Becoming a Utility Actor with Nicki Burke

Having a decade and a half in this business, I have gone out for everything under the sun. The training that I do, we go through what I call the archetypes of animation, and there's about 12 to 15 of them. So at any given time, I know exactly what my jump off is going to be doing the research of what these tones of games and shows et cetera are. It's more about who is the audience for this.
(00:27):
Hi everyone, and welcome to today's episode of Mission Audition. Thank you for joining us. Mission Audition is the voiceover podcast where we listen to real auditions from voices members, and we get to hear feedback from World-class of voiceover coaches. My name is Vanessa Community Manager, and I'm joined by my co-host, Tara, senior Manager, brand communications.
(00:49):
Hi everyone. Today's topic is listen, learn, lead, elevate your voiceover game. Today we've got the incredible Nikki Burke, an international voice actor. With 15 years of experience, she's voiced over 200 commercials like L'Oreal, Heineken, kinder Axe, and so many more. She's worked on nickelodeon's the Mystic Cons and collaborated with big names like Ubisoft. Now she's here to share her tips and coach you on breaking into the industry. Welcome, Nikki.
(01:19):
Hi. Thanks for having me. Pleasure to be here.
(01:22):
Nikki, welcome to the show. Your motivation for getting into voiceover was to help those who didn't
know how to get started. Could you tell us a little bit more about what sparked your passion?
(01:33):
Yeah, I was just thinking about how when I got into the industry, there was really not a lot of information out there. As much as I was an actor starting in film and television, everybody wanted to get into voice or I would chat with other people, say voice would be such a cool idea or medium to get into, and nobody knew how to get into it, or it was always, oh, it's just really hard to get into, or it's a really small knit community. And so when I started doing it, it wasn't really that I got scouted at an audition for on camera, and the casting director said, you should be doing voice. And I said, okay, absolutely, let's do voice. So I kind of took the steps in order to do that. But the reason why I wanted to coach is to basically dismantle that stigma and allow people to come in knowing that it's not so hard to break into. You just have to do your homework and go and suss it out. And now more than ever, especially with everything being online and everything being basically worldwide, you can work out the comfort of your own home. Anybody can get into voiceover and there's never been a better time.
(02:41):
I love that. Well, I'm so excited for today's episode, Tara.
(02:45):
Yeah, we're so excited to have you here. Thank you so much. And this is our last recording of 2023.
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It is, yes. Time flies. It
(02:55):
Does. And it's going to be a great episode to end the year with. So thank you for being here.
(02:59): Yes,
(03:00):
Ending it with a bang.
(03:01):
Exactly. All right, let's get into this episode today. So let's look at the creative direction for the script.
(03:09):
This video game gameplay script is for Quest for the Lost Kingdom, the newest children's fantasy video game from Mystic Realm games. It targets young gamers and their parents. We asked for 15 seconds and we suggested that the tone should be adventurous, magical, and engaging. I know it's very exciting. Are you ready to jump into it, Nikki?
(03:32):
Yes, let's do it.
(03:33):
This journey is our chance, our quest for the lost kingdom begins here. There are challenges ahead, but together we can face anything, magic, adventure, and a kingdom to save. Let's not keep destiny waiting. Every legend starts with a single step. Let's begin our quest.
(03:55):
This is a good start, but what are your thoughts on this audition?
(03:58):
Yeah, so I think this was really strong. It was a really strong audition right out the gate, great range, basically while staying within the barometers of who they were as the actor. I think that there could have been a touch more rounding, and all I mean by that is when we're doing characters, we want to make sure that we're putting ourselves into our performance. We're not floating above it. So it's just a matter of just grounding your energy and grounding your choices. And I always say it's like putting on a pretend VR set and being able to see your world. That's basically what is going to ground the performance and give you that last little bit of making it a full three D character, in my opinion.
(04:45):
Such a good visual too, to put on that virtual reality device and just fully immerse yourself into that. And
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Have you worn one of those before? Yeah. You're in it and you're like, this is the reality. Oh,
(04:59):
You're transformed. You're like
(05:00):
Walking on a rope and you're like, I'm full, but you're like in the mall.
(05:04): Yeah,
(05:04):
You're pretty awesome.
(05:05):
It's so cool how you're totally transformed.
