do something outside, like I love to go into a little bookstore and see what's in there that inspires me, that makes me excited or happy, or go get a massage or go to a movie or go I've been bike riding lately and outside Go shop yeah. I don't know. Do something that's physical and visceral bike riding, walking, whatever you're doing. Go to a restaurant, go to a diner, go sit and have french fries so that you can really observe people, look at human behavior, watch the servers smell the cooking, feel the table, and it sounds insane. But it's like we forget how to…

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    Virtual Assistants Oct 10, 2023
    Show notes

    So you're thinking about hiring a virtual assistant... Ever wondered how to hire the right person for the job? The Bosses have got you covered. In this episode, Anne and Lau lay out the importance of understanding the job scope and setting realistic expectations. From sifting through rates and fees to seeking referrals and testimonials, we discuss it all. We share insights on how to prioritize, make substitutions, and be resourceful to afford the luxury of investing in your business. Remember, when hiring, the focus should be on what's best for your business, not just personal preference. So tune in, and let's build a successful business together, with a commitment second to none. Transcript Intro 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. Anne Ganguzza: Hey everyone, welcome to the VioBoss Podcast and the Boss Superpower Series. I'm your host, Ngan Gusa, and I am here with my amazing, wonderful Boss co-host, Lau Lapides. Lau Lapides: Oh, and I'm so thrilled to be back as always in the booth. Anne Ganguzza: In the booth with the bosses. Lau Lapides: What happens in our booth stays in our booths. Well, not Anne Ganguzza: Well, Lau Lapides: really, but I Anne Ganguzza: but Lau Lapides: don't Anne Ganguzza: wait, wait. So wait, we also Lau Lapides: know about Anne Ganguzza: project Lau Lapides: that. Anne Ganguzza: that, we also project that out into the global universe there. Ha Lau Lapides: We'll have to change that tagline, I think. Anne Ganguzza: ha ha. Oh man, I'll tell you what, look, I have been so busy this week and I cannot split my time up anymore. I am one person and I'm telling you, I literally have no more hours in the day. So everybody knows that has heard me go on and on and out about. the fact that I outsource and I do have a team, I think maybe we should really talk about that because I might need to increase my team because right now I'm feeling like I don't have any more time and so how am I going to do the things that I wanna do and grow my business if I don't have the time to execute the daily tasks or whatever tasks are needed to do that law. Lau Lapides: That sounds like what my dad would always say a really good problem to have. We Anne Ganguzza: Yeah. Lau Lapides: all want to have that problem where we're growing a company, we're outgrowing what we're doing and how we're doing it, and we're Anne Ganguzza: Mm-hmm. Lau Lapides: not spending our time wisely. We're not working smarter, we're just working harder. And really, how do we do both? Right? Anne Ganguzza: Yeah. Lau Lapides: How do we get to that next level? We call it leveling up in the biz. How do we actually do that, Ann? What Anne Ganguzza: Yeah. Lau Lapides: do we need to do? Let's talk about that. Anne Ganguzza: Well, first of all, I think it's important to note that there's a lot of people that are just getting into voiceover. And they may think to themselves, oh, my gosh, I can barely afford to be in voiceover, right? I just got in. I'm not booking gigs yet. Or maybe the gigs that I'm booking are few and far between. And so how can I even begin to think about hiring somebody or getting help? Because I can't even get a job. first. And Lau Lapides: Right. Anne Ganguzza: so guys, I want you to really this is where I think it takes courage, it takes boldness, and it takes some, I think some street smarts and savvy to really strategize how you might be able to make this work for you. Because, well, you know, while somebody might be doing some of the more maybe mundane tasks that take up a lot of your day when trying to acquire work, I mean, half of the time it's we're trying to acquire work, right, Law? Lau Lapides: Mm-hmm. Anne Ganguzza: And it's the acquiring, that getting out there, that marketing, how do I acquire, you're either auditioning or you're marketing, right? And you are the expert at auditioning, right? Maybe you're not the expert at marketing. And so therefore, if you could have someone help you with the marketing, right, it would give you more time to be the expert in auditioning and perfecting your craft or honing your performance. Lau Lapides: Right, and the truth is, whether you're a solopreneur and you're working alone, just starting out the first couple of years of your biz, or whether you're growing and starting to think about adding team members, we're all at that level. All of us are at that level of thinking about, we're marketing, we're constantly reaching out and going out and figuring out how we're gonna get our next prospect. So you never grow out of that, no matter what Anne Ganguzza: Oh, Lau Lapides: is happening, you never grow out. Anne Ganguzza: amen, Lau Lapides: But Anne Ganguzza: amen. Lau Lapides: you do have to time it well. everyone and Anne Ganguzza: Mm-hmm. Lau Lapides: at the beginning stages I wouldn't do anything prematurely to make you know Anne Ganguzza: Agreed, Lau Lapides: go broke I Anne Ganguzza: agreed. Lau Lapides: really want to make sure you Anne Ganguzza: But Lau Lapides: have Anne Ganguzza: I Lau Lapides: a Anne Ganguzza: would Lau Lapides: little Anne Ganguzza: start Lau Lapides: bit Anne Ganguzza: strategizing. Lau Lapides: of capital Anne Ganguzza: I would Lau Lapides: start Anne Ganguzza: start Lau Lapides: strategize Anne Ganguzza: strategizing Lau Lapides: yeah Anne Ganguzza: because I think just having the thought of, or the thought that, yes, I'm going to need help at some point, you're manifesting the fact that you're going to be getting the work. I'm a big believer in the manifestation of getting work. And also, I think you're never too early to kind of plan or strategize what type of help you might need. And just, you know, it takes time to find help. It's not something typically you can get in a moment's instant. And it is something that you will have to kind of, I would say, educate yourself on in terms of, well, you know, is there a service out here that can help me to do this? Is there someone who can help me to, I don't know, write emails to prospects or maybe generate leads? What type of work could you use? I think if you start by really assessing your business. Breaking down on a piece of paper, how much time do you spend on each thing per day? How much time do you spend auditioning? How much time do you spend researching? How much time do you spend practicing? How much time do you spend on social media? I think that's a good place to start. And then find out if there is. And of course, I totally agree with you a lot with the make sure that you've got a little bit of a nest egg that you can invest. When you need somebody to help you because again, I think we've said this so many times if you want to make money You know you need to spend some money Lau Lapides: Mmm. Absolutely Anne Ganguzza: Hmm Lau Lapides: no doubt about that one. Second that notion. And I would say take a step back and look at your psychology Anne Ganguzza: Mmm. Lau Lapides: and really keep it real, really keep it real. Despite the name of our wonderful series here, you do have to realize that no one is a true superhero in doing everything yourself. And we like Anne Ganguzza: Oh Lau Lapides: to Anne Ganguzza: god, Lau Lapides: think we Anne Ganguzza: yes. Lau Lapides: are, especially us ladies like to think we are. Anne Ganguzza: Outlaw Lau Lapides: We can do everything and we're a failure if we don't. Anne Ganguzza: Can I, oh my God, can I just like say yes Lau Lapides: Amen, Anne Ganguzza: to that? Lau Lapides: amen, Anne Ganguzza: Amen Lau Lapides: say yes. Anne Ganguzza: to that. I am the biggest control freak that there is. Lau Lapides: Me too! Anne Ganguzza: And no, if you wanna get it done right, I'll just have to do it myself. But I'll tell you what, that gets old pretty soon. Once you really wanna grow, I mean, I found that I couldn't move if I didn't outsource and I didn't hire. And I kept thinking, oh God, but maybe I won't have the money. Maybe I won't have that steady stream of income that I can pay them. And I'm here to tell you that it can work if you strategize and you're smart about it. And you really take a look at the money that you have coming in and the money that you have going out. I think that really, Law, is another sit down and really look at the numbers. Number one, how much are you spending on, you know, your marketing. How much are you spending on? And when I talk about spending on marketing, if you're not hiring anybody to do your marketing, you're spending your time. And your time should be worth X amount of dollars per hour. I like to say that I am worth so much per hour. Now, if I want to break down what I do in a day and then say how much it costs me, if I'm spending an hour doing marketing, that's, you know, it's my hourly rate. And so really taking a good look at how much is coming in. how much you're putting out. And sometimes in the beginning, that's gonna be a little unequal. I'm gonna say that I had to invest a little bit more in the beginning than was coming in. And I just needed to make sure that I had a good handle on how much I could put out to be safe and still be able to pay the mortgage. Lau Lapides: And you don't want to go in and with a blind faith, you want to have Anne Ganguzza: Yeah. Lau Lapides: some real strategy behind how you're going in, especially if you're at a place typically within the first three to five years of growing a new business where you really are not making an actual salary just yet. Anne Ganguzza: Yeah, Lau Lapides: You're really Anne Ganguzza: yeah. Lau Lapides: not making the return on anything just Anne Ganguzza: Sure. Lau Lapides: yet. And that's expected. And I think in our culture, North American business culture, I think we're sort of trained in a way that is more mythical than realistic and that is we should be making profit as quickly as possible in the Anne Ganguzza: Mm-hmm. Lau Lapides: first five years. That's a real myth that just, Anne Ganguzza: Oh gosh, Lau Lapides: it very rarely Anne Ganguzza: it Lau Lapides: exists Anne Ganguzza: so is. Lau Lapides: that you find someone who's starting any business that in the first five years, sometimes longer, Anne Ganguzza: Yeah. Lau Lapides: is making any kind of a Anne Ganguzza: Yes. Lau Lapides: profit, right? Anne Ganguzza: Please. Let's Lau Lapides: So Anne Ganguzza: say Lau Lapides: going Anne Ganguzza: that Lau Lapides: in Anne Ganguzza: again. Lau Lapides: realistically, Anne Ganguzza: Let's say that again. How Lau Lapides: yeah, Anne Ganguzza: long, Law? Lau Lapides: going in. Anne Ganguzza: Five years, if not longer. Lau Lapides: If not longer. Anne Ganguzza: If not longer. And I will tell you, for me, it was longer. You know, it was longer than the first five years. I mean, I came from a job where I was making a particular salary, and I was like, oh, I want to be able to make this salary. You know, and I always ask my