Writers in the Recording Studio - Professional Techniques for Video Game Writing - page 109

artwork, and the actual game if it's available as a demo. Mainly, you just want them
to understand the context of the gameworld and the character they'll be playing.
Usually, you can't expect that celebrities will return to make any corrections, so
you need to be especially diligent to get it right the first time. Don't act like a fawning
fan. Don't invade their personal space. Personally, I don't even think you should ask
for autographs. If there's a voice director there, you may not even need to engage the
celebrity at all, except perhaps to offer to answer any questions they may have about
the script.
Just remember that they're just people. If you find yourself getting nervous or
flustered in the presence of a star, try the old trick of imagining them without any
clothes on. Unless you're working with Jabba the Hut. Then you probably don't
want to do that.
How to Direct Non-Actors
Non-actors require the same kid gloves you were using for the celebrities. First of
all, they'll probably be very nervous. Step in a recording booth sometime with ten
people watching you through the glass. It's intimidating. So you need to relax them.
Take the pressure off. Talk to them for a bit. Show them artwork. Show them the
game. Get them excited about the process. Sometimes it's helpful to direct them
from inside the booth, so that you're not talking to them through the glass. This is
especially true when you work with children. With young children, it's sometimes
helpful to arrange the microphone very low, so they can stand or sit on the ground.
Sit next to them. Have their parents in there as well. If the kids are too young to
read, you're going to need to read to them and have them repeat the line back to you.
With preschool kids, it's perfectly acceptable to give them line readings.
It's often helpful to have non-actors turn the script over and forget about it. Have
them ignore the words on the page and simply talk to them. This is a very useful
technique when you're working with professional athletes. Basically, all you're doing
is interviewing them. Subtly steer them towards the main ideas in the script. Get
their responses in their own words with their natural inflection. (This technique can
also work well with regular voice actors who are having a problem sounding natural.)
Sometimes after they've done this for a bit, they can bring that same attitude to the
words on the page. You usually won't be able to do many takes with non-actors. The
more takes they do, the less spontaneous they sound. Plus, they just start getting
nervous, because they feel they're screwing up. You will either get what you need
quickly, or you won't get it at all.
Microphone Techniques
Professional voiceover actors already know most of the microphone techniques. If
you're directing a novice or a non-actor, you may need to offer a little instruction.
Here are a few of the more basic techniques to remember.
Actors should stay fairly close to the microphone (between four and six inches
from the mike). If they're too far away, you'll pick up too much ambient room noise,