Your CHOICE is your brand: Inside Richard Tatum’s Approach to VO Demos

If you’ve spent any time in the voiceover world, chances are you’ve heard the name Richard Tatum. An actor, director, coach, and producer, Richard has carved a distinct path in the VO industry through his talent, insight, and razor-sharp ability to pull compelling performances out of even the most seasoned pros.

We sat down with Richard to talk about what makes a great demo, how voice actors can stand out in a saturated industry, why your voice is only part of the package, and of course... about life. Whether you're just entering the VO world or looking to elevate your demo to book more work, Richard's approach offers a clear-eyed view of both the art and the strategy behind success in voiceover.

Richard, you’ve worked across acting, directing, and demo production — what do you think makes a great voiceover actor today, and how has that changed over time?

Richard: Number one: imagination! Nothing happens if you don’t have that. Period, full stop.

But after that, to my mind the two big keys are:

1. Finding all the specific, personal things in a read — things an actor can really put their fingerprints on.

2. Versatility. Range. You don’t even need a huge range (although it helps); but just knowing how to use all the parts of your voice to create characters, and then melding those characters with those specific choices in the big, boiling pot of your imagination…? That will turn out greatness.

Honestly, I don’t think this combo has ever changed. But I do think there was a time in the business where the focus seemed to be on the number of “voices” you could do, over what you could do with them. Now it seems to me it’s acting that comes first.

For actors just entering the VO world, what are the first three things you recommend they should focus on?

Richard: In short: get good, get great, get ready.

It’s an insanely competitive business, and the talent level already working out there is world-class. If you want to nudge those people out of the way, you need to study, coach, find the things you do well and get great at them, then get good — and eventually great — at the things that aren’t your strongest.

Then get together a package that represents the kind of work people can expect from you. It takes time, and it’s a process that doesn’t go well when you rush. But that’s your ABC.

You offer great services, including VO Demo Production — and one that caught my attention is called Current Demo Feedback. What are the most common mistakes you see in existing demos?

Richard: For me, there are a few major issues — especially in animation and game demos.

The biggest one is when the talent is trying to show off how many “voices” they can do, rather than how good their acting is. While the flashiness of your voiceprints is cool, for me they’re really just a special effect if the acting isn’t there to support the scenes. Audiences come for character, relationship, and story. That’s a big part of what you're demonstrating.

Everything beyond that is icing on the cake. Important icing, to be sure — but icing.

The second one? When talent is clearly trying to do their version of someone else who’s already working in the business. That actor exists. They’re doing fine. Find your own voice — or at least your own take!

And finally: stop using old copy you got from a workshop. My first reaction when I hear it is, “Oh THAT thing.” Followed by, “Who booked that originally?” Followed by me going back to listening to that read. See the problem?

You want the listener — whether it’s an agent, producer, or casting director — to start listening to your demo and be all in from beginning to end. Don’t give them a reason to let their attention stray. For commercial demos, the same idea applies: find YOUR take, even while working within the styles you're playing!

You’ve worked both behind the mic and behind the glass — what’s one thing actors should know about how casting directors and producers actually listen?

Richard: I tell my clients this a lot these days: stop trying to figure out how to fit into the box you believe the audition is asking you to fit in! Build your own box!

Stop trying to read their minds based on the copy — you will never really know if what you’re doing is what they really want. Take that pressure off yourself so you can have fun. Play the scene, always bring your best and most creative ideas, and if you have some crazy, fun, wild, “I can’t imagine they’re gonna cast me if I do this, but I just think it’s perfect!” idea… that’s the one to go with.

Trust your instincts. The people you’re trying to impress don’t have a checklist to fulfill — they’re trying to solve the problem of casting a project, getting it recorded, and making money from that project. They’re in the Storytelling Business, not the Grading-Actors-on-Who-Got-the-Most-Words-Right Business.

Honor the script, of course — but more importantly: PLAY THE SCENE. Then, if you’re in the ballpark voiceprint-wise of what they actually want, you’ll likely be in consideration. If not (and remember: they often don’t know what they want until they hear it!), then there’s only one possible reaction:

“Damn, that actor is good.”

And they remember you, even if you don’t book the job.

In other words: don’t let the ‘correct’ get in the way of the ‘good.’ They want the latter, not the former. And this, by the way, is just solid long-term career thinking.

In commercial VO DEMO, you often only have 6 seconds to make an impression. What’s the key to standing out in that tight window?

Richard: Be specific. Be solid in your technique — especially when it comes to commercial reads. But also: start your demo with something that makes them want to keep listening.

My personal philosophy as a producer, director, and writer of demos is simple: make them smile. That’s a sure way to keep them engaged and curious to hear more.

Branding is a huge part of VO success. What advice do you give actors trying to define their “identity”?

Richard: That’s a tough one. It’s hard to come into a business with so much history and so many people already working in your general category — it’s nearly impossible not to compare yourself to others instead of identifying what’s special about you. All actors bang their heads against the wall with this one.

But I think this is where a good coach can really come in handy: you get an outside ear who can help you figure that out, and possibly even help shape it.

Last question for fun: What excites you most about the future of voiceover — whether it’s AI, global reach, or new genres emerging?

Richard: It ain’t AI. Not even a little.

But I love how many outlets there are now for VO. When I was a kid, it was a few channels with a few cartoons and movies sometimes. Games were … “Pong.” Now there’s an amazing array of places for this work — especially animation — and WOW, the kinds of games that are out there are mind-blowing.

And I’m not just talking tech (although the tech is gorgeous) — I mean the kinds of stories and storytelling. I’ve seen some astonishingly innovative things. Deep, resonating things that speak to all kinds of people in all kinds of ways. There are people out there doing ART that’s also wildly entertaining. I’ve been very lucky to be a part of some.

And not just games — in this last year in particular I’ve seen some truly breathtaking animation! And not just indie stuff! That’s why I got into this business. That’s the sweet spot. And there’s more now than ever.

From helping talent find their voice to building custom demos that actually get noticed, Richard Tatum’s work speaks volumes—literally. His honest, actor-first philosophy is a refreshing reminder that great storytelling always starts with great acting. As more performers from multilingual and global backgrounds enter the VO space, Richard’s advice is clear: invest in your craft, own your originality, and never underestimate the power of imagination.

🔗 Learn more about Richard at Absolute Voiceover LA

🎙️ Watch for upcoming videos and features with Richard on Language Academia’s YouTube Channel.