Here’s a composite of interviews with fellow professionals, up-and-coming broadcasters and college students. Some of the material was prepared for inclusion in Randy Thomas’ and Peter Rofe’s excellent book “Voice for Hire.” Other interviewers include former students who are now realizing their dreams as working professionals, and devoted fans. They include Scott Robinson, Patrick Patterson , Jason Toeth and Adam Wurtzel. |
|
What is the most important performance ability you should possess to be a successful game show announcer?
Of all the game shows you have announced how many are live and home many are done in post only? Assembling game shows in post is a phenomenon that only came into practice in the 1990s. In my experience, there are still more shows that prefer a live read than don't. And it's usually a budgetary consideration more than a creative decision. Surprisingly, the AFTRA contracts that bind producers are one factor that contributes to the traditional in the studio, live-to-tape approach still being in vogue. More on that in a moment. Part of the appeal of game shows for networks, syndicators and cable nets is that they are among the least expensive shows to produce. Of the major genres of TV programs, only talk shows are sometimes less expensive undertakings. But game shows are often more attractive because we regularly tape as many as seven episodes in an eight hour workday. In an era when a single episode of scripted dramatic television regularly cost over $2 million, an hour of Regis officiating over Who Wants To Be A Millionaire generated comparable champagne ratings on a beer budget. And there's nothing sweeter in the eyes of the network “suits”. With the exception of the least expensive bargain basement game shows, all tape with a live audience. The presence of an audience contributes to the energy on set and helps the host with pacing. And a live audience requires a warm-up performer to get and keep the crowd responsive. Every game show you ever watched as a child had the program's announcer doubling as the warm-up, and it's a tradition that continues today less for sentimental reasons than as a matter of economics. Where a warm-up performer able to work on a union set might command a salary of $1,000 to $3,000 for the day, the antiquated AFTRA code that covers this tiny niche of show business stipulates that if a "cast member", also performs the warm-up responsibility, that performer's added effort can be compensated with an additional minimum scale payment of $50 per episode. Yes, you read that correctly, $50. And other than the host, the announcer is usually the only other “cast member” on the set. While it's been years since I was offered a bump of $50 per episode as compensation for the added responsibility, the AFTRA contract has created a long-standing precedent and an expectation that has limited the bargaining position of my brothers and sisters who are proficient at both jobs. Under this pay structure it's always an advantage for a producer to have the announcer/warm-up on set when taping with a live audience rather than hiring a separate warm-up performer. Such is the case with The Price Is Right, Wheel of Fortune, Jeopardy and the majority of traditional game shows. The game shows I've worked or am familiar with that have an announcer at all, will have that announcer reading live unless one of four situations come into play: (1) the entire program is taped without a live audience (Lingo), (2) the specific announcer the producers are adamant about casting is not a proficient warm-up performer (no names, please), (3) the program is so heavily dependent upon post production that much of the announcer's copy can't be written until the show is assembled (Weakest Link), or (4) the nature of the show's format or game play requires that the announcer perform at least part of the show in post. The latter is the case with one of my favorites among the shows I've enjoyed working, Supermarket Sweep. While it's not common knowledge, the frenetic "play-by-play" of the sweep bonus round where "Betty bounces a bevy of big Butterball birds into her basket" can not be performed until the video of the sweep is first assembled and edited from the footage recorded by numerous cameras. There's no other effective way to following the unpredictable action of three teams of manic shoppers simultaneously ravaging a supermarket.
