Living On Air (17 page)

CALL ME LUCKY

As a young boy, when I dreamed about becoming a deejay, I had enough faith in myself that I was sure if I paid attention and worked hard, I could get a job at one of those powerhouse radio stations I listened to late at night. And that would have been good enough for me to be happy. I ended up with a career that I never even knew was an option. I had no idea what a voice-over was, or a promo. I didn’t know they existed. Once I learned about that part of the business, I was inspired to find a job in network television. Funny enough, as I tried to break into voice-over work, it ended up finding me, back on the radio.

I was at KIIS-FM, doing any kind of job that was available, producing commercials, and filling in for the deejay’s on vacation. I hadn’t changed much from the days when I used to hang out at WWCO, running errands for the guys on the air. Now here I was, so many years later, doing nearly the same thing. I continued to create opportunities for new advantages to open up in my life. And that’s when Bob Bibb at FOX-TV heard me on KIIS-FM. I believe if people think positively and visualize their goals coming true, you can make your own good fortune. I think I’ve been lucky that way.

The voice-over business has changed dramatically since 1988, when I did my first promo for FOX television. I used to put a lot of miles on my car, driving from session to session. And I used
to spend invaluable time with other voice actors, hanging out at all the different studios, while we waited our turn to go into the audio booth.

Technology changed all of that. I was one of the first to embrace the new advances in telecommunications. I did it because I love electronics, computers, all of the toys that come with professional mechanical gadgets. I did it so I could spend more time with my family, without having to run out after dinner for a late-night session. I did it so I could tuck my kids into bed at night.

My dad helped me build my first real studio. Not the one I put together with duct tape and a plastic turntable. No, the one we built was several steps up from that. For my thirtieth birthday, Annie surprised me with a Neumann U87 microphone, and then told me to build a studio around it. Of course I always listen to my wife so that’s what I did. We were living in our house on the Loop in the Palisades and there was a little room tucked under the kitchen that we could get to from the outside.

My dad and I drew up a rough blueprint, framed the room, and added a window with a view of the ocean that I could look out of from my chair. When we needed an extra hand, Ann helped install the wallboard while my mom kept an eye on our kids. It was a family project. When we were done, it wasn’t exactly soundproof, but it was good enough. I could still hear plenty of what was going on above my head in the house, even the clicking sound from our dog’s nails as he walked across the kitchen tiles. Whenever I had to record something, I yelled upstairs for everyone to tiptoe around or please move to the other side of the house.

I did a ton of work from that little studio. When I was struggling to make ends meet, working part-time at KIIS-FM, I used to produce voice-over tapes for other people who wanted to break into the business. I also engineered a show for comedian Brad
Sanders called “Cla’nce and the All My Children Update.” It was a funny, daily report about the most popular soap opera on TV at that time. I even did a Top 40 radio show from my studio that was broadcast in two cities in Japan, Tokyo and Yokohama. Produced by Debra Grant, it was all in English and ran for five years. But when it came to network promos and voice-overs we all still drove to the individual studios. I miss those personal connections.

Nowadays, nearly every voiceover actor has his or her own studio at home, myself included. I call it the “clubhouse,” kind of a throw back to those days at WWCO. And so is the booth. It’s designed by George Whittam with floating walls, thick double doors, and a digital control board. It’s set up like a radio studio because that’s how I feel most comfortable. There’s even a glass window that looks out from the studio into the rest of my office. It’s so airtight I’ve been able to record a session with a helicopter flying above the house.

Because many of us have our own studios, most voiceover actors are secluded from one another and the people who work at the networks and production companies. I think it’s important to make an effort to keep those relationships alive. Some of my closest friends are the producers, writers, and editors who work on trailers and promos. For me, it’s all about face-to-face contact. That’s what gives our business its heart. My voice-over colleagues are also my friends. They are not my competition. Sure, many of us audition for the same jobs, but together we are a group of people with shared goals with whom we can celebrate our successes and commiserate over our failures. We strive to make our dreams come true by standing on each other’s shoulders to lend a helping hand.