students to put their goals on a piece of paper of what they want to do in the first year. after they get their demo from me and that sort of thing. And I have a lot of people, they have very high goals of basically making that six figure salary in the first year. And I'm here to say, not to crush your dreams, but I'm here to say that it may take you a little bit longer to get to that point, but that's okay, I mean, that's very normal. And as long as you are okay and you have that little kind of nest egg there that you are strategically pulling money out of investing wisely, you're going to be okay. I mean, but it's very, very normal to not make any kind of money back in the first, you know, years of your voice over business. And especially now, it's kind of a little bit crazy these days. It just Lau Lapides: Mm. Anne Ganguzza: keeps getting more and more. more and more people in the industry. And then there's a lot of hype around, you know, advancing technologies and, you know, I do believe there is, you know, are we going to have jobs in 10 years? That kind of a thing. But again, I'm very much of the mindset that we create our work, we create our businesses, and we evolve. And Lau Lapides: Mm-hmm. Anne Ganguzza: I believe we will always have a need for our human voices in Lau Lapides: Yes. Anne Ganguzza: any aspect in the creative entertainment educational spectrum. Lau Lapides: Yeah. And I would second that. And I think that creative energy coupled with the entrepreneurial resilience Anne Ganguzza: Mmm. Lau Lapides: is really the thing, capital T-H-E, the thing that's going to help make you successful in our businesses, being able to pivot, being able to be Anne Ganguzza: Mmm. Lau Lapides: resilient. And I did want to qualify one area you brought up that I absolutely totally agree with and adore is that it's not that you're not making money Anne Ganguzza: Mm-hmm. Lau Lapides: in your first five years. investing and reinvesting Anne Ganguzza: Mm-hmm, absolutely. Lau Lapides: in what you need to have for your studio or have for your marketing or have for yourself. And you need to do that and in order to make money back, you need to invest money in order to make money. It isn't it's not just let me do things for free or get things Anne Ganguzza: Yeah, Lau Lapides: as cheaply as possible Anne Ganguzza: absolutely. Lau Lapides: and make as much money. Business just doesn't work that way. Anne Ganguzza: Yeah. Lau Lapides: Right? Anne Ganguzza: And I think you made mention of get things as cheaply as possible. You know, we all want I think we all we all shop for a bargain. Right. Lau Lapides: Mm-hmm. Anne Ganguzza: I know I do. And so you have to understand the market as well when people are shopping for a bargain that may include your voice. Right. So I think, you know, the fact that you mentioned even that law is something that we have to take into consideration. The investment that you make into your business, sometimes making it all about the amount of money you're investing isn't necessarily the object or even necessarily a wise strategy. Because I would say if you're trying to maybe skimp on demo creation or coaching or workshops, that kind of thing, I truly believe that they are worth their weight in gold for you, because that is developing your product. Lau Lapides: Yes, Anne Ganguzza: Right? Lau Lapides: yes. Anne Ganguzza: Your product is, I mean, if you don't have a product, you don't have a business. Your product is your voice. Your voice is, you know, physically, you can't, well, can you buy a new voice? Well, maybe. I mean, I don't know, but not really. I can't buy, like, I can't buy your voice law. I wish, you know, I mean, your physical voice for me. So all I can do is develop my own and Lau Lapides: Yep. Anne Ganguzza: learn how to use it. more effectively and perform my job to my client's specifications. And that investment, I think, is a wise investment. And I don't think that there isn't a cheap, good way of going about that, really. Lau Lapides: No, Anne Ganguzza: There's Lau Lapides: I had... Anne Ganguzza: less expensive, but I don't think if you go cheap, you get what you pay for. Lau Lapides: Yes, it's bringing up one of those little signs, those funny, cute characters, aluminum signs that one of my friends and former engineers boug…

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    Do the Hustle Oct 03, 2023
    Show notes

    This week, Anne and Lau discuss the importance of side hustles to your VO career. A side hustle can be anything from pet sitting to retail work, or offering computer consulting services. Side hustles provide more than just an extra income - they teach you to set priorities and work towards your goals. They can also provide transferable skills, and that is why the Bosses believe in the transformative power of side hustles in career development. Side hustles equip you with the skills to be trusted leaders and provide the practical knowledge to run your own business. More importantly, they offer the chance to pursue your passions and reach your goals. So, are you ready to embrace side hustles and level up your life and career? Transcript Intro 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. Anne Ganguzza: Hey everyone, welcome to the V.O. Boss podcast. I'm your host, Anne Gangusa, and I'm here with my lovely boss co-host, Lau Lapides, hey, Lau. Lau Lapides: Hey, Anne, you look super disco sexy. 70s, maybe 80s. Anne Ganguzza: Why, thank you. Lau Lapides: You want to do the hustle? Anne Ganguzza: Do the hustle. Do, do, do. Lau Lapides: I just turned into John Travolta for Anne Ganguzza: Hey, Lau Lapides: a second. Anne Ganguzza: who said we don't have fun here in Boss Land, in Lau Lapides: We Anne Ganguzza: Boss Lau Lapides: do Anne Ganguzza: Land? Lau Lapides: we do. Anne Ganguzza: You know, hustle, hustle. I think that's the, that is like the word for my business, is hustle, hustle. Lau Lapides: Mmm. Anne Ganguzza: And you know, I think I've been kind of a hustler all my life. Lau Lapides: Me too, in a good way, Anne Ganguzza: In Lau Lapides: not Anne Ganguzza: a good Lau Lapides: a Anne Ganguzza: way, Lau Lapides: negative way, in a Anne Ganguzza: in Lau Lapides: good Anne Ganguzza: a good Lau Lapides: way. Anne Ganguzza: way. And I think it probably helped me to get where I am today, really, all those little side hustles. I think we should take a, let's take a journey. Let's take a journey back in time and talk about our side hustles. And I'll tell you what, bosses, there's no shame in a good side hustle, that's for sure. Because Lau Lapides: Mm-mm. Anne Ganguzza: I think it helps build your character and get you to where you are today to become a resourceful and entrepreneurial boss. Lau Lapides: Yeah, there's no shame in that game. Let's go down memory road and Anne Ganguzza: Mmm. Lau Lapides: I'm willing to share. I'm actually proud of working really hard to get to the day where I was able to open a studio. Anne Ganguzza: Yeah. Lau Lapides: I think that there's a whole long path leading up to that the public doesn't see and doesn't know about that really is the building block to getting to your business end. So Anne Ganguzza: Yeah. Lau Lapides: take me way back, take me back to like even Anne Ganguzza: Way Lau Lapides: your teen Anne Ganguzza: back, Lau Lapides: years Anne Ganguzza: okay, my Lau Lapides: of your Anne Ganguzza: teen Lau Lapides: first Anne Ganguzza: years. Lau Lapides: jobs. Anne Ganguzza: Okay, Lau Lapides: That Anne Ganguzza: okay, Lau Lapides: counts. What Anne Ganguzza: so Lau Lapides: were your first Anne Ganguzza: all Lau Lapides: jobs? Anne Ganguzza: right, I, all right, so I am trying to remember, I grew up in New York State, upstate New York. And so, you know, there was a legal, you know, working age. Lau Lapides: Okay. Anne Ganguzza: But I started Lau Lapides: Which you Anne Ganguzza: very Lau Lapides: ignored. Anne Ganguzza: early. I started very early. I started at the very young age of 12. And, but I wasn't working for cash, I was working for writing lessons. So, Some of Lau Lapides: Oh. Anne Ganguzza: you may, that follow me on Facebook, may have noticed that I've been spending an awful lot of time on the weekends going to horse shows. Well, that is just a blast from my past. And it just, I'll tell you what, when I was young, horses were my passion. I mean, I wanted to grow up and become a professional horse rider. And I, you know, had a couple of horses growing up, and I showed growing up. And I'll tell you what, that is not a cheap hobby. And so I used to work at the barn from the young age of 12, shoveling lots of manure and taking care of the horses, grooming the horses. Oh my goodness, I spent Lau Lapides: Bye. Anne Ganguzza: probably seven days a week at the barn. And I would do that in trade for my riding lessons. And yeah, it was really, and riding of course is a whole, like I can have a 30 minute podcast on what riding taught me. I think that the lessons that I learned from my horses were just invaluable in helping me to shape who I am today and to be fearless, because I had a lot of fear. I was afraid. I mean, I was thrown off my horse multiple times, you know, and I just. was taught to get back up on that horse and face those fears. And oh, it was a wonderful, wonderful time in my life. And my mother loved it because she knew where I was. You know, I wasn't hanging out. I wasn't hanging out in the bank parking lot, you know, drinking Lau Lapides: Yeah, Anne Ganguzza: beer. Lau Lapides: right, Anne Ganguzza: So Lau Lapides: right. Anne Ganguzza: that was Lau Lapides: And Anne Ganguzza: my Lau Lapides: the horses Anne Ganguzza: very, yeah. How Lau Lapides: know you. They Anne Ganguzza: old were Lau Lapides: love Anne Ganguzza: you when you got Lau Lapides: you. Anne Ganguzza: sick? Lau Lapides: They Anne Ganguzza: Mm-hmm. Lau Lapides: know your voice. They're so emotional and creative. Anne Ganguzza: Well, that's it. It was such Lau Lapides: Right? Anne Ganguzza: an emotional connection. I mean, outside of like, Lau Lapides: Yeah. Anne Ganguzza: it's not just a physical ride. It's very much a mental ride because animals sense every, you know, every essence of your being. They can sense when you're nervous. They can sense when you're afraid or fearful. And really just becoming one. And you know, it amazes me, and I'll just, I'll shut up after this, but it amazes me because I used to jump, that was, I wrote English and I used to jump, that you take a beast. that is, you know, 2,000 pounds, and you point it towards a fence, and he willingly goes over it. Sometimes they don't willingly go over it, but usually that's, I say, operator error. You haven't brought them Lau Lapides: Hahaha! Anne Ganguzza: into the fence properly, so they can safely jump the fence. But I'm telling you, just, the animals, they're just amazing, beautiful, kind, wonderful beings that here, I'm gonna point you at this fence, and I want you to jump over it, and Lau Lapides: Mmm. Anne Ganguzza: I'm gonna be on your back while you do that. And you know, I'm going to continually ride around these different fences and courses And you're gonna just willingly do this for me and it just it amazes me the kindness and the and the Connection you have to have with that horse to really have that be a thing Lau Lapides: So it sounds like a very profound way of teaching a moral lesson to our listeners that you learn a lot of hardcore skills when you side hustle, Anne Ganguzza: Mmm, Lau Lapides: right? How to Anne Ganguzza: absolutely, Lau Lapides: build trust, right? Anne Ganguzza: absolutely. Lau Lapides: How to go on the ride and Anne Ganguzza: Mm-hmm, Lau Lapides: trust, Anne Ganguzza: mm-hmm. Lau Lapides: how to get up into fearful heights and fall and get back Anne Ganguzza: And you make, Lau Lapides: up again, Anne Ganguzza: yeah, when you make a mistake, Lau Lapides: right? Anne Ganguzza: you know, get right back Lau Lapides: Love Anne Ganguzza: up again. Lau Lapides: that. Anne Ganguzza: Mm-hmm. Lau Lapides: Love that. Anne Ganguzza: So Lau Lapides: Love Anne Ganguzza: much. And Lau Lapides: that. Anne Ganguzza: that was not necessarily for money, although I used to groom. I mean, that was a side hustle after I would work at the stable. I would also groom as a side hustle. Then I would make cash Lau Lapides: Mm-hmm. Anne Ganguzza: for the horses that I braided and groomed. I would do that. I would go to horse shows and groom for people. And Lau Lapides: You Anne Ganguzza: oh Lau Lapides: braided. Anne Ganguzza: gosh, it paid for a lot of my... my professional riding gear, my Lau Lapides: Ah, Anne Ganguzza: show Lau Lapides: so Anne Ganguzza: entry Lau Lapides: good. Anne Ganguzza: fees, my jackets, my boots, horse tack and equipment. Ugh. Such a good time of my Lau Lapides: So Anne Ganguzza: life. So Lau Lapides: good. Anne Ganguzza: that was my very first. What about you, Law? Lau Lapides: Well, you know, besides the typical before 12, which I did like babysitting and I did mowing lawns and all of that Anne Ganguzza: Mmm. Lau Lapides: delivery Anne Ganguzza: I mode lawns Lau Lapides: of Anne Ganguzza: too, Lau Lapides: stuff, Anne Ganguzza: mm-hmm. Lau Lapides: those were not prolific to me, even though I was doing skills. The first one was when I was 15, 15 years old. Think about that, 15 years old. I think I was a freshman in high school. I had a shoe store across the street from my high school, a family owned shoe store, and they trusted me to be a manager. gave me Anne Ganguzza: Wow. Lau Lapides: keys to the shoe store and that changed my entire life because I suddenly realized that I had the ability I didn't think in this way but I had the abilities and skill sets to be trusted and to be a leader and so I would literally open up the store close the store man it was a shoe store Anne Ganguzza: Wow. Lau Lapides: managed the store at 15 and I and I think back on that you know 40 years ago and how those little bits and pieces really built my life built my Anne Ganguzza: Mm-hmm. Lau Lapides: whole mindset over a lifetime. So that was the first, I think, prolific side hustle Anne Ganguzza: Yeah. Lau Lapides: for me. What's your next one? Anne Ganguzza: Well, let's see. So I was constantly, I probably did that all through high school. And then in addition to that, I was like, well, I gotta make some cash, some cold hard cash cause I like to buy clothes and or other things, just back then it was like, or records or CDs. Actually it was records, CDs weren't in college. So now I'm really dating myself. But Lau Lapides: Ha ha! Anne Ganguzza: yeah, so then it became, I worked at a department store in retail. So I worked at Sibley's. Lau Lapides: You learned Anne Ganguzza: And I Lau Lapides: so Anne Ganguzza: also, Lau Lapides: much doing that, right Anne Ganguzza: oh yeah, Lau Lapides: Anne? Anne Ganguzza: I worked Lau Lapides: So Anne Ganguzza: in retail Lau Lapides: many. Anne Ganguzza: in the kids department and I also worked for a gas station kind of mini-mart, which there I had the keys and I had to like lock up at night, I was working that nights. And yeah, I mean, those were like, you make the minimum wage and I worked, God, however many hours I could. And believe it or not, I'm gonna go one step further and I'm going to say that, In high school, they had a work study program, so I had enough credits by the time I was literally at the beginning of junior year to graduate. So I elected for my senior year to do a work study program, where I came to school for, I think, just the morning hours, and then in the afternoon, I worked. Lau Lapides: Mm, Anne Ganguzza: So Lau Lapides: great. Anne Ganguzza: I had to just put in a certain amount of hours per week, which I'm quite sure I did 15 to 20. But most of that was encompassed just me going to the stable. and working. And so that was really kind of great. I mean, the work study and I just I absolutely loved all my little side jobs that I did and you know, waitressing, you know, which was again, you know such a such a learn those life lessons that really help you to you know When you are running a business and owning a business that can really help you in a multitude of ways I mean that was the customer service aspect, you know Which really helped me in my job today What about your next one? Lau Lapides: I tell you, it's so subliminal. You Anne Ganguzza: Right? Lau Lapides: don't even realize for many years how it gets ingrained in your core and then it comes out in really important ways as a business person and as a business owner. I too was a server, Anne Ganguzza: Mm-hmm. Lau Lapides: I too worked in retail, Anne Ganguzza: I was a bus Lau Lapides: but Anne Ganguzza: girl. Lau Lapides: you're a bus girl, I was a Anne Ganguzza: And Lau Lapides: waitress, Anne Ganguzza: a waitress. Yep. Lau Lapides: right? But the next prolific job for me was at 19. I was in college. and one of my professors who was actually teaching me singing said, you know what, we're going away on vacation. Can you stay at my home and take care of all of my animals? And I was Anne Ganguzza: Mm-hmm. Lau Lapides: always a huge animal lover like you, like my Anne Ganguzza: Mm-hmm. Lau Lapides: fur children. I said, okay, I'm happy to. And she said, how much do you want me to pay you? I said, you're gonna pay me Anne Ganguzza: Ha Lau Lapides: to do Anne Ganguzza: ha Lau Lapides: that? Anne Ganguzza: ha! Lau Lapides: What do you mean? I said, I don't know, pay me. And she paid me, so I was, changed my world. I launched a pet sitting business at 19, Anne Ganguzza: Oh, nice. Lau Lapides: and I did it for 10 years, and it brought me through Anne Ganguzza: Mm-hmm. Lau Lapides: all of my professional performing through my 20s and through my college Anne Ganguzza: Mm-hmm. Lau Lapides: years and bought me a new car. and savings for what would soon be later or later in my 20s, my graduate school career. So Anne Ganguzza: Oh yeah. Lau Lapides: that side hustle was major and it set me up for the next whole piece of my life and I loved it. It was like Anne Ganguzza: Mm-hmm. Lau Lapides: if I didn't do what I did, I could have easily gone in another direction of creating like a multi-million dollar animal business or Anne Ganguzza: Sure, Lau Lapides: something like that, Anne Ganguzza: absolutely. Lau Lapides: which turned into that. And the skill sets were amazing because I already knew like you knew how to have keys in my pocket and be totally trusted Anne Ganguzza: Yep, Lau Lapides: with someone's Anne Ganguzza: yep. Lau Lapides: property. So I was like a janitor. I had huge Anne Ganguzza: Mmm. Lau Lapides: sets of keys of houses all over my area that I'd be going into and taking care of. I loved it because I'm a very pragmatic person. I love taking care of things. I like things that are purposeful and I love my animals. It was like check, check. Anne Ganguzza: Nice. Lau Lapides: And the money was terrific even at that time, which was a good you know 30 years ago now. time I was a young kid pulling in 25 or 30 dollars per animal and could take up to 10 a day. Do the Anne Ganguzza: Mm-hmm. Lau Lapides: math! It's Anne Ganguzza: Yep. Lau Lapides: like oh my goodness I can do my theater, I can finish my bachelor's degree, I can love on my baby pets all over the place because I'm trusted and where's that gonna lead you see? Anne Ganguzza: Yeah, Lau Lapides: And that was Anne Ganguzza: yeah. Lau Lapides: started out of a accident side hustle. Anne Ganguzza: Wow, I'm gonna Lau Lapides: Mmm. Anne Ganguzza: say, okay, college Lau Lapides: Witchers. Anne Ganguzza: then next for me Lau Lapides: Mm-hmm. Anne Ganguzza: was, okay, so I started off doing, and this is my preliminary voiceover. So I started reading textbooks onto tape for disabled students L…

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    Real Bosses with Tom Dheere Sep 26, 2023
    Show notes

    What would it look like if you could harness the energy of a conference and convert it into effectiveness? What would it feel like to be your own boss in the voiceover industry? Our esteemed guest, Tom Dheere, joins us as we unravel the answers to these thought-provoking questions. We share valuable insights on setting the right objectives, maximizing conference experiences, and the commitment required to become a full-time voice actor. Plus, we examine the liberating perspective of entrepreneurial freedom offered by the voiceover industry. 0:00:01 - Anne Hey everyone, welcome to the VO Boss podcast and the real boss series. I'm your host, Anne Ganguzza and I am so happy to bring to this series Mr Tom Dheere. Thank you so much, tom, for joining me on this. 0:00:15 - Tom Yay, thank you so much for having me. I'm very excited about this. This is going to be great. 0:00:19 - Anne Oh, tom, first of all, it was so awesome to see you at the One Voice conference. 0:00:25 - Tom Yes, likewise. 0:00:27 - Anne I know we just had. You were just a guest on my podcast and, lo and behold, like two times I see you within the span of a month or two, which is really incredible, right? Sometimes we have to go to conferences to just meet in person so whew, I was exhausting that conference, but super motivating, and I know a lot of people who went to that conference are all revved up and ready to go, motivated, inspired. We took amazing classes and so I think it's a good time to talk about. You know, what do we do with all that amazing energy that we just absorbed in that conference? Because I'm revved up, I'm motivated, ready to go. What can we do to, I guess, keep ourselves or keep the momentum going, tom? 0:01:16 - Tom That is a fantastic question and I know you've been presented at dozens and dozens of conferences over the past 10 years, and so have I, and we go and we meet wonderful people and we present and we also attend workshops and panels and we learn a lot and we get to commiserate with our peers, voice actors and coaches and other producers and stuff like that. And then there's this glow. 0:01:42 - Anne There is a glow. It's wonderful glow. There is a glow. 0:01:46 - Tom And then you go home and then for the vast majority of people that go to these conferences, it's like whew. 0:01:53 - Anne And then life sets in right. I have laundry to do. Yeah, family, yeah, right Bills and auditions and stuff like that. 0:02:02 - Tom So it's great. Conferences are great for, obviously for education. They're great for networking, they're great for renewal of purpose, refocus, re-energizing. The trick is how to take all that positive energy and inspiration and revved up-ed-ness and coming, taking it home with you and turning it into effectiveness. Because the positive attitude, while great it can only get you so far, it's not going to get you home. You're going to run out of that momentum and now there's work to be done. 0:02:37 - Anne Interesting, tom. Before we went to the conference, I think somebody had actually created a note sheet of like here are the I guess the talks that I want to go to, here are my goals, or here's what I got out of it, and I thought it was a really great way for people who like that type of thing and they take a lot of notes to write down your objectives. What are you hoping to get from that? And then what do you hope to do once you get, maybe once you get home, to put those lessons learned in place? And so I think that maybe everything should start even before we go to the conference in terms of writing things down and what is it that you hope to get out of this conference. And I'm a big planner, so I am a big proponent of yeah, you guys should plan out what sessions you want to go to, look at the schedule multiple times and just see how you can get the most out of the money that you've spent on that ticket of yours. 