(05:08):
Yes, yes, absolutely. I say the last thing that I would add, just because I like to write a little bit of notes while I'm listening to certain things. I would just say making sure that we have active listening going on with our lines. So it's so great to have a full character, have an amazing voice to come in and read something with Cy. But at the end of the day, we really need to be listening to what is happening right before and then reacting. And if we can break down our scripts and our performances like that, it's just going to give you that extra little edge that's going to take you just sending in your audition to a callback or a callback to a booking.
(05:45):
Yeah, that's a great tip. I found this script specifically was a little challenging for a talent, but very realistic for a client because it had one-liners, but there were four different characters within the script. So if you think of yourself, because you work with both talent and clients, if you're thinking from a client perspective, when you do have four different voices in one script, how would you like to hear those four different voices? Would you like to hear them more spaced out, really close together? When you're playing the auditions back, are you thinking, I'm going right to hitting raw audio to your hired? Or do you want to process each voice before you hear the next one?
(06:35):
I would say specifically from, I mean an actor's point of view, obviously as a coach, I like to have pace. I like to have the performance be in the moment because I want to get lost in the story. That's the number one thing for me. I want it to sound like it's going to sound coming right out of the show that we are making or that we're working, whatever. So ideally, this one was hard. You're absolutely right. In the sense of, as the actor, do you use the same voice and tonal quality and come in and do all four lines as one idea, or do you break it down? You would maybe something like an audio book or video game because this is a video game and come in and do different characteristics for each line. If I was doing this
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audition, I would be doing four different characters because I would want to showcase the fact that I'm
a utility actor and I have a wide range.
(07:35):
If you're not a utility actor, which is okay because there's lots of people who do something one thing very, very well, then you would come in basically how person one came in and you would change the opinion and the reactions of what's going on within your ability to have a really strong choice. So I think it's, like you said, it's a little bit tough because both attempts are fantastic and there was no direction in regards to saying four different characters. And I think that's the main thing for the client is, and here's another thing, here's another tip. If you're in doubt, ask. I always ask if I got this from my agent, I would say, okay, are they looking for four different characters or do they want just one read all the way through? Because I would want to go in knowing everything that I need to know in order for myself to do the best job that I possibly could. So there's just lots of elements to this one. You're absolutely right, though it was a little bit more challenging because of that. It wasn't super clear. And on the other side, the world was your oyster for this.
(08:44):
Yeah. What were your thoughts, Vanessa?
(08:46):
Yeah, I found that this one was a little bit difficult too, but the first thought for me is from a client perspective in listening, I was like, I would like to hear four different voices. That was just automatically for me. But if the talent came in with the four of the same voices, but really hit it off, like you said, both attempts could go really well, but I guess it's just based on your skillset, right? If you are really good at doing four different categories and you just hit the nail four different characters, I think that would really love that. But if you came in with one voice for same character, four different people or personas, you could still hit it off in that sense too. But I think it would be confusing for the talent. So you kind of have to go in with just doing what you think is best and what you think the client would want.
(09:38):
Yeah, well, what the client would want, but also keeping in mind where your skillset lies and making sure that you know what you do best and then showcasing that, because I don't always think, oh, I'm going to do what they want. I usually do, again, what I would do, I would probably do one for me and one for them.
(09:58):
And we talk about that a lot on this show. It's usually first take. Well, for you, and this might be different for every coach, but the first take would be how you like it or how you think they would like it. And the first second take would be how they want to hear it, or do you do it the opposite?
(10:18):
Opposite. I would do what the specs suggest, and I would incorporate all the direction. And so it shows that I can take direction, that I can hit the pocket that they're looking for, and then I'll come out with something totally more wacky, crazy, creative. And I'm telling you the amount of times that I've gone in and said, Hey, I've got two options here. One's kind of more in the pocket, and the other one is just a little bit wild. They're like, we want to hear the wild one first, and they end up loving it. And sometimes I
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book that one because at the end of the day, they are also very open and wanting to hear, not all the time, obviously, but some of the time, especially for pilots or new characters, they're very open to hearing stuff that they had. They didn't even know what they wanted. They didn't even know they wanted it until they heard it, basically. Yeah.