Since we no longer see one another on a daily basis and in fact we may go months without any contact at all, I’m always looking for reasons for us to get together. One of those turned out to be
the creation of the Don LaFontaine Voice-Over Lab at the SAG Foundation. [
Click Here
] Don’s best friend Paul Pape asked me to help build the lab, along with other actors in the voice over community. Together we dug deep into our pockets to make that dream a reality. Today the Lab is thriving and providing free workshops and seminars to anyone who is interested in pursuing a career in voice-over. The state-of-the-art studios are available free of charge for actors to work on their craft, book studio time to record auditions, or just get on a microphone and do what I used to do in that little studio at WWCO in Waterbury, Connecticut. You have to get inside an audio booth and experiment in order to learn. At this time, I’m pleased to say, there’s another lab under construction at SAG Foundation headquarters in New York.

I’ve had my share of good fortune in life so I’m happy to donate my time for a worthy cause. That’s one of the reasons why the Primetime Voices for Children was created. [
Click Here
] A few years ago, I reached out to many of my colleagues in voice-over to ask them to record a couple of lines from the holiday poem “’Twas the Night Before Christmas.” Thirty-one people responded! They all sent me their lines and I carefully edited them together, making sure to include each and every actor. John Masecar from Astral Communications in Vancouver took the voice track I sent him and produced it with music and sound effects. We sold it on iTunes and CD Baby with all the proceeds going to the Mattel Children’s Hospital at UCLA, where Ann volunteers. One week before Christmas a bunch of us met at the Child Life Center to read stories to the kids who couldn’t go home for Christmas. That year we raised over $7,000 for the hospital.

I got the gang together again the following year, to record a full album of children’s stories. This time we added all original music composed by my friend Greg Chun. We released, “’Twas the Night Before Christmas and other Classic Children’s Stories”
in December of 2012 and again all proceeds went to the hospital. Over 20 of us visited the kids, bringing toys along with the cash. I am proud to say that year we raised over $10,000. I hope it becomes an annual event.

To this day, I still work hard to make my own luck happen. Some people don’t think I have to worry about that anymore, but truth be told, if I don’t work, I don’t get paid. Voice-over is fickle. All of us are at the whim of pop culture and changing styles. A voice that worked in 2012 might not work five years later because tastes change, marketing strategies change, and new talent fills the void. Depending on my voice to make a living is not easy. I’ve had my share of sleepless nights, wondering when I was going to book my next gig. So when someone says to me “you’re a shoo-in for this job” or “that’s a sure thing,” in my experience, I never believe it. I’ve lost more “sure things” than my broken heart will allow me to remember. And that’s probably a better way to look at life. I end up not taking any gig for granted. I thoroughly and honestly enjoy each new job, and celebrate the wins. I try to see all the possibilities in each opportunity.

The career I chose is a roller coaster, and I hate roller coasters. But I love what I do and wouldn’t change it for anything. Even though I know that free fall could be waiting for me just around the bend, when you take that ride with people you love, something wonderful happens.

I was just a kid when I walked through the doors of 65 Bank Street and made some life long friends. I have wonderful memories of that time and a grateful feeling of thanks to those people who helped me find my way, from Oakville, to Washington, D.C., to Los Angeles. There were so many generous friends who gave me a hand up when I needed it the most. I hope to be regarded as that same kind of person, the first to put out my hand to someone else who is looking for a boost. I think it’s good for your heart.

You never know when your life is about to change, for better or worse. I try to be prepared for whatever comes my way. I want to be ready to take advantage of those special moments and will always hope for the best.

We were living in Beverly Hills when my neighbor called out to me one day. It was television producer Chuck Fries, godfather of the Movie of the Week. Leaning on his fence, watching me play tennis, he shouted out, “Look at you Cipriano, your own tennis court, a beautiful wife, and best of all you get to live right next door to me.”

I laughed and said, “What can I say, Chuck, I’m a lucky guy.”