Do you need to be there in the studio live as it happens to give the perfect read or is it ingrained in you by now? I give each show that I announce a style appropriate to the energy level of the program as I hear it determined by the host, the contestants, the audience, the music, and the audio mix of those elements. I'm sure to the average listener the subtle adjustments in the elements of my delivery are imperceptible. I certainly hope that's the case. If I've drawn attention to myself at the expense of the content of the show it's akin to showing up at a black tie event wearing a brown leisure suit. My goal is to support and add to the style, pace and intensity of the program as well as the mood of the moment, be it dramatic expectation or unbridled excitement. For example, The Price Is Right had an unprecedented 33 year run with only two voices before I arrived. I saw my job there as presenting a style compatible with and familiar to what the loyal viewers had come to expect. Having been taught the business by that show's original announcer Johnny Olson, that was an easy task. In fact, Johnny mentored me in the 1970s using his scripts from The Price Is Right complete with his markings for emphasis, phrasing, pace and flow. I still treasure those scripts from 40 years ago, as well as the encyclopedic knowledge of announcing and warm-up that Johnny generously shared with me. He put a great deal of thought into his seemingly informal and off-the-cuff presentation. I voiced a series of five one-hour clip specials for VH1 called Game Show Moments Gone Bananas. It's a unique challenge in that I'm supplying the voice for a toy that was on the market some years ago called "Mr. Game Show". It's plastic, both literally and figuratively, so my style bordered on what I would do for animation. In fact, my tracks are being taken to post production where, through the magic of computer generated effects, Mr. Game Show's mouth will be animated to lip sync to my announcing. I hope it's as well done as it was described to me. In a similar vein, I’m now voicing adaptations of America’s favorite game shows for new platforms – Wii, Playstation, Kinect, on-line, downloadable, console and mobile games. The challenge here is to create the same in-studio energy so that players can enjoy a more true-to-life game show experience at home or on the go. Different shows just seem to ask for different colorations. Establishing a precedent for how the title and the often repeated phrases on a new show are delivered, and then using those audio signatures consistently, is an important factor in “branding” the show. They become the audio equivalent of a visual logo as identifiable as McDonalds' golden arches. Once I've developed and become comfortable with the signature elements and overall delivery for each show, I can easily replicate the style in post as needed. But the same energy level feels very different in a huge studio with an audience of 500 than it does in a quiet VO booth. It's always funny when working at a facility where the last VO talent was recording some commercial copy in the appropriate one-to-one intimate delivery. Then I then sit down behind the same microphone and start bellowing "A new car"! I can almost see the engineer getting whiplash as he reaches to pot down the mic fader!
When you first started out doing voice work and radio, did you have the goal of announcing for game shows in mind, or did that occur as a natural progression? I had no idea where the journey would take me. The idea of ever being the voice of a television show seemed so improbable that it never really occurred to me that I could even fantasize about such a lofty goal. Certainly there are far more meaningful things one can pursue in life, but the impression I developed as a child about the magic of broadcasting was immense. In my second year of college, when I found myself welcomed behind the microphone at the campus radio station, the only goal was to get a professional, paying radio DJ job. The goals and fantasies became loftier only as I was able to enjoy greater success and gain greater confidence. As you say, it was a natural progression.
Have you always wanted to be an announcer? I knew I loved television, but didn't know exactly if or how I could ever be a part of that world. Johnny Olson told me how he and most of his peers had started in radio, and that stayed in my mind. Within months of starting college and finding the campus radio station, I managed to get my first commercial disc-jockey job. During the next few years I had built an impressive little resume working afternoons and evenings at a number of suburban New York stations while taking morning classes. Upon graduation I was able to pursue a radio career that eventually brought me across the country. When I ended up working in radio in Los Angeles, I realized that much of TV had also moved west. I took advantage of the opportunity to appear on more game shows as a contestant. I think having watched so many tapings as a kid helped me feel comfortable in the studio environment during the competition; I ended up winning on so many shows in just a few short years that it's almost embarrassing to list them. I'd never known there was a big chunk of the business dedicated to developing new shows until producers whose shows I had appeared on called me to be a contestant and later a host in their run-throughs. Eventually I reunited with Johnny Olson who encouraged me to nurture those opportunities and relationships. Although I submitted writing samples, my radio experience had obviously best prepared me to be an announcer.
