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| Lucien |
 Posted: Fri Sep 09, 2011 7:33 pm |
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Joined: 14 Dec 2007
Posts: 182
Location: Los Angeles
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| ... A common request in the booth. I tend to find after the first two takes, I have to 'search' more for an approach which will be sure to land differently on the ear. Certain times I'll use a mechanical alteration as opposed to an organic one ("Well, what if I emphasized that word instead...") if I'm worried about being chastised for a take sounding too similar to another, while at other times I just throw that caution to the wind and figure "I can hardly remember what I did before, so whatever comes out of my mouth will probably be slightly different" and just try to amuse myself with the delivery. Do you have a particular way of working through this particular direction? |
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| CB |
| Posted: Sun Sep 11, 2011 12:27 pm |
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Joined: 14 Dec 2007
Posts: 905
Location: HERE!
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I'll usually try to deliver precisely what the director seems to want for the first two takes; and if I believe at least one fulfills required expectations, do whatever strikes me interesting to offer for the third (often involving an instinctive re-write at the same time, to better suit my personal sense of the characterization). The best directors nearly always choose the third; whereas those with dictatorial tendencies and a dim view of collaborative creativity will hammer away at re-performing that second "officially prescribed" take for another couple of rounds, until their concept of particular phrase or line has been precisely etched in microprocessor stone.
Of course they do "humor" us by allowing actors to "get it out of their system", so we won't feel "undervalued" and lose required levels of confidence to perform our duties with positive enthusiasm - but you can tell that the recording has already been mentally "paused" at that point, and all you can do is deliver the best mechanically polished version of that director's own concieved performance you can muster, and consider it properly paid labor as a professional voice puppet for the day. There are far worse ways of making a living - so why not just do it, and hope for the more personally fulfilling assignments to balance it all out later? If you stick with it, eventually you get to do practically every kind of performance imaginable - as long as you don't let the frustration get to you along the way. |
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