Chuck replied, “Let me tell you something, Cip, Hollywood’s little secret is that success is ninety percent luck and ten percent a lotta luck.”

I believe he’s right. With hard work and a lot of luck, I got to be good at what I do. Number one, I had the desire. Number two, I was willing to put in any amount of hours that were necessary. Number three, I had some sort of natural talent that lined up with my passion. Number four, probably most important, I got lucky.

I’ve had the good fortune to experience some wonderful moments in my life. Often, not because I think I deserved it, but because of the people I met along the way. For whatever reason, they invited me to join them on some very fun adventures.

I can’t wait to see what’s next.

ACKNOWLEDGEMENTS

There are so many people I’ve met along the way in my broadcasting and voice-over careers, as well as in my personal life, who became part of my story and are like family to me.

While writing this book, I received a lot of help from many of the people I worked with back when I was a teenager at WWCO in Waterbury, CT. People like Larry Rifkin, Tim Clark, Ron Gregory, Peter Marcus, Joe Sherwood, Danny Lyons, Bill Raymond, Steve Martin, and Johnny Walker (Paul Michaud) who were there with me.

I nervously sent my buddy Mike Holland the chapter about the two of us. He told me he loved it and couldn’t wait to read the entire book, adding with a chuckle, “Wow, I was a little slut.” He asked if I would consider including his real name, Michael Bouyea, since he no longer uses Holland. I was touched that he wanted his friends to know this was his story, too. I only wish I knew where Jerry Wolf is these days. If you happen to see him, please tell him how indebted I am to him for his generosity.

To my friends at WWCO, WDRC, WKYS, NBC in Washington, Q107, KHTZ, KKHR, and KIIS AM and FM, all of you have enriched my life in so many wonderful ways. Thanks to Louise Palanker, Todd Parker McLaren, and Ed Scarborough who helped bring to life many memories from the KIIS and KKHR radio days.

To all of the people at FOX, CBS, and NBC, the producers, audio mixers, and so many others at the various studios around town, some of you I don’t see daily but I think of you often. I would like to name everyone but I’m worried I might accidently forget someone’s name. Many of you have become close and dear friends. All of you have changed my life in the best way possible, both at work and on the tennis court.

I can’t say enough about my voice-over colleagues. We really do support each other to help reach our goals, something I think we all learned from Don LaFontaine and we carry on that tradition to this day.

I’ve enjoyed a rare experience in the voice-over business; I’ve been with the same agents for more than twenty years. I couldn’t have any better people looking out for my career. Thank you to Rita Vennari, president of SBV Talent Agency, Mary Ellen Lord and Jessica Bulavsky. They’re my friends and even though they represent a lot of talent, they make it seem like I’m the only person in the world they’re working for.

Thank you to our wonderful friends and relatives for supporting our efforts, the Loop Group, Janet Davis, Lauren Spiegel, Debbie and Malcolm Orrall, Vicki and Bruce Pate, Chuck Duran and Stacey Aswad, and Russ Suchala who keeps Annie and me fit and healthy. A big thanks to my dog, Sammy, for being my buddy in the studio every day. You’re a good pal.

A few of our friends read portions of the book and made wonderful suggestions– Barbara Grieco, Kelly Anderson, and John and Deb Lloyd. It was also important for us to get feedback and guidance from our editor, Meghan Stevenson. Meghan has been encouraging and thoughtful in helping us tell this story. And thanks to our copy editor and proofreader, Marcia C. Abramson, and our cover designer, Velin Saramov, at Perseus Design. Thank
you to Marice Tobias for directing the audio book, AJ McKay for audio production, and Greg Chen for his original music.