0:03:33 - Tom Yeah, absolutely, and different people at different points in their voiceover journey go to different conferences for different reasons, if it's. I've never been one to been one to one before, and I just want to. I haven't even produced a demo yet. I just want to see what this universe is like. 0:03:47 - Anne Great. 0:03:48 - Tom If it's, this is my 15th conference. I've had all these demos done, I've gotten all this work. What am I going to get out of it this time? Or some people go because they specifically want to meet you, or they want to meet another coach or demo producer to see, I want to get in the same room with this person and see if we click because I may want to work with you as a coach or a demo producer. Um, you know, and some go purely as presenters and you know, and then they, you know, do their stuff and then they get out of there and yeah, which is which is which is cool too. 0:04:19 - Anne I think there's such a, there's such a momentum to be gained by just joining forces with like-minded people and, just you know, renewing um relationships, and that just keeps you going, because it's so isolating sometimes just what we do and yeah and I will tell you, though, that the other day I was I don't even know what it was that made me think of it, but I I think I was getting ready to, you know, start. I had a full day of students, and I said, I don't know what made me think about, oh god, what if I had to go to work for somebody? um, you know, back in my days of corporate and I'm like I I could never do that again. So boss is out there. This is just a little segue. If you, if, if you know that this is what you want to do and you end up pursuing it full time, I don't say rush into it with your, you know, with your eyes closed. But, um and Tom, we can talk lots of strategies about that, but once you make that decision to go full time, I don't do you know anybody who's actually gone back because they've been unhappy being their own boss um, I know lots of people who have gone back to a regular job because they just couldn't book enough right they needed the money. 0:05:24 - Tom Yeah, exactly, it was purely financially, like I've been trying this and I just, I just can't get enough work to sustain myself and they've come gone back. Um, I can't think of anyone specifically, but I'm sure there are people out there, because there are people who just like to be told what to do, because then they don't have to think about it and there's a level of security in that and I totally that's sympathize with that. 0:05:45 - Anne I'm not one of those people, I can't. I don't, I don't think I could, I could not go back to taking now, I think, now I can take. I can take instructions from my client. Sure, I can be directed um, and then I want to get paid and be done with it. I think that's really it's. It's an interesting. It's an interesting, it's a different dynamic, because that's a, that's a, that's a business to business thing where you and the clients are on equal footing there's no high. There's no hierarchy. 0:06:10 - Tom It's it's you and the client trying to make this finished, great finished product, which is, you know, the audio files that you're gonna send to them or their, their source connecting you through. But with what? When it's a, I am in charge of you and. I'm telling you what to do, and this is when you can go to the bathroom and stuff like that it's like ah, I don't know if I could. 0:06:29 - Anne I don't know, I don't think I could go back to that it makes me think of okay, it's similar to I know I just went off on that on that weird tangent, but that happens sometime, bosses, sorry, um, but it was just a weird like. It just came to me. I was like I could not work for somebody now, so I will do everything in my power to make my business so that I do not have to do that. I think that also was leading into that. But I think isn't that similar to, let's say, I, I pay my money, I get my ticket, I go to a conference, I take these classes, I'm inspired for a new genre, I'm inspired to work with a new coach, and then we come back and, oops, we're by ourselves, right. So now, yeah, it's very similar to what now, you know, we're gonna be talking about is we've got to take the reins and we've got to do the work and it's, it's now up to us, and we're not necessarily having that coach or that director saying, okay, do this, do this, do this. Now we've got all of this energy and this motivation. How do we cement that and you know, and and start to just really move forward on that? 0:07:27 - Tom right. The trick is if you want to be the vo boss you need to learn how to be your own boss. Yeah, yeah, you know it's empowering to like be the boss. Yeah, I'm a tough boss. I'll tell you that my boss is a jerk my boss, I would say my boss is a bastard oh, I just said that oh. I had another word in mind, but I didn't use it. 0:07:49 - Anne I'm not sure if we'll bleep that out, but yeah woo, I'll tell you what. I've never worked for a harder boss, but isn't that true? 0:07:57 - Tom yeah, yeah, I'm hard on ourselves. I'm pretty real, I'm I'm often pretty relentless and I have to be because I have this bad habit. 0:08:05 - Anne It's called eating and and having a roof over my head, yes, and not living in a cardboard box, yes, yeah, you know. 0:08:14 - Tom So yeah, the motivation is like there's no net yeah, you know what I mean. If I don't audition for this, there's a 100 chance that I'm not gonna book it well, yeah, and I think that's what propels me for sure you know what I mean to get work done, I mean right the fact that I need right. 0:08:30 - Anne I need to be able to pay the mortgage right, and that's the, and that's a. 0:08:33 - Tom That's a great point, anne, is that different people need to find different motivations. To stay motivated when you are alone in your booth talking to yourself? You know, so that's a big part of you know I talk about effectiveness. There's a difference between talent and effectiveness. There's a lot of talented aspiring voice actors out there with interesting voices but like I have an interesting pen, it doesn't make me an author, you know. 0:09:02 - Anne I own a wrench. It doesn't make me a plumber, so having talent, voice doesn't make me effective. Yeah absolutely. 0:09:11 - Tom You know, because no one's going to get discovered, you're not going to get your big break. It doesn't really work that way. 0:09:16 - Anne It's what you do with that pen that matters. It's what you do with that voice that matters. 0:09:20 - Tom Exactly and consistently. Yes, absolutely so when you get home from that conference and you've got all that positive attitude. That's great If you can bottle it and put it on a shelf for later. 0:09:30 - Anne That's great. 0:09:31 - Tom But when you get home, it's about what can I do to be effective today, tomorrow, next week, month, quarter year, two years, five years? And I'm not necessarily talking about writing a business plan, which is something I do do as the, as the video strategist, but it's about how do I think about myself to stay motivated. How do I think about and understand the voiceover industry? So there's a reality, because that's the other thing and, as you know, people coming into the industry have no idea what the industry is. They just have this odd preconceived notion of what it is. Oh yeah, I talk interesting. I got to just get an agent and then they'll just throw Saxa cash at me. 0:10:10 - Anne Exactly and I think, yeah, you don't know what you don't know right. 0:10:13 - Tom You don't know what you don't know. 0:10:15 - Anne And especially not only that is it a new industry for a lot of people, but it's also the fact that there's a lot of people who are very unhappy in their current job situation and get out of that work for somebody else, but then working for yourself is a whole different animal and that really is, I think, where the double it's. The double whammy comes in for those people new to the industry, because not only are they trying to acquire the skills to be a good talent, but now they also have to have good business skills as well, and they're not used to working for themselves or having to go out and market themselves and get work and all those hats that they've got to put on. 0:10:58 - Tom Yeah, I had a maybe 15 years ago here in New York City. I had a 10 minute meet up with an agent I don't remember which one but he said tell me about yourself. And I talked about all the things I do. He's like, wow, you got a lot of hats. And I'm like, yeah he's like but you only have one head and I'm like, yeah, so you kind of to be an effective voice actor, you need to kind of be the Dr Seuss Bartholomew in 1001 hats and have all those hats stacked up on. Some of them, some of them, you can take on and put on and take off, but a bunch of them you have to have stacked on your head at the same time, because there is no job description for being a voice actor. I mean, there is, but nobody knows what it is, until you get here and it's like unlocking these doors and you know, moving these hedges aside and going oh, I need to do, I have to do that. You know it's like. It's almost like a maze, which is the logo of the VO strategist. Now that I think about it helping you navigate the voice over the industry, absolutely. So, navigating the maze of what it means to be an effective voice actor, and staying motivated at the same time. Because, yes, invoicing. 0:12:08 - Anne Staying, staying motivated when you're doing something like accounting. 0:12:12 - Tom Like for me. 0:12:12 - Anne I mean, well, I'm not. I mean, there are some people who love accounting, right, so there's accounting for me. How do there you go See for me? I'm like, oh God, actually I will tell you, tom. So for me, staying motivated while I have an S corp, right, and an S corp is creating all of this paperwork for me and for me, I can't, god it's, and it's just like I need to, either just, you know, be educated about, you know, the entire S corp thing, or I outsource, right. So I think if I had to do all that paperwork and try to understand it all and to stay motivated, it would be very, very difficult for that to happen, and it may discourage me from wanting to have a voiceover business because of this paperwork that I continually have to supply to the government, to you know, support this business, but I, you know, for me one of my solutions is to outsource that right. And make sure that I have somebody that I trust and can go to if I have any questions, that can handle that aspect for me. So if I'll, I know, constantly get mail, mail, snail mail saying you need to provide this information, or you owe us this amount of money, or you need to prepay this or you know whatever that is, and so I literally will just be like, oh my gosh, this is a lot of paperwork. So I will literally scan that in and send that to my accountant, which, by the way, I will say to the to to my dying day, I will say my accountant was my very best investment for this business. I just I can't. I can't do the numbers. 0:13:45 - Tom Right, well, and that's that's a very important point, and is that if you're getting into the voiceover industry, obviously you need to understand what does that entail on you know soft sk…

