Writers in the Recording Studio - Professional Techniques for Video Game Writing - page 106

is great, as long as they don't derail the story or turn a three-word exclamation into
a long monologue. It is the writer's job to note the changes and include them in
an as-produced version of the script. In most games, dialog is not just spoken but
shown on the screen in subtitles. The subtitles need to reflect any changes made
during recording.
For all those reasons, the writer's presence at the recording session is essential. The
writer can often be an exceptional resource for the voice director and the recording
engineer. Just remember that as the writer, you're not the one running the show.
Time is money, and your job is to help speed things up. If your presence starts to
slow things down, next time you may find yourself persona non grata.
When the Writer Is the Voice Director
Occasionally, the writer may also pull double duty as the voice director. Sometimes
they have experience in this area, but for the purpose of this chapter, I'm going to
assume that the writer reading this knows bupkes.
David Mamet, the award-winning playwright, screenwriter, and director, had
this to say about directing. “What is the scene about? What does the protagonist
want, what does he or she do to get it? The scene is over when they get it.�
To play a scene properly, the actor needs to know what the character wants and
needs. Someone only says or does something when they want something specific. It
doesn't have to be a selfish want, though it often is. It doesn't even have to be concrete.
The character could want revenge, a cup of coffee, a legendary treasure, acceptance,
sympathy, love,orabathroom. Whateverit is...everyword, everystatement, every
action is made for a reason. Even if a character only says, “Hello,� he or she says it
for some purpose. Maybe he wants the person he's greeting to like him or fall in love
with him. Maybe he wants to sell the person a used car. Maybe he just wants to
capture the other character's attention at a party. Every word needs to be motivated.
If the actor is doing a monologue, he needs to know who he's talking to. Give him
someone specific. Or let the actor choose someone specific. His mother. His brother.
Whoever and whatever will elicit the proper emotion. The actor needs to know his
motivation before he can begin to deliver a believable performance.
Tips for Eliciting Believable Performances
Constantin Stanislavski, co-founder of the Moscow Art Theatre and one of the fa-
thers of modern acting technique, said, “The language of the body is the key that can
unlock the soul.�
Stanislavski focused on the development of artistic truth onstage by teaching
actors to “live the part� during performance. He created a system designed to train
actors to work from the inside outward. One way to find this truth is to physically
manifest actions, and those actions in turn elicit emotions. This is a very effective
technique for voice actors. Voice acting is not just about using the voice but the
entire body. The best voice actors are very expressive and physical. They bring that
physicality to their performances.