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Lauren McCullough

Female Voiceover Talent

717-281-1991‬

LaurenMcCulloughVO@gmail.com

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History of Voiceover

Halloween Voices: From Evil Prince to Pumpkin King

History of Voiceover

If you’ve ever watched the classic movie The Princess Bride, you can’t forget the villainous Prince Humperdinck. He slimes his way through the movie, providing the perfect haughty foil to the heroes, and gets his just desserts in the most appropriate manner. He’s an excellent example of the kind of villain people love to hate.

The Man Behind the Sneer

Chris Sarandon was born in Berkley, West Virginia. He was the  son of Greek restaurateur parents. Chris Sarandon and Cliffie. He jumped into performing in high school, playing in a band called the Teen Tones. His band toured after high school and backed up various acts like Bobby Darin, Gene Vincent and Danny and the Juniors. College landed Chris at West Virginia University where he got a degree in speech, graduating magna cum laude. He continued to perform, appearing in productions like Music Man as Harold Hill. Chris took his education to a further level, deciding to pursue a masters at Catholic University of America in Washington D.C.. There he majored in theatre, and met his first wife Susan Sarandon. He scored his professional debut in The Rose Tattoo in 1965. Chris and Sarah were then married in 1967. Chris did some regional theatre and worked with some improv troupes before the couple moved to New York in 1968. 

Bright Lights and Creepy Characters

New York brought Chris a television debut on the long running series, the Guiding Light. He played Dr. Tom Halverson in 1973-1974. During the remainder of the 1970’s, Chris was astonishingly busy, both making movies and appearing in plays. Shakespeare and Shaw festivals took him all over the US and Canada. As for the silver screen, Chris debuted in Dog Day Afternoon in 1975 alongside Al Pacino, a thriller Lipstick in 1976, then a demon in The Sentinel in 1977. He expanded his range with the role of Christ in The Day Christ died, a TV movie, and two very different characters in A Tale of Two Cities. By the end of the decade, he and Susan had divorced and he remarried model Lisa Ann Cooper. 

The 1980’s and A Different Kind of Prince

The new decade brought Chris more movie roles, opposite Goldie Hawn in Protocol, 1984, and a vampire next door in Fright Night 1985. Chris added another TV movie, Liberty, to his credit in 1986, which covered the development of the Statue of Liberty. His best known movie role was his next one, 1987’s The Princess Bride’s Prince Humperdinck. Chris didn’t stop there, adding on another classic horror film, playing an investigating cop in the original Chucky movie in 1988. The decade also brought Chris 3 children with Lisa, Stephanie, Alexis, and Michael. 

The 1990s and Pumpkin King

As time passed into the 1990’s, Chris also divorced again, marrying his current wife, actress and director Joanna Gleason. She is best known for her role as the Baker’s Wife in the musical Into the Woods. She is also the daughter of Monty Hall, of Let’s Make a Deal fame. The two met on the set of the musical Nick and Nora, 1991. 1993 brought Chris his biggest role, Jack Skellington in the surprise hit, The Nightmare Before Christmas. 

Director Tim Burton was working for Disney as an animator when he first developed the poem that became the genesis for the film. He drew inspiration from the old holiday specials like How The Grinch Stole Christmas, and Rudolph the Red Nosed Reindeer, as well as the poem, A Visit from St. Nicholas. Burton’s first idea was to create a 30-minute television special, with the narration spoken by the unforgettable Vincent Prince.

He also considered a children’s book as a possible project. Burton began to create storyboards and concept art to flesh out his story and he and other animators at the Disney created character models for their budding idea. When the men pitched it to Disney, they considered the idea, then rejected it as being ‘too quirky’. Burton was subsequently fired, and went on to direct Beetlejuice and Batman for Warner Brothers. Burton discovered in 1990 that Disney still owned the rights for the film. Disney has a clause in its contract that any art or concepts created by their animators belong to the company during the time they are working for the Monolithic Mouse. 

After his commercial successes, Disney was willing to make a feature film with Burton out of the project. Disney chose to release it via Touchstone Pictures at first, believing it was ‘too creepy’ for their mainline children’s audience. Danny Elfman wrote the songs for the movie, and was cast as Jack’s singing voice. Chris was brought in to match his tone in a speaking voice. They considered having Chris sing as well, but he was unable to fit in singing lessons before the production began. 

