AC: Voice over actors definitely need a reel. But if he or she doesn’t have a reel, what’s a good place for him to start creating the reel?

Paul Liberti: I would like to clarify: it is 2010, actors need a DEMO. Reels are something we had in the 70s and 80s when they actually were ‘reel to reel’ tapes. That term ‘reel’ is going away more and more. If you want to seem current in the business, an actor does a ‘demo’—not a reel. I also have people ask me, “Can I send you my demo tape?” They mean CD but they just gave away how long it’s been since they marketed themselves as a voice actor!

It is AMAZING how many actors produce their first demo, send it to me and when I ask “How many other demos have you heard before you made this one?” The actor has usually heard few—or NONE!

The first step is to go to a web site like www.voicebank.net and hear great working demos. You can find any actor on either coasts that has an agent on the site. Listen to what is good, hear what is bad, hear what works and learn what is current.

To only hear demos that your coach has produced is shortening your sights. Listen to demos from the best voice actors out there. Pull up star voice actor names like Ruby Dee, Tony Roberts, Richard Dreyfuss, Demi Moore and hear what they are using as a demo as well. Those are the people you will be compared to. Not because you sound like them but because star voice actors are in touch with THEMSELVES and sound like no one else.

The same is true for you: tap into the truth of who you really are! That is what I explore in my New York voice over classes!! LISTEN! Learn all you can and be READY to do a demo when the time is right. Don’t just do a demo to get one done. That demo may stay around a long time, even after you grow and improve!  Know who your competition is!!

Paul is currently co-leading “Professional Voice Over Tune Up” on Mondays at 6:30 pm. Click here to learn about the next class he will be teaching.

Learn more about voice-over work by taking one of our voice-over classes in New York. Check out the tabs at the top of this page.

by Tony Nation

When you do a student film, it’s going to be usually for NO PAY. You’re doing it for the experience, credit and a copy of the film. But sometime’s getting your footage so you have something to show New York casting directors can be a pain in the #$%.

So, my advice to you-get it in writing. Draw up a contract that you and the student director sign saying that for your time and effort, that you will receive a copy of the film by a stated date. When you have a business contract, it provides leverage.

Believe me, I’ve learned this lesson the hard way.

by Tony Nation

It’s a fact!  I know that everyone in any profession is always looking for some secret tip or inside information to help them get that small edge on the competition.

Well, as the President of Actors Connection and also a consultant to actors now for over 10 years, I’ve gathered what I would call inside information because of my relation to pretty much 80% to 90% of the industry. I’ve participated in many, many events with them throughout my years of working at Actors Connection and have kept notes on what I think is some of the best advice as well as information and industry secrets.

So, now I’m going to be sharing with you that information once a week. Don’t miss out on the inside secrets, advice, input, tips and whatever else I can give you to help propel you forward in your acting career. It’s up to you to use it or not.

Insider’s Secret Tip #1

Are you an actor who is looking to build your Film credits? If TV and film are what you want to do, you need to be building your resume and film/TV reel in order to have agents seriously look at you. But how do you do that if you don’t already have much experience in these areas? Or if you’re a musical theatre actor wanting to either transition out of that career or simply wanting to explore other markets?

Some of the best ways to do just this, gain experience, credits and reel is to participate in student film programs.

One of the best film programs around, Columbia University Graduate Film School, now has a film casting site where you can register and upload your picture and resume to meet and work with some of the most promising film makers of tomorrow. Many of these student films go to film festivals and you just never know when one of the directors you have worked with hits it big and wants you in their next indie or feature film because they liked your work—it does happen.

Click here to submit

Dale Brown

A.C.: What three songs do you never ever want to hear again at an audition?

DALE BROWN: I don’t think I really have a running list of “ugh” songs. Nonetheless, there are two things I believe helpful to keep in mind:

• In this age of needing pop/rock style songs in your book, be careful to choose wisely. Select a song that has a story arch, an emotional journey. These songs are generally written to relay a feeling, not an active story. Expect as much from your pop song as you would from those written for theater.
• Also, songs of all types come in and out of popularity to use in auditions. Have an awareness of what songs are tending to be over-done. Give yourself some options in your book in the event you’re hearing your song in the room while you’re awaiting your turn.

DALE BROWN is currently leading a 5-week Musical Theater Showcase that began Monday, January 3. Click here to learn more about the showcase.

Dale joined Tara Rubin Casting in 2007. His current specific projects with TRC include on-going casting for all US companies of PHANTOM OF THE OPERA, and the original casting of both BILLY ELLIOT, THE FIRST WIVES CLUB and Des McAnuff’s production of GUYS & DOLLS.

Looking for teen singing opportunities in the city? Check out our Kids/Teens section.