How did you first get into the announcing field? At Johnny Olson's suggestion I pursued a career in radio that eventually brought me to Los Angeles. Once in LA, my appearance as a contestant on several shows led to me getting to know people who worked in production. The marriage of my radio experience with my love of game shows contributed to the passion to dedicate myself to building an announcing career. My first job as an announcer and warm-up wasn’t on a game show, but on Gary Collins’ Hour Magazine. When the producer expressed his concern about my short resume, I explained that I had spent hundreds of hours studying the work of the greats in the field. When he thought I might be exaggerating, he asked about the various shows and in which studios they taped. I was able to run down the programs and their NBC studios flawlessly: Joan Rivers in 3K, Concentration in 6A and 8G, Match Game in 8H, Jeopardy in 6A, etc. The producer knew I was correct because he had started his career as a page in that same building at the same time! Hewas amazed that I had such recall and was convinced that I really had studied these shows’ production. It motivated him to give me an on-air tryout that lasted the entire season.
Game shows have changed so much over the years, including the way the announcing is done on many of them. Can you explain the differences between announcing live versus in post, and why one would be preferred over the other? Live versus post? I’m a Libra, the sign of balance, comparison and impartial judgment with the weighing scales. When faced with this kind of question I begin to believe in astrology. I see both as fun, but in very different ways. On the side of working in post, there is so much more that can be accomplished in terms of both content and nuance in delivery. I announced Supermarket Sweep as part of that show’s post production assembly, and can tell you there is no way that anybody could do that play-by-play with such inclusion of detail as three crazed shoppers are grabbing everything in sight! Only by giving the writers and producers the chance to shuttle tape machines back and forth can we come close to knowing who is grabbing what, and which of the three shopper’s action is most entertaining at any given moment. And only in post can I then have as much fun with the little wacky moments that make that show such a kick a watch! Working live is so much more traditional and "pure." Plus, nothing short of perhaps sky-diving will have your body secreting more adrenalin than having someone like Bob Barker, Wink Martindale or Bob Eubanks look you right in the eye and ad-lib some kind of toss that requires you to think on your feet in formulating a response that will naturally flow into your next scripted line. It’s incredible. You’re on the high trapeze, the spotlights are in your eyes, you hear the roar of the tigers, the smell of the elephants is in the air, and there can be no mistakes - you’re working without a net! Sometimes that live announce situation can be even more intense, for example on an awards show when a script assistant is switching pages in and out in front of your eyes. It’s all a test of your concentration while you’re surrounded by what seems to be insanity.
How did you meet Johnny Olson, and how did that relationship grow? As soon as I appeared old enough to pass for meeting the minimum age requirement to be an audience member at NBC, I started going to tapings at 30 Rock. Shortly after being seated on my very first day in a TV studio, out bounced the most fun, friendly, energized person I’d ever seen! He had incredible magnetism and likeability, and within a few minutes of bouncing up and down the aisles he had befriended a few hundred strangers. Johnny Olson was the original "party animal." He was not only able to bond with so many people of divergent ages, backgrounds and personalities, but he had all these strangers interacting with each other as if it were some big family reunion! The game shows were fun to watch and I was curious about all the technical equipment and the ways the shows were produced, but nothing was more exciting than this guy who seemed to be having the time of his life. Johnny was thoroughly approachable, and the chance to share a few words with him, one-on-one, about enjoying the show only made me want to return again. After spotting me in subsequent audiences his recognition increased from a simple nod to suggesting to a producer that I appear as a contestant – that’s how I ended up on What’s My Line? Ultimately, Johnny included me in his warm-up act whenever he saw me, allowing me to join him on-stage for a funny bit about my going to get him a cup of water. It was funny stuff, and I loved sharing the spotlight and getting a laugh. The relationship grew to include years of conversations and letters in which Johnny encouraged me to pursue my budding passion with broadcasting. By the time we met again in California in the 1970s, I was an adult and working in major-market radio. At that point Johnny mentored me on a more serious level using his old scripts as a teaching tool, and we discussed everything from his warm-up technique to the history of radio and TV as he had experienced it in his 58 year career. Johnny was amazingly generous with his time and encouragement, and I’ll forever be thankful. He is responsible for any and all of my successes, as I take with me so much of what he taught me every day in the studio.