Chris reprised his role in the Kingdom Hearts videogames, the Disney Infinity video game and a Capcom movie sequel called Oogie’s Revenge. He also was featured in several special Halloween themed events at Disney World itself.

And He Just Keeps Going!

The rest of the 1990’s brought Chris and Joanna some opportunities to appear together, both onstage and in the movies. They appeared in Eddie &Pen in 1996,  American Perfekt in 1997, the stage production Thorn and Bloom in 1998, and the movie Let the Devil Wear Black in 1999. He has continued to grace stage, screen, and movies, with a blizzard of appearances into the new millennium, including roles onstage in The Light in the Piazza, Cyrano de Bergerac, Through a Glass Darkly and The Exonerated.

In the 2015 production of “Preludes,” he played multiple roles that included Chekhov, Tchaikovsky and Tolstoy. He has also appeared in various films with featured parts in Perfume 2001, Loggerheads 2005, My Sassy Girl 2008, a cameo as a vampire victim in a remake of Fright Night 2011, Safe 2012 and Frank the Bastard 2013, Big Stone Gap 2014 and I Smile Back 2015.

Numerous TV show appearances including: ER, Charmed, Cold Case, Judging Amy, Law and Order, The Good Wife, Orange Is the New Black and as the voice of Dracula in Teenage Mutant Ninja Turtles. He has also done voice work for The Wild Thornberry’s, appearing as Myka the penguin, Adventures from the Book of Virtues as Jim Dellignham Young, and The Chosen one as Zebulon ‘Zeb’ Kirk. In his many decades of performance, there has rarely been a year where Chris was not working, and most of the time in more than a single production at a time. 

Chris has said about acting, “Being on stage is a seductive lifestyle. My advice to aspiring actors is think twice. People sometimes go into acting for the wrong reasons – as a shortcut to fame and fortune. If these goals are not attained, they feel a bitter disappointment. Acting should be an end in itself.” and “As an actor, we are, in a way, a mirror of other people.”

Iconic Voices: Tim Curry

History of Voiceover, Voiceover Industry

“Anticip-”

Tim Curry, born Timothy James Curry, is an icon of stage and screen, and the recording studio. Participating in productions as diverse as Annie and Spamalot, every turn he makes is an indelible memory.

EARLY LIFE

Born in Grappenhall, Cheshire, England, on April 19th 1946. His parents were a school secretary, Patricia, and a Royal Navy Chaplain, James. He also had an elder sister, Judith who was a concert pianist. His parents met in Malta during World War 2 and married in Egypt. Judith was born there, and Tim was conceived in South Africa. He was born in England, but before he was a year old the family had moved to Hong Kong. The Curry family moved like any military family until Tim’s father suffered a stroke. Then they moved to Plymouth, near Tim’s maternal grandfather. The stroke did not still James’ efforts, he received an M.A from Bristol University in 1956. Sadly, after another stroke and a bout of pneumonia, James Curry died in 1958. 

EDUCATION

After his father’s death, Tim attended boarding school. After that, he got a scholarship to attend Kingswood School in Bath, England, where he began to act in plays. He also developed his singing voice. For a while, he went back and forth trying to decide which art he wanted to pursue. He spent a gap year traveling around Europe with a friend, and decided to focus on his acting. Tim chose the University of Birmingham for college. At the time it was one of the only schools in England to offer a drama program. 

Academics weren’t Tim’s passion in school. He went through his classes putting the minimal effort. The majority of his time and passion was spent on stage. He participated in as many extra-curricular productions as he could. A story from those days is that one of Tim’s professors wouldn’t let him sit for a final exam because Tim had been absent so often that the professor didn’t recognize him. 

THEATRE

After college, Tim wanted to break into the theatre scene in London. But he faced the classic college grad problem. And in the unique flavor that actors deal with. In order to be in his first professional show, HAIR, in 1968, Tim needed an Actor’s Equity union card. In order to get the card, you need professional acting credits. And in order to have professional acting credits, you need to have the card. 

Tim decided to fudge his resume. He lied and said he had both an Equity card and professional experience. By the time the producers caught on, they were so impressed with Tim’s talent that they allowed him to stay in the show, and helped sponsor him to get his card. During the run of the show, Tim met Richard O’Brien, who would change his life just a few years later. HAIR palled for Tim quickly, and he managed to get out of his contract. 

