Craft over Flash

Some days I think it might be fun to be a casting director.Matching a client with the perfect voice for their brand. Having a front-row seat to the magic when it clicks. Watching the final spot air and thinking, Yeah… I had a hand in that.

But I’m guessing it’s not all that rosy. Auditions can go off the rails in a bunch of different ways, and as a CD, you have to sort through hundreds of them! More often than not, it comes down to choosing craft over flash, and you're looking for a needle in a haystack. There are ways to stay in the "maybe" pile and maybe even score a "yes'.

First, I imagine there’s plenty of frustration when talent completely misses the requested tone. But I get it! There’s a lot of information to absorb, and only so much brain space at any given moment. Still, when the direction is there, it matters. When there’s a lot of it, I’ll pick a few words to influence a take one, and a few other descriptors for take two.

Instead of staying tucked inside the read you know is “safe,” it helps to stretch a little. Not artificially. Not overacted. Just a genuine version of yourself that actually reflects what’s being asked. Remember, they’re looking for your ability to deliver the script they envisioned. They’re not going to change the direction and vibe of the spot just because you delivered it in the read you love.

Pacing is another common miss. Sometimes it’s ignored entirely, replaced again by personal preference. And “enthusiastic” doesn’t automatically mean fast. You can be interested in something without racing. And “measured” isn’t lifeless. It’s intentional, thoughtful, and grounded. Use the space to communicate and convey emotion.

Another tripline is slating. This can be a sandtrap for the uninitiated: extra information added; the slate, if any,  placed at the end instead of the beginning; defaulting to whatever you did for an agent last time, even though this casting is different. You need to be able to execute as requested and that means reading and rereading the directions.

Unless they ask, you don’t need to explain that you’re giving two takes. Trust that if take one is compelling, they’ll stay for take two. And don’t provide your name unless asked to. It’s already on the file. They’ll find you if they like you!   Always, remember that you’re weaving into someone else’s workflow. Don’t buck the system. Just goose-step for success.

And when multiple reads are requested…do them. Being short on time isn’t a reason to skip it. If you’re not sure how you’ll make the next audition different, change the pauses. Shift the rhythm. Alter the speech pattern slightly. There’s always another way in.

Understanding the audience is just as critical. Is the piece customer-facing, or internal? Those are not interchangeable reads.Clues about audience are sometimes hidden in the directions, the title, and even in the SOTs (sound on tape) or the action in the piece.

Overproduced auditions are an imagination killer. It’s one of the clearest places where craft over flash quietly wins. Heavy compression flattens dynamics. Noise reduction introduces artifacts. EQ reshapes your natural tone. De-essing can dull clarity. And adding music or effects when no one asked for them is, frankly, careless. You want the CD envisioning your voice over placed neatly in the production, not wondering what you’re trying to hide.

What they want is simple: proof that you know what you’re doing. That you trust your voice. That you understand the workflow. That you’re coachable and that you’re safe to put in front of their client. Bonus points for working quickly and saving time!

When those things aren’t present, it signals a lack of restraint and professionalism, and that makes trust harder.

The talent who book consistently tend to do the same things over and over.

1. They read everything twice.

2. They treat direction as gospel.

3. They deliver clean audio.

4. They let the performance do the work.

5. 
   

Craft over flash. Believe me, good auditions WOW them without all the extra stuff.