Greetings. I am Kyle Bondo, and this is between the pauses, the making of pause for dramatic effect. And today we're gonna talk a little bit about actors. And in this audio drama, I didn't have any when I first started it. It was just me doing the voices of Douglas Dyer, who is kind of this, you know, like, 3 pack a day smoker guy, and then you have Zababa, who is either either Sauron from Lord of the Rings.
Or the bad guy from the inspector gadget cartoon, you know, next time and gadgets. And then I played Dakota, which is kinda my country guy. From Oklahoma, which is funny. Right? And a couple other parts, bit parts, voices in the background, shouting,
replicated out to hear, like, crowds, bunch of other things like that. My enlisted my adult children to do some of the voices, and enlisted is probably the hard the really nice way of saying it. I believe I believed them into doing these parts. And I only gave him a few lines, and then I killed 1 of the characters off so that because my son didn't wanna do it anymore. That's okay. It was kinda cool to to get him, to ask him to do this, and he percudgingly agreed. So and he just didn't like to hear his voice on on a recording. That's all. But he did play Captain Savage, which is kinda cool. And I also got my youngest child. Emmett's to do some voices as well. And
Emmett was really graciously made it to have to create a process. Emmett is an artist So this kind of worked out well in this wheelhouse. And it enjoyed the the ability to have a little fun, you know, hang out dad and play with, you know, play with the microphones and do some of this kind of podcasting thing, which is kinda fun. And that was really my really it is I tried to make this story as
few characters as possible to make it easy for Nad pod POMO because doing this every day. I mean, I didn't do this every day. I really kinda had to, like, write some scripts and record some shows, put some out, and then take a break, write some more. I did some making of shows. I did a couple trailers. I did some like it's almost like if I was building this to relaunch it later, I'm building all the parts to it. That was really because the actors really kind of kind of came in as as I could get them. So anytime I needed a new part, I might even have at some point my wife doing this. But or friends and family, you know, people at work. I mean, there's all sorts of people I could could enlist to do my acting for this immediate
prototyping
practice experiments. I guess you could call that. Maybe it's experiment. Let's call it experiment to get actors to join in. And really, all it is is you can just get them to read their own lines, if they can understand what the feeling of the role is, but you get to read them of their own lines, you really don't need everybody in the same room. To do something like this. Now I imagine to really get some some very dramatic scenes. Maybe everyone in the same room might work might be important.
But for podcasting, you can kinda get away with actors being in different places and doing their alliance independently. It is very possible to do this and be effective at it. So take that into consideration when you think about hiring actors,
or getting voices for your production. You may not have to have everybody in the same room. As long as they have the recording equipment and it's not in a quiet place to record, it just might be better to have them do their independent roles, especially if they're far away. They're geographically located in other places. It it would be better. Now my kids work different shifts and they're at the house at different times. So recruiting them becomes a kind of a challenge because you know, get their part and this part and then figuring out when I can actually publish. So actors are the same the same deal. Imagine this is just, you know, scale add up to real professionals.
And you have to schedule the time. You have to figure out if the shoe like, just like, you know, doing a film. You have to have a, like, a shoot schedule or a recording schedule to figure out what parts are gonna be a red win. When are you expected to have these done? And I imagine doing audio drama, you probably have to do preproduction or postproduction
well in advance of releasing an episode. Because doing a daily 1 is hard. If getting this stuff done is all a rush job, is it the best role, is it the best part, is it the best line, is it the best way of seeing the word it might not be. But when you're in a rush, sometimes good is
is is the best you're going to get. And they even say that, you know, good is the enemy of great kind of thing. Right? I like it this way is good's better than nothing. And sometimes 80% answers the mail. And a lot of times,
the role didn't even need that kind of, you know, extra level stuff. It worked the way it worked. And it was better to have the episode out and continue the story to keep with this daily schedule than to worry about whether or not it was the best line that was read. I imagine doing this professionally in an environment where you had the time to ask for reshoots or rerecordings
of different people's parts. That you might be able to get away with a better version of something. Or if you cut the tail in a certain way that now you needed, it's a different kind of emotion for a role, you could get away with that. But in this kind of environment in the experiment, no, we did it. I did it just the way it was shot, 2 or 3 takes, that was it, and then we rolled into production. It was really that fast. And a lot of times, a recording of the actors didn't take long. I mean, Zachary reading his 10 lines
probably took 10, 20 minutes. Know, to kinda get the right thing now. And then that was it. So think about that when you're doing when you're doing scenes is sometimes you don't need an ensemble cast sometimes some actors can do multiple voices,
and you don't need everybody in the room to do some of these these parts. So consider that. So this has been another episode of between the pauses, the making of pause for dramatic effect. I appreciate you listening, and I hope you enjoy the continuing story of pause for dramatic effect. Thank you for listening For more tales of woe, please visit pause for dramatic effect.com.