To my family, my big brother Henry and his wife Eileen, a heartfelt thank you for your encouragement and support my entire life. To their children Christine and Mark, and their spouses Kurt and Skye, you are all great. Chris’s two wonderful kids, Tyler and Ashlyn, give us such joy and a lotta laughs. Chris and Kurt, I apologize for taking your kids out at the crack of dawn for sugary, donut filled breakfasts. I just can’t help myself. Thank you to Ann’s family, her brother Andy, and her beautiful mom, Audrey, who loves her Catholic son-in-law unconditionally – I love you too, Grandma. Thank you to my sister-in-law Amy Gudelsky and Steven Schwartz and her two wonderful kids Eric and Zev and his wife, Sami. I have great-nieces on that side of the family as well, in the amazing Parker Rae who brightens up my day every time I see her smile and her brand-new sister Harley Skye.

I have two more very important people in my life who have given me great joy and huge amounts of love since the moment they were born. My beautiful daughter, Dayna Leigh, who is a successful public relations person in New York City, and my handsome son, Alex David, who is a talented writer and social media whiz for a movie and TV marketing company in L.A. You two mean the world to me and make me proud every minute of every day.

To my wife, Ann, with whom I wrote this book, thank you for taking this ride with me. More than anyone, you know how much I hate rollercoasters, but with you by my side, I know it’s going to be okay. I love you, Annie. You are the best part of my life, my one and only.

Finally, I want to thank you, yes, YOU…the person who actually read this book. I hope somewhere along the way, on a page
or two, you picked up a little inspiration, a little encouragement, and a little trust in yourself to go after your dreams and to dream big. Then go out there and make it happen.

To all of you, I wish you 90% luck plus another 10% a lotta luck.

Joe Cipriano

Cast members of Primetime Voices For Children, the 31 voice actors I assembled to record our album of children’s stories with all proceeds going to Mattel Children’s Hospital UCLA.

Joan Baker

Kay Bess

Bob Bergen

Corey Burton

Joe Cipriano

Howard Cogan

Townsend Coleman

Josh Daugherty

George DelHoyo

Kara Edwards

Dave Fennoy

Pat Fraley

Stew Hererra

Ben Patrick Johnson

Brian Lee

Bill Lloyd

Anthony Mendez

Paul Pape

Jim Pratt

Bill Ratner

Rino Romano

Scott Rummell

Ashton Smith

Jim Tasker

John Taylor

Randy Thomas

Keri Tombazian

Sylvia Villagran

Rick Wasserman

Beau Weaver

Zurek

We have a great group of people who were there from the beginning for the Don LaFontaine Voice-Over Lab at the Screen Actors Guild Foundation. Our advisory board members are:

Paul Pape, George Whittam and Joe Cipriano – co-founders

Advisory board: Townsend Coleman, Joshua Daugherty, George DelHoyo, Kevin Gershan, Vanessa Gilbert, Stew Herrera, Adam “Aejay’e” Jackson, Ben Patrick Johnson, Nita Whitaker LaFontaine, David Marc, Bill Ratner, Tony Rodgers, Rino Romano, Scott Rummell, Jim Tasker, Randy Thomas, Steve Tisherman, Sylvia Villagran, and Beau Weaver.

Other donors include: Brian Lee, Chris Corely and James Arnold Taylor, Chris Courrier at Sennheiser/Neumann Microphones, Tim Schweiger at Broadcast Supply Worldwide, MXL Microphones, IACF, DG Entertainment, Manley Laboratories, Shure Incorporated, and Auralex Acoustics.

The chairs and tables in the lab are sponsored as well.

Chairs: William Daniels, SBV Talent, Don Morrow, Dude Walker, Power & Twersky Business Management Group, Greg Chen, Lori Alan & Cedering Fox, Marla Boden, Janet M. Ault, John Osiecki (Bell Sound Studios), Adam & Linda Jackson, In memory of Danny Dark, Mary Grover, Zurek (Voice Over Universe), Ernie Anderson (SBV), Atlas Talent Agency, Steven Schwartz and Amy Gudelsky.

Tables: In memory of Phillip Patane, Sr., In memory of Cynthia Songe’, TJ Jones in memory of Sue Thisdell Jones.

Our DLF lab administrator is Aric Shuford and our engineers are Mike Verela, Mickey Caputo and Rob Impala.