(11:10):
Okay. Well, thank you for the feedback on this first audition. I think we're getting there. We're a start all
to a good
(11:16):
Start. Yeah, really good
(11:17):
Start. Alright, let's jump into our second audition.
(11:21):
This journey is our chance, our request for the lost kingdom begins here. There are challenges ahead, but together we can face anything, magic, adventure in a kingdom to save. Let's not keep destiny waiting. Let's not keep destiny waiting. Every legend starts with a single step. Let's begin our quest.
(11:48):
That audition for me, I definitely heard the mouth noises throughout the entire audition. I do appreciate how he gave two different takes on let's not keep destiny waiting because from our experience, and even I myself post the mission audition job every month, and sometimes you don't listen as a client, you don't listen to the entire audition, you only listen to a part of it.
(12:14):
Yes, absolutely. So many good points there. The mouth sounds are legit. My number one dead pee. They're such an, if you don't do anything, please. What do you mean? Sounds Yeah, I good. Thank you. Yeah, yeah. I mean that's kind of a big thing for me. And I do tell all of my students and my clients and people who are working on demos, it is your first line of defense. And I've said in the past, I am not tech savvy, but I will go in and I will spend the extra time and I'll have a clean audition because it's important to showcase your professionalism. And that right out the gate for me is like, oh, you didn't take the time to go and clean up your audition. So just a note, right? It is what it is. And we do notice interesting that you liked the double take of that, the death waiting I, I thought that it sounded like he did a mistake because they were so similar.
(13:16):
If you're going to do two takes of something, they better be different, period. Always say otherwise, what are we doing? It's just filler for the sake of having something extra and it comes out gratuitous. And as somebody who casting or the client is going through all of these auditions, and it's like, okay, I mean, he didn't overly do it, but it's just something to pay attention to when you do not do things for the sake of doing them, make it count. And if it is a mistake, right? If it was a mistake, then edit it out. I was like, he should have edited that out. That's what I thought. What were you going to say?
(13:54):
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So I would love to ask you a question of, so they sounded slightly different to me, but what we do hear a lot from coaches is if they're going to be different, they need to be wildly different. So you need to go from zero to a hundred in two different characters, two different ways. So would you agree on that?
(14:15):
I do agree. I I think that if it depends on the tone of the project, at the end of the day, if you're doing something high horizon, which is like my little pony, strawberry shark cake, that big rounded sound, you're probably going to do something that is wildly different because there's so much room for different stylistics of character. But when it comes to video games, not so much. It's such a grounded filmic performance that if you do a second pass, it's just going to be changing your attitude. It's going to be changing, maybe the stakes of what's going on, maybe it's the sense of urgency. Maybe it's going to be, instead of being scared, it's going to be maybe there's vengeance instead this time. Those types of things. So really digging into the different facets of what the character can bring.
(15:03): Interesting.
(15:04): Yeah.
(15:05):
Okay. That's great. That's a really great tip. Thank you.
(15:08):
Yeah, I would say the range in character, it was lacking a little bit. I'd say he gave one out of four characters probably. He sounds like he'd fit a commercial read or advertisement read maybe. I just think overall he would fit a better on a different script. But for this audition, what last pointers would you give him
(15:33):
For me? So I mean, this is an example of, and this is going to sound harsh, but I don't think there was any work done. I can hear it. There was no opinion. There was no choices. It was somebody who has a great voice, ie. You would hear them in a commercial and you immediately was like, oh, I could hear that somewhere else. Great voice. Just reading a script. It doesn't cut the mustard, it's just too competitive out there. Just can't, you can't just come in and wing it. And it's okay if somebody like this is coming in and thinking, oh, they probably just don't have the tool set yet. And that's fine because a lot of people are just starting out. And I always say the best way to do this is by doing it to try it out. So do I hear potential?
(16:18):
Absolutely. Do they have a tool belt? Absolutely not. I can hear it. There's absolutely no work done in that. And that's my main note. And then the other thing was just, and I do touch on this a lot of the time in my one-on-ones, he was not on his voice the whole time. It was not supported. I could hear there was a loss of breath in there that was happening, which either means he's not taking the, they weren't the breath when they needed to or just kind of mapping out what your read is so that you can figure out, we pick words in our reads and then they carry us through, so we have places to breathe and settle in, but
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keep the flow. So it's just all a skillset and how to break down scripts and create character. It's kind of 1 0 1, and that's okay. People are going to get there, but you do, I always say a doctor doesn't walk into the operating room without going to school first. So you need to train people. You need to train.