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    VO Recovery Sep 19, 2023
    Show notes

    In wrestling with life's challenges, recovery and self-care are paramount. Anne and Lau stress the importance of having that one person who understands, who can act as a sounding board without getting overly entangled in the emotion of the situation. The Bosses discuss the significance of discipline in the recovery process and the role of self-care, underlining the need to step back and reassess situations from a different perspective. Tune in to join us in this deep and insightful discussion as we share our personal experiences and offer valuable advice on how to effectively manage challenging times with a robust support system. Transcript 0:00:01 - Intro 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. 0:00:20 - Anne Hey, hey everyone, welcome to the V-O Boss podcast and the business superpower series. I'm your host, Anne Gangusa, and today I am so excited to bring back to the show Miss Lau Lapides. Hey, Lau Nice, to see you Excited to. I'm actually so happy to see you, la, because I have had a crappy week, I've had a bad week. Poor Anne, tell me about it, baby, I've got some cookies. I have to talk about what we can do to help me recover. Oh so, wait a second, are you in recovery? I could be in recovery right now. I mean, meeting with you, la, it helps me. It helps me in my recovery from a bad week. I know, I think it's something to talk about because I mean, look, I'd love to have an amazing week like every day and amazing days every day, but gosh knows that's not always the case. It's not, I swear. Sometimes it happens like one right after the other and literally I'll tell you, I had to say goodbye to a client. That was number one. I was in the process of responding to a client and, gosh, I guess I waited a minute too long and they could not wait for me and I lost the job like in a split second. And I was like, oh my gosh. And then I had technology problems. I had technology problems where literally a cable went bad, but before I figured out that it was the cable, I replaced an expensive part of my camera system and now I have a backup, which is good. So guess what? I bought another camera, but that's another story for another day. So I'm going to be upgrading my camera here, but until I forget out what that simple $9 cable problem was, I literally had every other problem on the planet, like I couldn't access my files. You know, my drives weren't spinning up. I had to cancel a student because I couldn't access their files. It's just been one of those weeks Lau and I'm sure you've had them yourself. I'm sure you've had them yourself. But I thought maybe we could first of all talk about it and number one, to know that I can't be the only one who's had a bad week here and there and let's talk about how we can kind of get ourselves up out of that funk, because I was in a funk Lau. 0:02:36 - Lau I was in a funk, 1970s funk. You're in the VOR. That's what you are. That's a voiceover recovery zone. 0:02:43 - Anne There you go. That's what you are. I need recovery tips. You do. 0:02:48 - Lau You know what it reminds me of? It reminds me of athletes that are top athletes and they do a lot of commercial campaigns. Now on, choose that. Help you recover from those extreme physical wanting tasks if they're doing a marathon of a day. 0:03:03 - Anne And I have those shoes, I do, I have recovery shoes. Yeah, and they're the best Recovery. 0:03:08 - Lau VO what we need. A recovery VO SOS Process, process of some kind I need to pair recovery VO sneakers. There you go. You need an in-house recovery therapist in the booth. 0:03:23 - Anne Well, I did purchase a new camera for this booth, and so I don't know if that was shopping to recover. We're not sure. 0:03:30 - Lau Retail therapy. Retail therapy, I love it. 0:03:34 - Anne That's exactly what it was. But yeah, I will tell you, mentally it was tough and it's interesting because I'm a fairly upbeat person and I think you are too. Sometimes, when things get to me, gosh, it's just in the back of my mind and it gnaws away at me and it affects my demeanor, it affects my performance. Gosh knows I can't come in here and really put my 100% into my auditions or into my gigs because I'm upset, I'm hurt, and that's the thing. It's probably not even that I'm, maybe I'm angry, but most of all I think for me, I take things so personally. Again, it's so hard not to in this business because it is part of our personal brand and so if something doesn't go right, if a client isn't happy or a client can't wait for me, I'm like, oh, you know, I take it to heart and I take it like, oh, they couldn't wait a minute for me, I should be worth that. And what happened? 0:04:30 - Lau And I'm squilling what you're peeling right now. I totally get it. 0:04:34 - Anne I empathize, I'm not sure I've heard that phrase before, but I like it. 0:04:42 - Lau Well, adopt it. Okay, I'll start with tip one. Let's do our top tips on this because I think it is so real, so important and, as you're expressing right now, so heavy on us. When it happens, we can make light of it now because it's a little bit later, but when it's happening it feels very intense and you're a very emotional, caring and very due diligence kind of person, so you may take it harder. So here's my first tip. My first tip is this take a step back and assess. If you can assess where you or myself, if I'm talking about myself where you are at literally in the moment that this is happening. Where am I at mentally? Is this the beginning of the day? The middle of the day? Am I tired? Is at the end of the day? Has it been a difficult week? Has it been a light week? Has this person pulled the rug out from under me before, or is this brand new? And I like doing this kind of an assessment because it helps to intellectualize and analyze when I want to immediately emotionalize. So I want to move that emotion aside and I want to intellectualize it because my reaction to this is going to be very different and unique based on where I am coming from in this moment. So you're saying you had a really hard week. It was a tough week. If it wasn't if it was a fabulous week and everything went perfectly and you were joyful and it happened to you you may have reacted differently. You may have been coming from a different mindset. So my tip one is take a step back, objectify, check in with your mindset and really do a quick psychological checklist. Where am I at in this moment? Does my reaction fit the crime, so to speak? Is it accurate to the level of what I perceive was done to me? And sometimes we find it's not. Sometimes we're exaggerating, sometimes we're hyperbolic about our responses, sometimes we're creating and crafting things about it. That actually aren't even there, based on where we're coming to the situation. So take a breath, take a step back and analyze where I am at as this is happening to me. That's my tip one. 0:06:58 - Anne I love that. I think that's really a great tip, because what I did do to try to get myself out of the funk initially was okay, I saw red flags, and this was not a complete surprise to me, and so I tried to justify was there something that maybe I was not doing or communicating that contributed to this? And of course, I want to say, well, no, of course not Nothing. I actually couldn't figure out where there could have been something that would have gone astray, and so I actually went back and I really revisited all the steps and my interactions and I had seen red flags. And I also have to understand and I think it's important maybe for bosses to understand that you can't please everyone all the time. And that's a tough one for me because I'm that kind of person that really I strive to be liked. I like to be liked, and so if somebody has an issue or a problem, that translates to clients, and so if there is an issue with that, it really affects me personally and it makes me second guess things. 0:08:10 - Lau It sounds like you had two tips right there, though. Yeah, it sounds like am I right that there were two that were together, it wasn't just one tip. 0:08:18 - Anne Yes, it was yes, yes, which I love that. 0:08:22 - Lau I think that's great. So what was the first one you gave? 0:08:24 - Anne So the first one is just to really go back and, if this is an interaction with a client, go back and review the facts, review the emails and a lot of times we deal with clients through email and I really feel that that's hard sometimes to communicate via email and when there's emotions involved or misunderstandings and going back, reviewing the facts to make sure that there was something that you could have stopped or done differently, and then, once assessed, realize that, well, you cAnneot please everyone all the time, and that's a big realization for me. That's a huge one for me. 0:09:01 - Lau You cAnneot please everyone all the time, and the tip you also gave to was to trust your instinct. So many of us are not listening to that inner voice of what the instinct is telling you and pushing you and you have to really pay attention because that instinct is really there for a reason. I'm going to add one more to this and I'm going to say as much as we like to like and we like to be liked and there is a professional likeability factor in sales and in relationships. There certainly is. I don't think the deal or the job relies on being liked. You don't want to be disliked, necessarily, but I don't think that you need to feel personally close to someone or feel like they understand you. It's really much more important that you're providing value to them. And what they're needing and sometimes that feels that perceives as if they don't like me or they're not getting me or they're not whatever, when it's really. How are they processing their information? What are their takeaways and are they actually understanding what you're giving to them? I think a lot of this dislike, discommunication, is based on one party just not understanding the information that's given to them and misunderstanding it, and then it feels like they don't like you when it's really not that. 0:10:23 - Anne I totally, totally agree with you there. I mean, especially in today's day and age, where, again, we are so bombarded with data and chaos and we communicate via text or email and it's so easy to misinterpret that, that's where I always like to get on the phone, talk to someone, and I really believe that a lot of our issues can be solved by just talking to one another and talking to your client. Sometimes that's not possible, whereas in the case of when the client, when I lost the job, I literally you snooze, you lose, kind of thing, and I snoozed for like a minute. I'm like whew, and literally I just lost the job. And they're like sorry, we had to give it to somebody else. And I'm like and then it became. And then it became damn All right. So I want to make sure that next time I'm still on that