He moved on to AFTER HAGGARTY with the Royal Shakespeare company in 1970. After that, the next three years were a mixture of small television roles, various productions in the West End, the Glasgow Civic Repertory company, and the Royal Court Theatre, where stardom waited under the spotlight. 

British great Ian McKellen recalls how Tim would come to his Christmas parties in the early 70’s. Tim was mixing with the London theatre crowd at the time. Ian recalls Tim as “the quiet lad in the corner who was a little hard to understand because he never opened his mouth.” 

ROCKY HORROR

In 1973, Richard O’Brien invited Tim to audition for his experimental musical project, called THE ROCKY HORROR PICTURE SHOW. This production would be produced at The Royal Court Theatre upstairs. Tim’s audition song was Tutti Frutti. Originally, the director had another actor in mind for Frank-N’-Furter, but once Tim auditioned, there was no other choice. 

Rocky Horror was an enormous hit, setting off fireworks in the London theatre scene. The show moved to progressively larger venues, attracting celebrity attention. Mick Jagger and Tennesee Williams were two names interested in the show. After several location changes, the show moved to Los Angeles, where it enjoyed a very successful run at the Roxy. Next, the show moved to Broadway, and for some reason, did not enjoy the same success. It closed after only 45 performances. 

Tim was enormously crushed by Broadway’s reaction to Rocky Horror. He retreated to his apartment, and dealt with his first real failure as an artist. He said about that time, “‘I think that was really one of the most formative things that has ever happened to me. I just went home and took out a bottle of vodka for about a month, actually. I sent out for submarine sandwiches and drank and got hugely patched, and then started work again. And I think once you’ve had a really serious failure, nothing can ever be as bad as that again. So you might as well just go for it, because they can’t make you feel any worse than they did before.”

BEHIND THE MIC

Tim Curry didn’t let his failure keep him down. To detail his career over the next four decades would take a far longer article. He was in numerous plays, television shows, movies, and also moved into voice acting. Interestingly, Tim particularly enjoyed voice acting as it gave him a chance to practice American characters. He is so well known as having a British accent that producers wouldn’t hire him for onscreen American parts, so voiceover gave him the opportunity to stretch his craft in a new direction. His credit list for cartoon voices is just as diverse as the rest of his resume. Tim also worked in video games and audiobook work. One of the biggest markers of Tim’s career has been diversity. He has said about his choice in roles, “I want to establish a wide range and play all kinds of parts. It’s that sort of acting career I really respect. I like to turn a sharp left from whatever I’ve done before because that keeps me awake. That’s why I want to be an actor — I don’t want to play endless variations on one character.”

In addition to his incredible range and talent on stage, screen, and behind the voiceover mic, Tim also was able to produce several solo record albums. His youthful ambition to be a singer was given an open door by the success of Rocky Horror. He was able to work with A&M records and produce three solo albums between 1978 and 1981. Tim didn’t find as much success as a singer as he did as an actor, later saying they couldn’t make a ‘greatest hits’ album for him because there weren’t any. 

VOICEOVER AND RETIREMENT

In more recent years, Tim’s health has begun to decline, and in 2012, he suffered a stroke. The stroke left him using a wheelchair He has remained more out of the public eye since, but credits his sense of humor for helping him get through his recovery. “Maintaining my sense of humor through rehabilitation was absolutely vital but not tough. It’s just part of my DNA.” Tim has attended a few comic conventions, table readings, and premiers as he has slowly recovered. However, voiceover remains a way for him to continue to perform.

Tim’s long career and many iconic roles across all media render him an iconic cultural voice. One can’t help but admire the passion and craft that has driven him to choose such a variety of roles from the silly to the most serious. The world will always be grateful for his contributions to the entertainment field. 

“-pation”

ASMR: the coolest high you’ve never heard of

History of Voiceover

What is ASMR? The Autonomous Sensory Meridian Response is a pretty new classification of a sensory phenomenon some people can experience.

It’s often compared to the sensation of using a head massager. ASMR is a pleasant tingly sensation that runs through the head and neck, which can cause sleepy, trance-like and/or euphoric feelings. In fact, a study found that  75 percent of participants felt a pleasurable tingling sensation when they heard people whispering. Some 64 percent felt the same sensation when they heard “crisp or crinkling sounds,” such as fingernails tapping on a metallic table.

