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Luanne Regis heads the voiceover division of TGMD Talent in Los Angeles and reps an eclectic list of talent, including younger stars like Shantel VanSanten (“The Flash,” “The Final Destination”) and acclaimed male actors including Sean Patrick Thomas (“Macbeth,” “Barbershop”) and Gil Bellows (”Patriot,” “The Shawshank Redemption”). Powerhouse women known for their voices as well as their talent aren’t left off the roster either: Jennifer Tilly (“Family Guy”, “Bound”), Jane Alexander (“The Good Wife,” “The Ring”), and Lori Petty (“Tank Girl,” “A League of Their Own”) all call TGMD their agency.
Here Regis discusses the importance of raw acting skills in the voiceover world, the talent pool she likes to pick from, and what makes for a great reel.
Describe your talent roster.
I fill my talent roster with talented actors, as success in the voiceover world for me has always been about actors who are able to convey and bring words to life in a script; that requires a high level of acting skill. I also find talent in the not-so-obvious corners, so my roster is filled with dancers, podcasters, hosts, athletes, etc.
How do you find new talent?
I acquire talent mainly through referrals by managers, theatrical agents, and other talent reps. Rarely do I go looking for new talent, but if/when I do, it’s usually at the comedy clubs.
Are you currently looking for any particular types of clients?
I am always on the lookout for up-and-coming comedians, standup comics; that’s an area from which producers and creatives like to pull talent. Particularly in the world of animation, daytime as well as nighttime cartoon programming is written in such a way that it lends itself to the innate delivery and timing of comics and actors from the comedy world.
What do you look for in a voiceover reel?
I’m looking to hear range, consistency of the voice if the actor is doing a character, and, in a commercial reel, the ability to have a certain rhythm and feel for commercial copy while still maintaining a non-polished or non-slick read.
How would you recommend someone go about getting a meeting with you?
Preferably through a manager or other talent representative.
What should actors have prepared for their first meeting with an agency?
There should be nothing prepared, per se, as a meeting with an actor usually means that there is interest on my end and at that point I’m just looking to gain some more background, insight, and a general feel for how I could place that person on my roster.
What would stop you from signing a client?
If there is a general unwillingness to put in the work it takes to audition daily, or if their expectations aren’t commensurate with what I feel I can do for them.
What is the No. 1 mistake actors make when trying to get an agent?
For me, it would be sending in unsolicited material.
How has the business changed since you started?
In many ways, but the most significant change I see is the ease with which auditions can be tendered now; the laborious ways of auditioning talent in an agency booth, sending out auditions to ad agency producers to make deadlines is a thing of the past. That has now been replaced by the ease of the digital experience: self-records from home, easy .mp3 or .wav file uploads, and emailed auditions.
What is a recent client performance that you are proudest of?
Any client who can nail an audition and deliver the truest creative choice they can make is something to be proud of.
Ready to get to work? Check out Backstage’s voiceover audition listings!