roster, I'm still top of mind and I'm still there. So I quickly said, all right, snooze, you lose. All right, fine, I get that. He's a busy guy and we don't always know like our clients. They have deadlines, they have pressures, they have stresses, and I think we need to really understand that and not take that personally. And I was like, well, okay, he was under the gun, under pressure to get that job done. I wasn't there to reassure him or say, yes, I'm here, I can get that recording done. I literally responded to him a couple of minutes late and then afterwards he said sorry, I didn't hear back from you. And I said, okay, I wrote back. And I said, well, I'm really bummed and I hope that you'll continue to keep me at the top of your list for next time. And he wrote back. He said, oh yeah, no worries, you are, you are my top talent, you are my top talent roster. So I felt much better after that. 0:12:07 - Lau I gotta tell you and you know my instinct says about that situation, I think honestly this would be a situation I can't prove it, of course, but I think it had nothing to do with you. I think, because of the timeframe you're giving me and how fast that happened, that they went either another direction really quickly, or the job went down, or they're not going to record it, or they had a date change. I honestly, in that amount of time, I don't think they have five other people lined up. I think that I feel that's what. I was like I think it was a logistical thing that happened that he didn't want to get into. He just said oh, all for the best, it's okay, I'm all set. 0:12:41 - Anne And I thought about that too. I'm glad you said that that's what it feels like. I did think about that too, and then I was like, well, that's okay, as long as I'm still top of mind for him and he's still good that he responded and said that. So, and you're right, that makes me think that, yeah, maybe there was something else that happened. I was like it literally happened so quickly and I was like, wow, I lost that and so, oh well. 0:13:03 - Lau But isn't that the case? Isn't exactly that what we're talking about? is that, of course, you felt bad because you wanted to please and you're on that campaign and you have a relationship. You don't want to let people down. I get that. But isn't that a perfect case to take a step back and say, hmm, that happened in 4.3 minutes, so chances are great it didn't probably have anything to do with me. And even if it did, it did. I mean, life happens, but chances are great. My logistical power is gonna tell me. Most likely it's not me. That would be a good place to take a step back and to kind of think in that way yeah Right, and it wasn't meant to be, and maybe it didn't happen. It wasn't meant to be, you're right, you're right, it wasn't meant to be. 0:13:45 - Anne It happened. And so recovery I have to tell you recovery from that one because I kind of snapped back and said, hmm, let me send him an email to make sure, right, that I'm still top of mind and that, so, sorry, maybe next time my bad and looking forward to the next campaign or whatnot. And the fact that he wrote back and said, oh yeah, absolutely made me feel good and so that was helpful to recover. But again, going through like, okay, what could possibly have happened? And understanding that you don't know literally, and especially if obviously I can't get on the phone and say, hey, what's wrong with him right at this moment and we can't do that with all of our clients Some of them we can I think that for us, for recovery, I think it's important to communicate, and so that would be my biggest tip really is, when you are having those bad days and it has to do with clients or vendors or people that you're working with, I mean, really I would say, just go above and beyond to try to communicate your feelings and communicate especially in the business aspect of things, whether you're hurt or not. 0:14:52 - Lau I do feel that communication is key and that's the next tip that you just gave and it reminded me. The first visua…

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    Audition Demolition Sep 12, 2023
    Show notes

    Anne and Lau recently held an Audition Demolition workshop which included a live callback and casting process. In this episode, the Bosses discuss the audition demolition and how it mirrors the casting process. They explain the importance of taking direction well, researching scripts, and approaching every piece of copy as an actor. During a live callback, don't forget to have fun and enjoy being in a room with other people. Anne and Lau also discuss the importance of feedback and how it can help aspiring voice actors hone their craft Finally, we examine some of the memorable people and performances that stood out. The Bosses finish by reminding listeners that our next Audition Demolition is coming up soon! Transcript 0:00:01 - Intro 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. 0:00:19 - Anne Hey everyone, welcome to the V-O Boss podcast and the Boss Business Superpower series. I'm your host, Anne Ganguzza, and I'm here with my bossy co-host, Lau Lapides. Hey Anne, how are you? I'm awesome, Lau. How are you Good? Fantastic, Lau. We had the most amazing audition demolition this past weekend. 0:00:45 - Lau Woohoo, it was super, super power. 0:00:49 - Anne Yeah, I think we should chat about it. Oh, let's go, I'm ready. Yeah, well, for those bosses who are unaware, we created a audition demolition workshop, which is very similar. We did it once before a Lau, but we added a couple of new twists to it and essentially it was to mimic the casting process, the audition process, and so people could enter and they could choose to get feedback or not. They could audition and get feedback, or audition and not get feedback through our Dropbox new application called Replay. Lau and I were selecting a short list after that and ultimately did not announce the short list until the live show, which was this past weekend. I think it was so exciting, Lau. 0:01:42 - Lau It was so fun, it was great. It took a while right. It took us time to get through it. It wasn't a quick deal. It took us. How long was the show, how long did it run? 0:01:52 - Anne A couple hours, it was a couple hours and we had 10 people that we called back, just like in a real audition I was talking Lau about. When I used to drive into LA I would get notice from my agent that said you've been called back and they want to hear you. I would drive oh God, I would drive into LA and go to the studio and I'd see a lot of times I'd see my voiceover friends there. It was kind of nice. It was like a big party. But yeah, we were still auditioning and so I was a little nervous. I think all of us had a little bit of nervous. But we would be called in one by one to read a script and Lau, and I tried to mimic that as much as possible during our weekend, and so people were not aware if they were on the shortlist until they got to the live show and then we announced the shortlist one by one. It wasn't, we announced everybody on the shortlist at once. It basically like as if you were waiting in the studio lobby to be called into the studio to read, and so that's what we did. Everybody was surprised and we had 10 people that we shortlisted and we had them come in and guess what? The client changed the script. Now, we did that before, but that's typically what happens, right, you read an audition and then when you go in person to audition, they have a different script. That's almost always the case, I think, and so we changed the script on them, and I don't know Lau. What were your thoughts? 0:03:15 - Lau I thought it went really well. I mean surprising that I kind of thought to some degree many would fall apart with that and not know what was going on and there would be mass confusion and there would be fire and tornadoes and earthquakes. And Charlton Heston would come out of the booth and then we would be eating alive, right, and then the sea would part. I was like, oh, what are we doing inviting this? But no, seriously. We had some faith in these wonderful talent, and rightly so. They all came through. Everyone came through, I think, with flying colors, and we did. We're good actors, ann. I mean, we made them sufficiently sweat a little bit as if you would in a real live audition. There was a little stress, little tension in the air. I know people were nervous because I saw conversations beforehand flying around on email and in the chat and I love that. I think that that gave it that flavor of a real. You know it was a mock audition but it was a real audition feel, which is something we wanted to mirror for the professional development and education of it. Absolutely, that worked well. I thought that really worked well. 0:04:20 - Anne And I think that it's really good to get yourself practiced in a live situation where you're definitely feeling adrenaline, whether you're nervous in a good way or even a bad way, right, it really helps you to get seasoned and to figure out what you have to do to work out those nerves to really perform well, and I think that that was a good experience for everybody that participated. And I feel that, by the way, and so what? We waited until the very beginning and we said guess what? The client changed the script and then we gave them the new script. So talent did not have a lot of time to prepare. As a matter of fact, I would say the first talent that we called up usually is the one at the disadvantage for this particular show, because typically we're not listening to each other audition. We're going in one by one and it's a private thing and we get private feedback. But this because we wanted this to be an educational experience. We had an entire Zoom room full of people who didn't know if they made the audition and were listening to the feedback live, real time from both Lau and myself, and so that will happen a lot of times. Lau, right in a real situation, you'll have more than one person giving you feedback. You'll have an engineer in there, you'll have a director, you might have a client. You might have more than one person that's offering you direction at the time, and they could have different ideas about the direction. Now, I think Lau, you and I, we think fairly similarly, but there were some auditions where I wanted to hear something different than you did or feedback that we gave was absolutely, I think, different in different spots, but I think overall, we were sticking to the casting specs that were laid out there and that was very similar to a lot of casting specs. That is, make it authentic, make it real, make it, make it conversational. So that's always a task, I think, for talent, and when they're just seeing the script for the first time and even if we've been directing other people, they might be oh my God, they might be preparing. They might not have listened to our feedback, right? 0:06:24 - Lau Yes, yes, and that was the great part of having everyone in the room. That would not happen in an audition most of the time most anywhere but we wanted that educational experience. We wanted people to observe each other's work and get the benefit of everyone's feedback so that even if they were nervous in preparing, they could absorb some of what they were hearing before they went on. And I think that it was a blessing for people to kind of go later and it was also a blessing for people to go first. 0:06:55 - Anne Sure, oh, I agree. 