Many people realize that they have it in childhood, but have only discovered the name for it in recent years. The name itself has an interesting origin. It sounds like a proper medical name, but it was spawned in a forum group where people who enjoyed the sensation wanted to come up with a name for it. Medical science is currently beginning to study the phenomenon, doing MRI studies to examine brain activity, but there’s no significant consensus as yet.

What does it do? Nothing in particular except feel nice, but it’s nice enough to have spawned 13 million youtube videos, countless articles, and more.  Let’s look at some reasons why this quirky little sense experience is so awesome. 

Diverse Causes

ASMR triggers can have a wide variety of types. Everything from Bob Ross videos, to gentle touch, to the sound of people eating can cause them. If you’ve not been able to experience the sensation yet, don’t worry! There could be a trigger out there for you somewhere. If one video is annoying, there’s probably another one with the stimuli you crave that’ll get you going better than ever. And since there are so many enthusiasts working on creating stimulating videos, articles, and other resources, the internet can help you find everything needed to figure out what your trigger(s) might be. Here is a partial list of triggers via Wikipedia. (But if yours isn’t on here, don’t worry, there’s lots more!)

  • Listening to a softly spoken or whispering voice
  • Listening to quiet, repetitive sounds resulting from someone engaging in a mundane task such as turning the pages of a book
  • Watching somebody attentively execute a mundane task such as preparing food
  • Loudly chewing, crunching, slurping or biting foods, drinks, or gum
  • Receiving personal attention
  • Initiating the stimulus through conscious manipulation without the need for external video or audio triggers
  • Listening to tapping, typically nails onto surfaces such as plastic, wood, metal, etc.
  • Hand movements, especially onto one’s face
  • Listening to certain types of music
  • Listening to a person blow or exhale into a microphone

Also: A 2017 study of 130 survey respondents found that lower-pitched, complex sounds, and slow-paced, detail-focused videos are especially effective triggers.

No Fallout

If you should happen to binge on ASMR tingles, you’ll have no negative effects whatsoever, except perhaps a loss of the sensation for a while. And even that shouldn’t last too long. Watching a tingle-riffic video too many times will lessen the sensation, but there’s always another video out there for you.  If you’re searching the triggers for one that sets you a-tingle, there’s no worries there either, the worst thing that could happen is a touch of annoyance if a sound is not for you. 

Sales benefits

ASMR could possibly be of great use in sales, if applied correctly. It would have to be carefully thought out and applied to a target audience. Since most people’s triggers are different, it would be a challenge to find something that applied to and appealed to a variety of folks, but if there was data that they spent time on youtube for that reason, you might have an ‘in’. However, for those people who don’t enjoy the sensation, the videos or audio can be quite unpleasant, so take care with your possible application! But there are no limits to the way that you can apply and associate yourself with an awfully pleasant thing. 

 

EXAMPLES:

https://www.youtube.com/watch?v=uLFaj3Z_tWw

https://www.youtube.com/watch?v=NKoJDyKo1QQ

https://www.youtube.com/watch?v=kb93N4nxLYI

https://www.youtube.com/watch?v=Yn9q2fS15pA

https://www.youtube.com/watch?v=zqU8ar4gSyI

 

Free relaxation

I mean, who can’t use another way to relax these days? And even better, a method that is totally free? No screen issues, no purchases to stress you out, it’s free, and it can be really fun to discover all the ways the sensation works for you. Anywhere you have headphones and a connected device can become your own personal sensation space with ASMR.

New kind of personal connection 

If you discover that your triggers are related to other people (for example, close personal attention is a common trigger) you can even bring a partner or friend into things and make it an enjoyable intimacy between yourselves. ASMR isn’t related to the sexual response for most people, so anyone you’re comfortable with can share tingles with you! 

Potential health benefits

Although ASMR hasn’t been widely studied yet, there is new info that says it may lower heart rate and improve overall health. Many ASMRists also say that it can ease the symptoms of depression, anxiety and insomnia, so for anyone who has those, here’s another tool to try and help yourself. 

Even the opposite can help

What the essential opposite of ASMR is is called Misphonia, and for those who experience it, finding out that it exists can be a tremendous relief. Misphonia is an auditory processing disorder that causes extreme reactions and anger to certain sounds, such as chewing or pen clicking. Although it doesn’t mitigate the unpleasantness, it can feel like a breath of fresh air to know both, that you are not alone, and that you’re also not crazy for wanting to strangle someone for chewing gum. (Misphonia based strangling, or strangling in general not advocated by the author.) 

