Interview (Part 3): Tasia Valenza, Voice-Over Artist
From TV series to videogames, voice-over acting to commercials, Tasia Valenza has had a long and successful career in the entertainment business. In that time, there have been many changes, but one thing has remained constant: Movie trailers almost always feature male voice-overs. In fact, Tasia is one of a handful of women to have had her voice used for a movie commercial.
I recently interviewed Tasia about her career, what is involved in her job as a voice over artist, and some of the unique challenges women face in her line of work.
Today in Part 3, we discuss a movie trailer Tasia voiced, one of a handful featuring a woman, and get some insights from Tasia for writers based on her experience as a voice-over artist:
Scott: What I hear you saying is in all other areas of voice‑over acting like commercials and promos, oftentimes the people hiring don’t even specify gender, so as a result there’s a lot more equality there in terms of male-female hires.
So what’s the deal with movie trailers? You mentioned one time in an interview, you thought their attitude was, “If it ain’t broke don’t fix it.” Is that pretty much what’s going on there?
Tasia: You’re referring to a BBC interview I did on that subject.
When I asked a friend of mine who was in the business on the marketing side, why he thought women are not used in trailers, his response to me was that there is so much money being spent on campaigns, hundreds of thousands of dollars. When you’re talking that much money, nobody wants to take a risk on an uncertain outcome. Trailers are really one of these the last hold outs in the area of the voice-over industry that still had a way to go. With that said, I just auditioned yesterday for one so you never know. I’m an optimist! (laughs)
Scott: I guess it’s one of those things where something has to come out and prove it. You did an ad for the movie Piranha 3D and it’s very effective. You start with this kind of sensual voice, then as the action increases, your voice goes into a thriller mode and they add an effect to increase the tension.
Tasia: Right they do an effect on it, which was really fun.
http://www.youtube.com/watch?v=7LmqgQA3jhA
Scott: Because it’s so unusual to have a woman doing these voice‑overs in trailers, was everybody aware along the way from hiring you through production, that it was unusual?
Tasia: I think that they had to sell it to the client. I scratched for it, which is, I did a version of it, and they had to then present it. It was exactly what I mentioned before which was, it wasn’t the whole campaign.
Therefore, they had some other trailers that had a male announcer, so mine was an alternative read. allowed for a different style, which was very sexy and scary and great sell, but the whole campaign wasn’t resting on my shoulders. Thank goodness. (laughs)
Scott: It does seem like if you’re trying to target your marketing dollar, the fact some movies like romantic comedies, dramas, or whatever, would seem to lend themselves to having a female doing a voice‑over. If that’s the case, it just makes no sense why people aren’t doing this.
Tasia: From your lips to Gods ears, Scott. (laughs) That’s all I can say. Being around for as long as I have, I’ve become a realistic optimist. I just keep getting up to bat. I keep hoping that if I get up to bat long enough, and I’m in the right place at the right time that we will see more female voiced trailers in my lifetime and yours.
When you do hear a woman’s voice there is an aspect where your ears perk up even more, because everyone’s unconsciously aware, “That’s a woman speaking.” It might actually end up being a very positive thing, since we’re not used to hearing it.
Scott: We can throw down a gauntlet to Hollywood right here. The Heat 2. That should have some women doing voice‑over for at least one of the movie trailers. Stars Melissa McCarthy, Sandra Bullock…
Tasia: The Heat 2 that would be a great way to bring in a woman, since it’s about two women. You could go on and on. I don’t know if you got to see the trailer for The Comedian…
Scott: Jerry Seinfeld?
Tasia: Right. Even in the world of trailers, there’s the stereotype of what a trailer is. It’s shows all the cliches associated with trailers.
http://www.youtube.com/watch?v=fVDzuT0fXro
Scott: I’d like to bring this around to something topical for writers. You mentioned earlier having worked on daytime drama, and writers having to re-frame exposition a billion different ways.
Tasia: Exactly, which really is a challenge as writer.
Scott: As a voice‑over actor, you would be especially attuned to words that you have to say. You don’t really have access to your body visually to use that, it’s literally down to the spoken words. What tips do you have for writers about dialogue, copy for commercials, or video game dialogue. Any thoughts on that?
Tasia: Well, they’re definitely different mediums. For commercials, the writing is definitely taking on a much more conversational read in the last decade and even more so now.
No announcers, very real, as if you’re talking to a friend. I refer to it as the “non-announcery” announce. So that falls on the writer to create that casual style, yet still gets their client’s message across. That takes skill. The ability to write comedy is always an asset, everyone loves to laugh, and audiences are much more sophisticated and savvy.