(17:16):
And that's a good point too, is like this is why we recommend a coach so much, because even just working with a coach in a session, I'm sure you can learn so much. And this is why we recommend a coach. We have a whole coach page where you're on there. We have so many coaches and there's just a great variety of coaches. And I think personally that this audition, if they had a coach, I mean, I'm sure, I don't know if they do or not, but let's say they don't. If they did, this audition could have been really, really a little bit better, let's say. Yeah,
(17:53):
Absolutely. It's all about just setting yourself up for success with tools.
(17:57):
100%. Alright, we loved that. Let's get into audition number three.
(18:06):
This journey is our chance, our quest for the lost kingdom begins here. Oh, there are challenges ahead, but together we can face anything, magic, adventure, and a kingdom to save. Let's not keep destiny waiting. Every legend starts with a single step. Let's begin our quest. This journey is our chance, our quest for the lost kingdom begins here. There are challenges ahead, but together we can face anything, magic, adventure, and a kingdom to save. Let's not keep destiny waiting. Every legend starts with a single step. Let's begin our quest.
(18:47):
Okay, audition number three. So to me, the first take felt a little bit roller coaster going up and down. I actually liked to take two a lot more, even though it was a little bit more monotone, but I would've liked to see more creativity put into each character for the second take. I think it's doable. I think even if I was a client, I would just say touch it up a little bit here and there, and maybe if they sent it back, it would've been a little bit better in that sense. But he was on the ball with it, in my opinion, sounded more natural. The audio was great, but I loved take two compared to take one. But what are your thoughts on this one?
(19:26):
Yeah, absolutely. I love that he did two takes because I don't think everybody did for this, so this is a prime example of being able to come in and showcase. It was almost like he had eight different characters, which was so cool. I definitely agree that I really did love that second pass, but I did love elements from the first one. So if I was casting this or as the client, I would say, okay, there's things that I can pick and choose from both takes, which is ideal. This would get him a callback. Absolutely. Absolutely. I thought that the act of listening was definitely there. You could hear that with this because of the way the reaction was coming out. And then even in that second pass, it was so interesting to me. There were a couple of characters that were so different than just your regular kind of superhero archetype.
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There was this cool guy in there that I really liked, and his cadence slowed down, and I could see him having a little smirk. As soon as I start picturing what these characters look like, I know you're in the pocket. That's the thing. I'm such a visual learner, as you probably could tell, just from this conversation that we're having. I like to visualize stuff, and when my clients are really in the pocket, the pictures start happening for me and I start being able to see it, and that's a telltale sign that they're on their read.
(20:47):
I like that too, because just, yeah, the visual creates a movie and you're like, Ooh, okay. And then the
second character comes in, you're like, oh, okay.
(20:57):
I think that was basically it, because the only thing that I can think of for this one that wouldn't have, it would've gotten a callback, but I don't know if it would've went further depending on what the adjustments and direction would've been. I don't know if it fits the tone exactly in regards to the kids video game. So I felt like it fit more into a teen adult style, read that type of video game, and I think that's the last little thing that we need to think about is, or usually it's the first thing, but in regards to splitting the hairs between these auditions, they were so good. A lot of them. That was the final factor for me was does this fit the tone of what the direction and the project is asking for? And if this is for smaller children, I almost want it to be a little more animated sounding, if that makes sense. More charactery, right. It was a great read, but I heard it in something else. I heard it in more of a teen style video game.
(21:54):
Yeah, I totally support that, but I find that that's a hard, I mean, maybe it's not. What do you think, if you're given this script, for example, do you find that it's hard to go from having that kid voice or even a toddler voice to the young teen? How do you decipher or do you just put yourself in the situation, put yourself in a teen, I don't know, a teen body and then a toddler body?