Community

There are forums, videos, Facebook, and even meetup groups for those who experience ASMR. Your quirky sensation can bring you into contact with lots of people, and perhaps you can find new friends or just enjoy the common experiences with a very diverse range of people. You never know who you might meet that could bring real value to your life. And if you’re not the socializing type, you can always just watch the community go by.

Always evolving

The world of ASMR is constantly evolving, and there are new videos, articles, and science published all the time. If you’ve ever wondered at the rush of tingles and mild euphoria you get when certain sounds or sensations occur, you can find ever greater amounts of information to scratch the wondering itch.

One of the wonderful things about the internet is that we are able to learn and understand the human mind and breadth of possible sensation far more than ever before. When people who would have never had the chance to meet in previous decades are able to compare notes, we find new threads that bind the human species together, and ASMR is a fun and interesting new discovery. Hope you find your happy head tingles!

SPOTLIGHT: Women in VO Portrait | Jean Vander Pyl

History of Voiceover

A baritone voice draws out the syllables in the classic cry, “Wilma!” Ah, those Saturday morning cartoons. I know many of us spent Saturday mornings parked in front of our TVs enjoying cartoons and a bowl of cereal. The Flintstones cartoons, loosely based on the Honeymooners, premiered in 1960, and Jean Vander Pyl was the voice of Fred Flinstone’s wife, Wilma. She was also the voice of Pebbles Flintstone. But this iconic role was only one of many, and her career didn’t start there.

A Journey in Voiceover

Jean was born in 1919 in Philadelphia John Howard and Kathleen. John’s father had immigrated from the Netherlands, and Kathleen’s family was from Tennessee. She graduated from Hollywood High in 1937, and her aspirations were the stage, not behind the mic, but life had other plans.

She shared in the 1989 Los Angeles Times, “I wanted to be a star in the theater, not radio,” she says. But, after an illness interrupted her plans, Vander Pyl enrolled at UCLA and started working in radio. She promptly discovered that school and radio work didn’t mix. “My sorority sisters told me I had to either go to work or go to class,” Vander Pyl says. “So I said ‘Bye, girls.’ ”

That began a steady, if unspectacular career in radio, doing free-lance voice work for a number of stations in Hollywood. She says her strong points were that she could play everything “from the ingenue to the villainess without complaining or screwing up. Radio was a notoriously anonymous profession. It was considered a second-class art,” she says. “Agents wouldn’t even bother with us until the networks started packaging the shows and bringing more money into it. So I lived without the burdens of stardom.”

The Flintstones and Jetson

As TV came alive and radio fizzled in the mid-1950s, Vander Pyl was one of many voice performers to find work in the new medium. “When radio died, the prognosis was that we radio actors would be out of work because all we did was use our voices,” she says.“But that was wrong. Most of us came from a theater background, and making the switch wasn’t that big a deal. Then a few of us got lucky and got into cartoons.” The idea of making “The Flintstones,” a cartoon that Barbera says was based loosely on the TV comedy “The Honeymooners,” came after marketing experts discovered the audience for cartoons in the late ‘50s was more than 50% adults, Vander Pyl says.”

Early episodes of the show called her Wilma Pebble, and it wasn’t until later in the series that she was firmly established as Wilma Slaghoople. Wilma and her best friend and neighbor, Betty Rubble, enjoy shopping and spending money, and also travelling, in addition to rescuing Fred from his schemes. Also, in the live action movies created of the show, actresses other than Jean Vander Pyl played Wilma, but Vander Pyl was able to have a cameo in the conga line at a surprise party for Fred. (Just behind Dino!)

The original show ran from 1960-1966, and was the first cartoon to hold a prime time television slot. It was the longest running animated show until the Simpsons outlasted it, and has been awarded second best cartoon in history. (Right behind the Simpsons.) The humor of juxtaposing a stone age setting with a mid 20th century modern life has always been a lasting thing.

The Flintstones was not Vander Pyl’s only role at Hanna Barbera. She performed on such diverse shows as Huckleberry Hound, Yogi Bear, Quick Draw McGraw, The Jetsons, Snagglepuss, Captain Caveman, Tom and Jerry, Magilla Gorilla, and many more. Her second most well known voice acting role was that of Rosie, the robotic maid in the Jetsons. She played the original show’s run in the 1960’s, and also during the renewal of the show during the 1980’s.