0:06:55 - Lau Because it's a very different experience. I also wanted to bring up, too, our experience, ann, of when we were commenting in the Dropbox and doing all of our feedback, that I heard in the session from a number of people and post via email thanking us that they felt that the feedback was so wonderful, so detailed, so necessary and it was like a drink of nectar for a lot of people that said I'd like to think what you said was authentic and real and that it gave me time, it made me feel special, it made me feel like someone was paying attention to me, that status casting agency status, coaching status and that I could walk away with some real tools, practice tools to work on. Absolutely. It wasn't just about am I good, am I bad? 0:07:46 - Anne am I right am? 0:07:46 - Lau I wrong. It was much more about reminding me that I have a full process here and I can go in many different directions, and I'd like to think that you and I gave as much authentic feedback as we could, rather than artificial feedback just for the sake of entertainment value. 0:08:03 - Anne Oh yeah, no, absolutely, and I'm going to say that I think that what I loved about it is that the educational component that came into it with the feedback and this is the feedback not just during the live show, this is the feedback via Dropbox. The really cool thing about Dropbox Replay and offering feedback there's a lot of times you'll notice that you submit your auditions via Dropbox and you always have to be careful how you name them and there's lots of criteria when you upload an audition. The cool thing about being able to offer feedback for all the people that requested it is that we were able to give feedback along a timeline, and so if there was a particular passage that they did well or a particular passage where they maybe lost their authenticity or we had a critique, we could specify it at the specific time that it happened, and that's something that you don't always get in a real audition. As a matter of fact, usually in an audition you'll go in and read, and it's very rare that they'll offer feedback. They might give you a set of directions to do it again and may not offer as much verbose feedback as we did during the session, and you're kind of left with. Okay, I hope I did good. And so you know, I'm always walking out of the room going well, I think they liked me. I hope they liked me, I hope I nailed it. And a lot of times they will give some generic thank you so much. Sometimes they won't say a word, they'll just say okay, thank you, and you'll walk out that door going gosh, I hope I nailed it. Which is what I love about the audition demolition is that we were able to really go beyond that and really act as like okay, here's what we would offer you feedback for the educational component. And then, when we made our decision Lau this is what I loved we muted ourselves, because a lot of times we're there, live in the studio or we're in a Zoom session and we are being directed and then all of a sudden they're gonna mute and they're gonna talk and we can see them talking behind the glass and you're like okay, did they like that? What are they talking about? And you know, maybe they're talking about lunch, we don't know. Maybe they're talking about my performance. Was it good, was it bad? Oh, my God, what are they gonna tell me next? And then they'll say okay, thank you, we're done. But I liked our mimicking of that. 0:10:14 - Lau And there was a funny moment, though you can't forget to share, that hilarious moment, where we had talked about giving each other a call, a cell phone call, so that we could have this sort of intercom system between the two of us in case we wanna bring up some details to each other or just remind each other about certain cues. I totally forgot, and it was about a quarter of the way through and I said oh wow, I get a call. And I called Ann and I said Ann, listen, because one person didn't show up. I said do you want to have another call back, since we have an open slot? And she's like Lau, everyone can hear you. Right now Can everyone hear Lau? And they're like, and I'm like, that's okay, they'll learn from it, it's great for them. 0:10:59 - Anne There you go, there you go, and here's the deal In a real situation, right? If you don't show up to that casting call, that's it. You snooze, you lose, you're out, and they may make a decision at the last minute to call more people, or they need to hear more people, or maybe they didn't get what they needed from the first audition. Gosh, that goes on all the time. Right, Lau, they recast it because they didn't really get what they wanted. So we did that too which I love it through a wrench in it, because everybody that was shortlisted thought that was it. And then all of a sudden we had a discussion. We said we'd like to call back Actually, we were gonna call back two people, but we ended up calling back one other person, which again added that element of surprise which again hypes up the adrenaline and the nerves. And so I think again, this audition demolition Lau we can do this like regularly, because I think it's a skill that every voice artist should have in their toolbox to be able to be prepared on the fly, work through those nerves and just perform and get that gig and be able to take direction well, right, and no matter how we slice it, of course we're always about process or process oriented people. 0:12:14 - Lau But there is a product, there is a gig at stake and in this contest we had prizes, we had some cash. 0:12:22 - Anne We had cash. 0:12:22 - Lau We had cash we had cash, we had a going on. People were really fighting and cLauing for the real deal. It wasn't just oh, you won, congratulations. It was, let's actually reward you. Who is something real world that you can enjoy, right and people love that. 0:12:38 - Anne I think people love that. I mean, who doesn't love cash? Who doesn't love cash? I mean, that's just as you know, that's an investment in your business, right? So invest in the audition demolition and you can win cash and or swag, and so I'm extremely excited to have offered that. 0:12:54 - Lau I wanna ask what were some auditions that really stuck out for you and why did they stick out for you? I mean, even in the larger pool, not just the short list, but even in the larger pool there were so many unique people. Oh yeah, they were diverse talent very across the board. No two people were the same. What were some of the more memorable people and performances that your audience can learn from today? 0:13:18 - Anne Well, first and foremost, understanding that I'm going to be casting for a particular job and a particular company, which this happened to be University of Phoenix, I had a demographic in mind that I wanna advertise to and I had a sound in my head that I thought would be a good representative of this particular company or university that would be able to sell effectively. And I think that every casting director has an idea in their head as to what kind of a voice they're looking for, which usually ends up in the specs. But sometimes they change their mind when somebody gets creative or maybe interprets the script in a little bit of a different way. And it was always those auditions that stood out to me, the ones that it wasn't like the song that I heard in my head. Right, we were asking for authentic, we were asking for conversational, and those people that could really come into the first few words, that sounded like they had a story, they had a person they were talking to, those were the ones that perked up my ears. And, of course, those that had a very different, a very different sound as well. I mean, I will say I mean I can't say that your sound doesn't come into play here, because, again, we're hiring people based upon how we think they're going to effectively sell our product. Right, what? 0:14:40 - Lau about you Lau?…

    Full show notes at the publisher

    Digging Deep for Powerful Performances Sep 05, 2023
    Show notes

    Have you ever wondered what the fundamental differences are between stage acting and voiceover acting? In this week's episode, Anne and Lau discuss the transition from stage acting to voice acting. The Bosses dive into the critical shift that happens when transitioning from the vastness of a stage to the intimacy of a vocal booth. Anne and Lau uncover the critical components of a stellar voiceover performance. With Law Lapides, we delve into the importance of displaying confidence and command in your acting space, to add credibility and appeal to your work. We discuss the art of 'acting between the sentences' and how connecting with your audience through energy and enthusiasm can create a powerful story. Transcript Intro 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. Anne Hey everyone, welcome to the VO Boss podcast and the Boss super power series. I'm your host, Anne Ganguzza, and I'm here with the wonderful Lau Lapides. Hello, Happy Saturday. Happy Saturday, Hello Lau. Hello Anne, and how are you today, Lau? Lau Oh, I'm excellent. Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh. All right, that's ridiculous, Everyone's like. Why are you doing that? Anne Today's Bad Acting by Anne and Lau. You know, what's so funny is I get this question all the time should I take an acting class if I want to do voiceover? And I always have to say yes. I think an acting class is amazing because we are voice actors. That's why they call us voice actors. However, there are some fundamental differences in, let's say, the different types of acting stage acting on camera and voiceover. I think we should have a discussion on that today. Lau That's an excellent discussion, and you and I both work with a ton of people who are coming off the stage Absolutely, or to a microphone, yeah and need to figure out how to translate all of their knowledge, all of their training, all of really their fabulosity onto a microphone, yeah. Anne Because you're in a different space, number one, and especially because in voiceover you're in a space where you are by yourself, and so the acting has to happen, I think, much more internally, maybe focused, instead of on a stage. You've got an audience, you've got to project. There's just so many things when you're on stage, and I think you're always much grander because people in the back row have to be able to feel the effects of your acting on a stage. Lau And the point of training I mean traditionally the point of training in live theater is to reach an audience without microphones. I mean only in modern times have we been mic'd up. But, 2000 years ago in ancient Greece, in the side of a mountain, in front of 2000 people, you didn't have any microphone. Anne You had your diaphragm. That's what you had. Lau And the natural echoes of the mountain. So, yes, I think it's really important to be able to take acting and to learn different methodologies, different techniques. Yes, to be able to create an emotional reservoir to select from, but to understand that there is a modulation that needs to happen when you're in a technical context, like a vocal booth or in front of a camera too. Anne Yeah, now you've done both. And so what would you say are the fundamental differences from being on a stage to being behind the microphone in a booth? Lau Well, you know, one of the things that I know as a coach you hear this all the time is students will come in and say oh, I know, my director said I need to be small, I'm too big, I'm too large on a stage, you know, my gyrations