(22:22):
I think it's actually about having a decade and a half in this business. I have gone out for everything under the sun with the training that I do. We go through what I call the archetypes of animation, and there's about 12 to 15 of them. So at any given time, I know exactly what my jump off is going to be, but also doing the research of what these tones of games and shows, et cetera are. It's not necessarily coming in and being the toddler because these characters weren't, I can't hear them as toddlers. That's not what I'm saying. It's more about who is the audience for this? And so when we think of younger kids, maybe ages from three to six, even three to eight, maybe that's pushing it a little bit, but this is stuff they're watching with their parents. So we know all of these shows, these pre-K, these preschool, kindergarten, they have a certain type of tone to their characters that's a little bit larger than life.
(23:25):
It's not always so real and grounded. Sometimes it is, but I would say that the difference between callback and booking is pulling out your, what does your preschool character roster sound like? And not everybody's going to have this, I know this. This is kind of splitting the hairs. This is like those, not everybody's going to jump out and be able to do 50 characters right out the gate, but I think that this is a business of always learning and expanding your skillset and trying stuff. And I always say at the end of
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the day, everything has already been done. We're not the beginning of voiceover. Okay, so go do your research. Go and listen to stuff. Go and watch shows, borrow, steal Frankenstein, create your own characters because you're going to have these archetypes in there, and it's just going to allow you to be able to book more things because you're going to have a wider skillset. You're going to be a utility actor.
(24:28):
That is really good advice. I think it's good to jump out of your comfort zone, and like you said, even if you don't book the job, that's okay. At least you tried it. And if it was something that was totally out of your comfort zone, I mean, you never know. You could book it, but I think it is a nice perspective to just try, get out of the animation box, get into other categories in this industry, because there's so much out there,
(24:58):
And if you don't know how to do that, that's why working with a coach is great because they can help you get into those other genres, and you may not even know what those genres are. And then you book a call with a coach and it just opens up a whole new world for you, which means more income.
(25:14):
Absolutely. I always say you, anybody who trains with me, we do start with animation and commercial. Those are the two umbrellas of the whole industry. Everything else falls onto either or, but those are the foundations of voice, and so if you're going to get into it, you don't know if you're going to be fantastic at commercial. Everybody's like, I want to do animation. Great. I'm also going to throw a commercial at you. Why? Because commercial can subsidize animation. How lovely is that? Commercial's really fun once you figure it out, it pays really great money, so why not do commercial book a couple gigs, and maybe that pays for your training or that pays for your demo or allows for the interim of while you're attempting to book animation. Because animation, let's face it, it's like feature films as a film and television actor as well. I'm not doing a feature film every week.
(26:06):
Yeah, you're not.
(26:08):
I know. Not yet. Anyway's, surprising. 2024. Yeah,
(26:13): Animation
(26:13):
Does. Oh, you're getting there. Yeah, you're getting there. I mean, from what I read on your bio, you're
killing it.
(26:19):
I love it. Thank you. Yeah, always a work in progress, but I just think the more fingers you have in multiple pies, the more opportunity you have to book stuff and just open up your range, and you never know if you're going to be good at something until you try it.
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Totally, totally. Okay, we're getting into the last audition. Time was going by fast.
(26:43):
Time flies when you're having a great time.
(26:45): I love it.
(26:46):
Okay, let's get into audition number four.
(26:51):
This journey is our chance, our quest for the lost kingdom begins here. There are challenges ahead, but together we can face anything, magic, adventure, and a kingdom to save. Let's not keep destiny waiting. Every legend starts with a single step. Let's begin our quest.
(27:18):
Let's kick this one off. I feel like there is so much to talk about. Nikki, I'm going to pass it over to you.
Why don't you kick us off?
(27:25):
I didn't want this to end. I was like, oh, it's done. Oh, I want more. And that's pretty much what you want to happen with an audition. I was just like, wow, this is so lovely. So a couple of things right at the gate, just coming off of what we're talking about with the last one in regards to tone for the specific project and what it would be. This is what I'm talking about. This fits that tone. That's for a younger audience that's going to bring them in. They're going to be interested. It's fun. It's very animated, very high horizon, bubbly, sound, rounded sounds, as I like to call it. But they didn't come in and just do one note. They really crafted all of these different characters. It's almost like they all had these different personalities, and I could almost come in and label them as the leader or the shy one, or the one that, the kind of skeptical one or the smart one, right?
