Cynthia McLean is a voiceover talent agent specializing in animation at Sutton, Barth & Vennari aka SBV Talent. Her clients include Laura Bailey (“Spider-Man,” “Constantine City of Demons: The Movie”), J.P. Manoux (“Kingdom Hearts III,” “Scary Movie 5”), Travis Willingham (“Superman: Red Son,” “Klaus”), and Kether Donohue (“The Disaster Artist,” “Pitch Perfect 2”).
Here McLean describes the conscientious professionalism she demands, how best to assemble a reel, and the importance of asking the right questions.
7 L.A. Voiceover Agencies for the Mid-Career Actor Describe your talent roster.
Extraordinarily talented, motivated, professional performers for any medium that requires voiceover skill. That can include on-air promo, narration, trailers, commercials, animation, interactive, dubbing, primarily in English and Spanish.
How do you find new talent?
Mostly through direct referrals from an industry professional. We’ve also found wonderful performers in voice workshops. I wish I could say that we find performers in the comedy clubs. But stand-up performances don’t tell us if the performer can interpret characters who have been created by someone else. Which of course is what drives success in an animation career: the ability to interpret the writer’s imagination and make the character come alive. Improv and sketch are a better forum for finding new talent, because the talent are reacting and working in the moment.
Are you currently looking for any particular types of clients?
We’re always interested to find the next performer who will compete with the best. No specific type, just hugely talented, highly motivated, completely invested in their voice career.
What do you look for and like in a reel?
In an animation demo, I listen for a professionally presented compilation of appropriate vignettes that demonstrate the performer’s acting skills and vocal range. By appropriate vignettes, I mean contemporary to today’s animation market. I’m not interested in hearing somebody perform a character that is already being performed by someone in a professional franchise. By professionally presented, I mean the audio quality should be perfect, the editing clean, and it should sound like it’s ready to send to a producer for a job.
What should performers have prepared for their first meeting with an agency?
The performer should be prepared to be peppered with questions. We want to know who you are. What is your acting background? What are your professional hopes and dreams, and what are you doing to make them happen? And we expect that you’ve investigated us and you can tell us why you think you’d be a good fit for us. And we welcome questions. The goal is to mutually decide if what you want and expect out of a career are expectations that we think we can meet.
What would stop you from signing a client?
We need to know that going into the relationship we’re all on the same page. If during the meeting we learn that we don’t see the performer the way they do, we won’t offer representation.
What is the No. 1 mistake performers make when trying to get an agent?
Frankly, it’s trying to get an agent when you a.) already have one and you’re not free contractually to sign with a new one or b.) not having the skills and thorough understanding of what it takes to be a voiceover professional.
How has the business changed since you started?
Technology, conglomerates, and COVID-19 have dramatically altered the way that work is acquired, negotiated and distributed. But stories still need to be told, and producers need good solid performers to inhabit the characters. So at its core the creative aspect of the business hasn’t changed. It’s the business of the business that has changed.
What is a recent client performance that you are proudest of?
I’m extremely proud of all our clients and how well they are negotiating the demands of performing in the “new normal” of COVID-19. But to select one would be difficult, if not impossible. They all amaze me.
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