In Front of the Mic

Jean wasn’t only an actress behind the microphone. She also acted on TV. In live action appearances, she was on many shows also, like Leave it to Beaver, Donna Reed, Father Knows Best, the Beverly Hillbillies, Murder She Wrote and more. She worked fairly steadily until almost the end of her life, her last appearance being in 1995, when she died in 1999. She was the last surviving original cast member of the Flintstones.

In those days, residuals for voice acting hadn’t been implemented as much as they were later, so Vander Pyl ended her days comfortable, but not wealthy, despite the length and breadth of her career. After the run of the Flintstones, she accepted a one time payment of $15,000, rather than residuals. She said later in life, that if she had accepted residuals she wouldn’t just ‘live in San Clemente, I’d own San Clemente.”

At the time, television shows that would remain popular and in reruns for decades hadn’t happened yet, but shows like the Flintstones and I Love Lucy showed the enduring power of the new medium. Actresses like Jean show us how powerful it is to grow up hearing these voices and how much they can be all around us, and we never know who they are. Voice actors can still be relatively anonymous like radio was, but Jean Vander Pyl and other trailblazers like her show us just how much impact you can still have on generations of children’s lives.

Unwavering dedication

To the end of her life, Vander Pyl loved her role as Wilma. She would sign notes, love Wilma, and kept a bunch of Flintstones memorabilia in her apartment. She felt like there was a lot of her own character in Wilma, and was always willing to come back in to work on another project with Wilma in it. This was still true even when Vander Pyl didn’t have interest in other acting any longer. She said, “Two years ago, my commercial agent told me I needed some new photographs. But at my age, I’m interested in working, not in making the drive up to Los Angeles five times a week. Of course, I’d make the drive if it meant getting to be Wilma again. That wouldn’t be such a pain at all.”

Breaking Boundaries: Female Voiceover Talent

Casting, History of Voiceover, Voiceover Industry

In a world of voiceover, you’d think all pipes would be created equal if they sounded right for the job, right? Not always. Our industry has often been very male heavy. For instance, most of the ‘voice of God’ type work goes to men. There are many reasons why this is the case, and the biggest one is the typical patriarchal thinking of our society. Studies have been done that show how listeners typically trust a male voice more than a female one. Resonant, lower pitched voices pique this niche well, coming across as authoritative and trustworthy. But an interesting nuance of technology has helped shape these already-existing perceptions throughout the last hundred years of technology’s march. 

Back in the Day

In the early days of radio, only AM stations were on the air. Broadcasters proliferated, and then the FCC came about to regulate frequencies. To make a long story short, the frequencies chosen for these early radio stations were in a particular band that did not transmit the higher parts of women’s voices well. This particularly affected the consonants, making women’s voices sound distorted and unpleasant. In addition, since there was a wide perception of women’s voices being softer at the time, the engineers would turn up the volume when a woman stepped to the mic, causing the distortion to be even worse. Unfortunately, rather than viewing this issue as a fault in the way the equipment was made, broadcasters and engineers of the time simply believed that women’s voices had biological and psychological faults that made them unsuitable for broadcast work. Women at the time were generally given the advice that they should speak unemotionally and at a lower pitch, which made their voices sound stiff and artificial. Even the march of technology has not significantly altered the embedded preferences, since FM radio with wider frequencies available did not become equally popular until the 1970’s. And as various kinds of speakers and compression algorithms affect higher pitches more strongly, continuing to make women’s voices sound thin and tinny. 

This century’s worth of disdain and distortion for the female voice has had lasting effects, and doubtless has heavily affected the proportion of voiceover jobs alloted to women, and probably even the studies that give male voices as more ‘trustworthy’. And if you consider the women that do high profile work, they mostly uniformly have lower, melodious sounding voices-to sound ‘better’ in this atmosphere of distortion and misunderstanding. Voice talents with higher pitched voices often specialize in children’s parts. 