(28:21):
The nerdy one. And so this is what I'm talking about, coming in and putting archetypes on or types of characters onto your audition, being specific, very specific about what they were doing. I could tell the work had been done. They had gone through each, and it's four lines, okay? So it's like, but you have to treat this. Each line has to have a moment before because, and you only get one shot basically to make a first impression with one line per character. So I could really hear what their process was in a good way. Not like I was hearing the work or anything like that, but being able to, even the cadence and the variance with reactions. This is what I would call a utility actor, and yeah, I don't know. I don't even know what else to say. I loved it.
(29:17):
Yeah, I would say three out of the four characters had unique voices. There was some overlap between
the characters, but I think it was crystal clear that this person made a creative choice in this audition,
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and for each character, they also sounded like directable. They had a great use of pitch. What do you
think, Tara?
(29:38):
Yeah, I agree. I think she showed us a great range of her voice. Her edits were super clean. The recording environment you could also tell was very clean. This was like a top-notch audition for me. You can tell that this person is taking voice acting very seriously. They did, like you said, Nikki, they did the work behind the audition and they really gave it their all.
(30:06):
Yeah, yeah. It was really well done. Yeah.
(30:09):
Wow. She's speechless.
(30:13):
Every client's dream. You always want to be speechless.
(30:17):
Oh my gosh. Okay. Well, I mean if Nikki, unless you have more to say, I also don't have any more to say,
so we can get right
(30:25):
Into, I have great things to say. That's it. I said 'em.
(30:29): Exactly. Yeah.
(30:31):
This was a great audition. Okay. Well, should we get right into the winner, Tara? Oh,
(30:37):
Okay. And our audio engineer is going to do a drum roll for us in the background.
(30:48):
Without a doubt, I'm going to have to go with client number four,
(30:52):
This journey is our chance, our quest for the lost kingdom begins here. There are challenges ahead, but together we can face anything, magic, adventure, and a kingdom. Every legend starts with a single step. Let's begin our quest.
(31:18):
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Yes, yes. That's who we would choose as well. Yeah. Audition number four was fabulous. Thank you all so much for tuning in and listening to this mission audition. We hope this episode has really helped you learn more on listen, learn, lead, elevate your voiceover game so you can start leveling up and nailing those auditions. Oh,
(31:36): Yeah.
(31:37):
Nikki, can you tell us before we sign off, how can Talend get in touch with you?
(31:41):
Yes, so I have a couple of options. I have a website. It's just my name, nikki burke.com. You can find me online. I've got all my coaching information on there. Upcoming workshops, I do a masterclass that'll be starting back again in the new year. We do have a workshop coming up if you are in Toronto on December 2nd and third, you can also email me. My email is on the site. There's actually a quick little link there that you can just email me on if you ever want to get in touch. I do 30 minute free Zoom consultations for anybody who's interested in training, just to see if we would be a good fit, answer any questions you might have and talk about options. Megan and I, Megan fallen back. Of course. We also share a Instagram page, and it is voice box coaching Toronto that's on Instagram, and you can find us there, but also you can find me under Nikki Burke 15 on Instagram. If you want to go and peep my personal stuff that I like to go and just throw all kinds of things up on there. It's not all voice related, so if you're really looking for just specific voice related versus wanting to peep into my world, I would say stick with the voice box coaching Toronto, but anything in regards to coaching, go to my website. All the information is there for you to see. I also have all my demos up there so you can go and see me in action.
(33:02):
Perfect. It's amazing. You can also find Nikki on our coaches page at www.voices.com/coaches.
(33:10):
You definitely can find her there too. And if you're looking to enhance more of your skills, we offer a wide range of scripts for you to practice, including today's [email protected] slash blog. If you need any more resources from Nikki, please feel free to connect with her through social media or through her website.
(33:29):
Amazing. Okay. Thank you so much for tuning into this mission audition. I'm Vanessa, and I'm here with my incredible co-host, Tara. We're wrapping up, but stay tuned for next year's episode in January. We have a whole new 11 coaches for 2024, and they are going to be amazing, but until then, we have a recap in December and yeah, see you next time.
(33:55):
Happy auditioning.
MissionAudition_50_NickiBurke (Completed 11/17/23) Page 12 of 13 Transcript by Rev.com

This transcript was exported on Nov 17, 2023 - view latest version here. (33:56):
Happy auditioning.
(33:57):
Yay. That was so much easier than I thought it was going to. Super casual. Yeah, we're super casual.