are large, my sound is large, my energy is large. Okay, how do I get small? And I like to say let's switch that vocabulary up, because it's not really about big and small, so much is. It's about the context of your situation. So think about this, rather than large and small, think about what is private and what is public. When you're private, your natural instincts is to get a little quieter and to soften your physicality and to bring your energy in and to do all the things that we naturally do in a code. Switching situation versus, if I'm out in the park and I'm trying to get my kids attention and I see my friend across the park and I got the group there, I'm going to get really loud, I'm going to get a little bigger because I'm trying to transmit across a larger context. So I like to start in from a place of privacy versus public. And now in these times, in contemporary times, we are private, so to speak, we're private, meaning we're in a room, we're in a little room talking to someone when in Shakespeare's time, there was nothing private. You always had people around. Anne And I think, though, bosses, we can't mistake private for being quiet, like quiet in terms of your energy, or quiet in terms of even your voice, because I'm not saying you need to be loud, but you don't want to be super quiet or careful either. The microphone is going to be picking up every nuance of your acting, and I think that when we say to maybe make it private, we're thinking in terms of context, of where you are. So if you're on a stage and you need to kind of reach the people that are far away, from a distance, at the back of the audience, I think that's a different energy than here in Arbus right, where I still feel like if you're doing animation or you're doing video games, you do have to have the energy to go through lots of different physical, maybe altercations. Whatever might be happening in the scene, you still have to react with the same energy. It just may not be the same volume. Lau I'm glad you're saying that we're in energy, because I think that people can note being more intimate or more private or, in that scenario, smaller if you will, as being less energy, be quiet and it's not, yeah, no, it's probably more energy, right the? Truth is it can take more energy. Yeah it can be more exhausting to keep the intimacy held versus to just let it all out, right, right. And so that's kind of fascinating when you think what do I use that for? Well, if I'm doing an Advil commercial, or if I'm doing an episodic where someone is in murder, or if I'm doing this, how do I hold the intimacy and the intensity of the scene? Yes absolutely, and it's like within all your muscles. Your muscles are holding kinesthetic memory of emotion, sure. Anne I also big, big difference as well is those scenes are no longer necessarily in front of you or on the set, or bouncing off a colleague or a fellow actor. They are now all like in your head. They are all in your imagination, and so you are reacting to those scenes through your own imagination, and I think when you are behind the mic, you've got to really be energized with your imagination to create a scene and not just create the scene. I think it's so easy to create a scene, but it's really difficult to stay in the scene, especially when you're sitting here behind the mic by yourself, right, and so to keep that scene throughout your storytelling is something that I think a lot of voice actors struggle with Is a huge control factor involved, and I don't like to think of it as a control. Lau We don't really control very much. But how do we manage a scene, how do we manage a script, or manage the longevity of copy and hold on to the closeness, the intimacy, the quietness, if you will, while being full-powered, intense, high-energy, fully connected? That's where your training comes in. I mean, that's really where it is. Anne And in addition to that, is being able to be in a scene and continue that scene and actually have movement in the scene throughout your script. Right, you've also got to create that scene. There's so many times that we will get a script and there'll be nothing else except for the script in front of us. I speak from a place of doing a lot of not just commercial, but doing a lot of corporate narration, where a lot of times people are like it's talking about corporate responsibility. What scene is that? How do I create a scene? And I'm like well, you have to really think of a logical scene in which you would be responding with the words that are sitting here in front of you and that for a lot of students becomes almost like oh my gosh, I can't even think to that level. But if you do think to that level, and especially because we are storytellers and I think we need to be storytellers no matter what we do, I mean, I think there's no way that any one of us can get away with just reading a script nicely anymore. We just can't. Maybe we could do that before. And I'll tell you what it still happens. Right, I'm not here to say you're not going to get paid. If you just read nicely, that still happens. However, if you want to elevate your game and kick it up a notch and be able to do all different kinds of iterations of a storytell, right, I say, get yourself in the scene. And before you can even do that, you've got to create the scene in which the words are logical, right and realistic, because there'll be people that will say to me in corporate narration, no, I would never say these words in a conversation. And I said well, you have to make the scene in which you would say them in a conversation, and sometimes that takes a lot of imagination. It takes a little bit of research, right, to say, well, you might be talking to an investor about this and you might not word it in this particular way, but maybe you would. And so maybe there would be some words leading up to the copy that will make that copy sound more logical, right and more believable. It has to be believable what you're saying. And I just find that most people it stumps them. We'll spend probably 10 minutes taking a look at the company, taking a look at the product, reading, rereading the lines so that it makes sense. Now, why? What does this word mean? What is it talking about when you're talking about the elements? Is it the air, is it the wind, is it the sea? What are you talking about? Where's the scene? And so really, it has to take an in-depth look at the words on the page and try to make an understanding, or try to understand why those words are there, because obviously somebody was paid some money to put those words on the page. They have a scene in their head, right, they have a scene in their head that's very, very logical. Lau So we just have to come up with that scene that's logical to us so that we can make it believable and tell the story, and that's exactly why taking acting classes is just your best friend, because acting, like anything whether you're doing vocal work or singing or speech work or accent or dialect work is your toolbox of options, choices. You have a lot of choices. I mean as an instrument and creating sound and meaning and using your breath. You have a lot of choices where you want to go with that, and so it's just options and choices. I don't like to think of it all in a very boxy way like, oh, I'm big, I'm small, right, I'm wrong, I'm in, I'm out. That's a very sort of non-nuanced way of looking at things. Acting is about nuances. It's about small moments in life. It's not always about big, dramatic moments, right, a lot of our moments throughout our day. Think about this, listeners, think about this how many moments in your life, in your day, are that big? Oftentimes you're reading emails, you're dealing with contracts, you're answering the phone, you're feeding your kids, you're feeding your dogs. They're small, nuanced moments. They're detailed moments and if you don't go through the details, then the job isn't done fully, it isn't done well. I like to think of acting that way. It's not like am I big while I feed the dog or am I small? No, I have purpose and I'm thorough and I'm detailed about how I mix the water with the wet food and how much dry food I put in and what kind of bowl I put it in. So the actor, the vocal actor, has to pay attention and be observant about the nuanced choices that you're making and just trust that. That's enough. You don't have to be big, you don't have to do more, you just have to fully, fully do that. And I want to call attention too to our friend Konstantin Stanislavski, one of the most famous directors, I think, in the world, russian director, who wrote an actor prepares, and everyone should really be reading that because it's about the magic if. The magic if is what if I was a king? What if I was the president? What if I was a CEO? What if If we could say that and really believe it? Then we wouldn't have as many questions throughout about credibility. Because when I'm taking a role, taking a part, looking at the script, analysis of it, I'm immediately adopting the ideology that this could be me, rather than oh, I wouldn't say that, or I haven't lived that, or I don't really agree with that. Anne Don't judge it. Lau Don't judge your copy. You were just talking about that before we got on air you can judge in your own world, but don't judge your copy, because then you limit your choices when you do that. Anne I love that. I love that you said that, because that really helps me to explain to someone who will say to me but I would never say it, because I'll be like, look, I want this to be believable, I want this to be authentic. I don't want you to just read me the words, I want you to feel them and express them. And they would say but I would never say those words. And that's such a great response. Well, no, don't judge the copy like that. Really right, you must create the scene in which you would say that, in which you would be believable, in which you would be that character that could say that I love that. That's a deeper perspective, even. Lau It's a really deep perspective and if you can shift the paradigm of your mindset for a moment, to say, I may not say that, I wouldn't say that, but if I had the right context I very well may say that, absolutely, would say that and that's a big key if I had the right context or situation Right. Anne And you have to create the right situation, create the right context for the opportunity to say those words and then it will become believable. And this bosses out there does not take a minute. I think the days of people running into their studios and doing an audition in five minutes, first of all, that should have never happened. Anyways, I feel like you've got to spend more than five minutes understanding the story of the script that you're telling. And if it's not obvious to you, right, what that story is, and if it's not given to you, most of the times it isn't I mean, sometimes it is. If you are fortunate you'll get a storyboard right, you'll get a storyboard with that, but a lot of times we don't, and specifically in any kind of long format narration, we probably don't get any kind of storyboard. So we have to figure out well, what if I'm talking about corporate responsibility? Okay, here's like one of the driest probably most people would say the driest topics around for a company Corporate responsibility. How do I tell the story of that? Well, you tell the story where you are the founder of the compa…

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