“In a World…”

In the movie trailer world, producers admit that they just don’t often consider women for the parts cast. John Long of Buddha Jones Trailers says “…his company had worked on dozens of campaigns a year, “and as much as everyone talks about wanting to be innovative and do unexpected things, the idea of a female voice doesn’t come up that often,” he said. “It’s really not part of the formula. Maybe that’s our own shortsightedness.” Actress and Director Lake Bell explored this dichotomy in her 2013 comedy film, “In a World…” in which Lake’s character competes for a trailer part with male voice talent and lands the job. Lake’s character Carol delivers a very fine performance, and she is able to use the role as an asset in her coaching career to encourage new students that they can find a way out of the typical gender boxes for voice roles. Lake was fascinated by the preponderance of male voices in trailer work, with the exception of using Melissa Disney for Gone in 60 Seconds in 2000. She was then inspired to write the movie where a woman had a chance to overcome this prejudice and gain a trailer part. 

Although voiced movie trailers are less common than they once were-studios seem to prefer trailers that show the film as itself rather than someone vocally introducing it-there are still plenty of parts that have to do with a ‘voice of God’ type sound. 

Actress/Producer/Casting director Joan Baker weighs in on the nature of our internal biases and how we can all make choices to discard them and move forward in the nature of sound.“All of us in the industry have the opportunity to discard our biases against female voices, challenge the old voice of God assumptions, and look upon all voice actors with open minds. It’s not a matter of forcing an even split between men and women; that would be as arbitrary as forcing painters to use equal amounts of all colors in their paintings. All I’m asking is that we do what we can to eliminate the thorn of bias and let the chips fall where they may.

Progress is slow, but change is happening

As I said earlier, things are slowly changing. Advertisers are getting smarter about what people want, how they want it, and who they want to hear it from. It’s a slow evolution, but it can be seen emerging as women land roles of mastery, leadership, power, and responsibility. Of course, the voice of God is not gender-specific. In my opinion, the concept is light years beyond the anatomy that produces the tambour of male and female voices. If we want to use “voice of God” as a term, it has to be metaphoric: a voice that moves mountains with the authority of heart, mind, and spirit. It’s the stuff of life, energy, and inspiration. Babies have it when they cry out, long before they can form words. When a baby cries out, you are absolutely compelled to give it your undivided attention. It wakes something up inside you that can’t be appeased, except through your attendance to its call. This is the genderless power of the human voice. It’s bigger than voice acting, but as far as voice acting goes, producers and actors need to catch up to this reality and act accordingly.

TV audiences are ready for a shift

Joan is right, and the industry is changing outside of movie trailers quicker than within. TV is it’s own frontier, and it’s doors are a little wider open. “In television many cable channels regularly aim programming at women, and there has been more latitude in the use of female voices. “We’re all trying to make shows that cut through the clutter and stick out,” said Tim Nolan, senior vice president for marketing at Lifetime Networks. “But for me it’s less about being authoritative and more about being relatable. It’s a big turnoff for TV consumers if they think they’re being sold. Whether the show’s about fashion or drama or reality, it’s about which voice is telling those stories better.”

In testing “One Born Every Minute,” a Lifetime series set in an Ohio maternity ward, the channel found that audiences responded most favorably to a voice-over by Jamie Lee Curtis, even before they recognized her, Mr. Nolan recalled, adding: “One woman said that the voice understood who she was.”

Technology, cultural bias, and the heavy hand of perception has left women’s voices out of certain genre for a very long time. Many of these things have an opportunity to shift now with the trend to look at representation, and relatability as being the cornerstones of good voicing. Let’s hope we can all work together so that balanced representation doesn’t take another hundred years! 

 

SPOTLIGHT: Women in VO Portrait | June Foray

History of Voiceover

When you sit down and read June Foray’s work biography, most people will take a tour through decades of beloved programs. Even if you weren’t born in the decades June did most of her work, you definitely heard her voice in reruns, she was just that prolific. The regular public wouldn’t know her name, but in the entertainment world she was well known for her extensive and diverse body of work. Her work was often compared to Mel Blanc, a virtuoso in his own right, but Chuck Jones, the legendary animator is often quoted as saying

“June Foray is not the female Mel Blanc.

Mel Blanc is the male June Foray.”

June’s work started very early in life, landing her on the radio at age 12, voicing an old woman. She was born in 1917 in Massachusetts, to a Jewish immigrant father and a Jewish descent mother. June’s speech  teacher had a radio program on a local station, and gave June some of her first experiences. Eventually her family moved to Los Angeles, and June continued her radio work there. By age 15 she had created her own radio program called “Lady Makebelieve” for which she was both writing and providing voices. 