It’s always a challenge to “make it fresh” And to say “Introducing” in a way that hasn’t been done a million times. Once you get that “Introducing,” it’s very hard to keep the conversational aspect. Which is, again, the challenge as a writer because a lot of times they are literally introducing a product.
Promos and trailers are another art form for writers to capture the essence of a movie or TV show with very little time and very few words.
Narration is very a long form medium. It’s about telling the story and drawing the audience in between the scenes. A good writer has to draw you in and keep you drawn in through the whole story, and keep you from changing the channel.
In video games particularly, I’ve notice it’s getting more like film oriented writing. The games are more and more realistic, with technology that makes it where they are looking very life-like. Especially the ones using Mo Cap technology. They’re stressing real sounding, and non‑cartoony, in all the video games I’ve been doing lately.
In animated series and movies, you have very specific styles that differ from project to project. A Disney style movie is different than a Warner Bros animated movie or a Fox animated show, to Adult Swim, so the writer has to know the different branded styles when he or she submits a script.
I always appreciate good writing, whatever medium I’m working in, but especially games and animation. The challenge for the writer to make it possible, for me to get into a character from the writer’s imagination by giving as much back story and subtext as possible and, of course, great dialogue. Since I can’t convey my emotions through my face, I need to really feel it and give it all to my voice.
Scott: You turned down a successful career as an actor, and now you’re a successful voice‑over artist. Let me throw in my attempt at one of those voice‑over things. [Announcer’s voice] In a perfect world…
Tasia: [laugh] Actually, you have a great voice for voice‑overs.
Scott: Don’t tell me that.
Tasia: I’m not going to encourage you, but you could make a closet there. You can have your own closet, Scott.
Scott: So sans announcer voice, in a perfect world, where do you see yourself in five to ten years?
Tasia: That’s a great question. I really do love doing voice‑overs so much, in that I still feel really blessed every day that I have a job doing it. After 20 years of doing it, it’s still a passion I love to wake up to and do for a living.
I also have a desire to share and inspire with my voice. I’m starting to go to colleges to share about the cool world of voice-over, and I’m giving a peek into the mysterious world of VO. I’m also hoping to use my program as an opportunity to help young people define their voice, both their actual voice and the metaphorical version.
I really want to share that “One’s Voice” is more than the sound and pitch, although that’s really important, it not the only thing. Its how one hold’s oneself and projects to the world who they are. It’s the message that they’re sending out, which they may not realize is not helping them. You can be brilliant inside, but how you present yourself outside is what people first judge you on.
Lake Bell pointedly and hysterically touched upon that idea in her film when she addressed the whole “Sexy Baby Doll” way some women talk and how the were doing themselves a disservice in the process.
http://www.youtube.com/watch?v=sY_6fFdRnik
I’ve also started doing quotes, from people that I’m inspired by. Just for the joy of it and because I love using my voice for sharing thoughts and ideas I’m passionate about and I love inspiring people.
Scott: Is that on your own website?
Tasia: They’re on my YouTube channel.
My website is TasiaValenza.com where I welcome you to the closet. I even have a picture of me in it. [laughs] There I have my sizzle reel which shows a smattering of my range.
Scott: Finally, what advice do you have for young aspiring voice-over actors?
Tasia: If you really want to break into the business, the first thing you have to do obviously is to take some sort of voice-over class, which nowadays is plentiful. There are online webinars with great teachers, or you can take one locally if they’re available. Then the next step is to make a demo, which you can do with a service provided by the schools or coaches, and with technology the way it is you don’t have to be in the same city or state.. And if you’re savvy at Garage Band, you can get an inexpensive microphone and do it yourself. But I recommend still having the demo “produced” in some way by a professional if you want a chance with an agent.
There are voice-casting services where you can join if you’re not in the union. There are so many resources now than there was when I started. Networking groups, videos, blogs etc.
Of course, as with anything you want to master, studying the craft and practicing it, is the most important step, and even the point where” listening” and watching TV in a different way than you might be used to. Most people speed right on through the commercials. If you really want to be a voice‑over artist, you have to actually listen to the style that’s on now, which is ever evolving.
That’s the best way to start learning your skill because as in anything, you have to start your “Ten Thousand hours”.
Thanks, Tasia, for that insight into a ubiquitous part of the entertainment industry.
For Part 1 of the interview, go here.
Part 2, here.
You may find Tasia’s website here.
You may find Tasia’s YouTube channel here.
Twitter: @TasiaValenza.
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