June said about her early life,”My mother and father were artistic people. My mother was a singer and a pianist. They enjoyed the opera and the theater and movies. And so they would take us kids to all of the wonderful functions at the Bijou Theater in Springfield, Massachusetts. I wanted to be a stage actress. Then I could come home and impersonate all these people I had seen in the movies. I was an omnivorous reader as well. So, I memorized a lot of classics. The little old lady that I do actually with Tweety and Sylvester, I memorized lines from “The Old Woman Shows Her Medals”. It’s a play by J.M. Barrie. Oh my goodness, I just did so many impersonations of stars, and read William Shakespeare and Oscar Wilde and “The Importance of Being Ernest”. It was a very exciting life.” 

As she got older, she worked steadily in radio and stepped into on camera work from time to time, but her real expertise was in dialects, accents, and just voices in general. She worked for Disney as Lucifer the cat in Cinderella, for Hanna Barbera in the Jetsons and many other shows, the character of Granny in the classic Looney Tunes cartoons, and both Rocky and Natasha in the Rocky and Bullwinkle cartoon. Writing out her entire bio would be beyond the scope of this article, but scrolling through it is a who’s who of animation through the decades. 

Unfortunately, much of this work is uncredited, despite it’s breadth. June herself said “There were never any credits for voices. Walter Lantz was the first one who ever gave actors credit. And now that I think about it, and I look back and see these films I think ‘Who did this? Who did that? I wonder who did it?’ And I think everybody else feels the same way, and it’s a shame. All the in-betweeners, the animators, the directors, the writers, everybody got credit, but the actors didn’t. I guess we weren’t that important. Except we were.” 

And of course she was right. The actors are important. Not only for her fellow voice talent whom she could inspire with her example and talent, but also for the generations of children who grew up with her voice but without knowing her name. 

Bringing June onto Rocky and Bullwinkle was a fine example of the impact of her voice. Although the younger generations may not be as familiar with the antics of that Moose and Squirrel, the show had a cult following and was in reruns for years.

June said about her hiring for that show, “I had already been working at Disney and Warner Brothers, doing a multiplicity of voices. Jay Ward and Bill Scott had this wonderful idea of a moose and a squirrel. My agent called and said, ‘Have you ever heard of Jay Ward?’ and I said ‘No’. He said, ‘Well, he wants to take you to lunch.’ Jay knew precisely whom he wanted. Nobody ever auditioned. He just said, ‘I want June Foray’.” 

And he had her for both the villainous Natasha and the chipper and charming Rocky.

Rocky was a naive flying squirrel, who like Bullwinkle was often fooled by the costumes Boris and Natasha would wear, but the two heroes would always win out in the end. Interestingly, Rocky’s flight abilities started out only like gliding-as a real flying squirrel would-and ended with him able to fly like an airplane or Superman and stay airborne for long periods. The show would have fans and laughter for many years to come, despite having only 150 episodes. 

A major part of June’s life was her love of and support for animation. In the 1960’s she began a chapter of the International Animated Film Association in Hollywood, and later came up with the Annie Awards in 1972 because there were no awards specifically the celebration for animation. In 2007, she participated in the Association’s archive project for cartoon voices. She also sat on the Governor’s board of the motion picture association for two decades, lobbying for an animation-specific award to be added to the Academy Awards. In 2001, they added The Academy Award for Best Animated feature in response to her petitioning. 

June also had a lot to say about the modern trend of putting “big names” in animated movies to gain viewers. “We are all doing supplementary parts while Cameron Diaz is getting paid $10 million. The stars receive millions of dollars for doing voices for animated films, and then there is the poor actor who has to struggle to make at least $15,000 a year just to keep his benefits. A lot of the young people–wonderful, good, solid voice actors–have families and are buying homes, and work is bad for them. Frankly, I don’t think simply because a star’s name is on it that is going to sell the film if it’s not good. You get big stars doing live-action films, and if it’s a flop, their appearance doesn’t alter the basic outcome.” 

Like many actors from the golden age of animation, June worked until almost the end of her life. She continued to work on some of her classic roles in new shows, like the character of Granny from Looney Tunes, and many other roles. In 2015, June suffered injuries in a car accident, and her health declined until her death in 2017. She was 99 years old, and was less than two months before her 100th birthday. 

I invite you to revisit some of June’s work, and share it with those in your life who may not know the story about the woman who brought so many iconic voices to life.

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