What sparked the idea to write the book Johnny Olson: A Voice in Time, and what was the process like for you personally? My life and Johnny’s intersected in so many ways that it is hard to call it simply a series of coincidences. While it was a labor of love, it seemed to be my fate to document Johnny’s life and career to preserve his contributions to the industry, as well as his remarkable character and personal history. From the impact Johnny had on me as a mentor, to ultimately standing at his podium, announcing his signature show, The Price is Right, is only part of the story. When Johnny’s widow, Penny Olson, closed the couple’s home in West Virginia in 1999, I took possession of Johnny’s personal mementos, press clippings, awards and personal writings. There, typed on onion skin paper, were carbon copies of the outline for Johnny’s long-planned autobiography and his favorite stories from his childhood, his career, and the history of broadcasting. I knew Johnny Olson’s story would never be fully told if I didn’t do it, and it was a debt I felt I owed for his kindness, guidance and encouragement. Once I started to do further research I was amazed by the legacy of goodwill Johnny left. Co-workers at CBS, NBC, ABC and DuMont, old friends from his hometown, the various state and local historical societies in Minnesota and Wisconsin, and even guests on shows that Johnny hosted half a century ago were all too happy to help tell their story. Before long, I was almost buried in articles, clippings, videotapes, DVDs, personal notes, scripts, interview transcripts and photos. The original 8,000 word article I had previously written served as the backbone of what ultimately became a 140,000 word character study and 400-page biography of an amazing man. The stereotypical tale of a writer needing to lock himself away in a mountain cabin to immerse himself in the process wasn’t too far from my reality. For the six year period that I was living away from home, primarily in Las Vegas, performing in The Price is Right – Live, I had 22 hours a day to devote to the process. And there were some days that I was awake for more than 24 hours, experimenting with ways to weave the loose ends into a coherent tapestry. On so many late nights I would awake from a dream with an inspiration and run to the computer to add an insight, restructure a chapter, or even shuffle the chapters to better tell the story. It was an all-consuming process that my co-workers in Vegas generously helped to keep on track.
When announcing, on average, how much time do you get to practice your copy? On one extreme, such as on awards shows, an announcer may receive his or her scripted copy several days in advance and spend a full day in rehearsal with the crew. On the other extreme you may only get the chance to pre-read a phrase while you are speaking the preceding phrase. Copy for a day's taping of 5, 6 or 7 episodes is usually first seen a half-hour before taping begins. Some material, such as game show contestants' names, will not be available more than a few minutes before they must be read. As prize descriptions are sometimes dependent upon the play of the game, "cold reading" skills are essential. On talk shows producers sometimes shuffle the order of the planned segments while the show is in progress, such as dropping planned bits that are considered weak, or lengthening an appealing guest’s appearance. As a result, the announcer’s “coming up next” bumpers into commercials may occasionally be hand-scribbled and handed to you by a producer seconds before you are cued by the director.
Randy, what do you believe are the most important trends in the broadcast industry today? The industry has been in the process of a major restructuring since the FCC's relaxation of ownership caps and the elimination of the "fin-syn" rules (rules prohibiting networks from having an ownership interest in the programs they distribute). From the days when no single entity could own more than seven AM stations, seven FM stations and seven TV stations, and the controls that prohibited production studios from owning networks, there has been explosive growth in horizontal and vertical integration. The FCC is even considering further relaxation of some of these limitations. The result of one radio company owning over 1,200 stations, as many as eight in one market, has devastated radio as the live, local and diverse medium that it once was. With more programming nationally syndicated, and some seemingly local programming voice-tracked from distant cities, the opportunities for employment in local radio have been greatly diminished. In TV and other media you only need to look at the holdings of one company to see how the pursuit of synergy can also be considered as a threat to independent competitors' ability to do business in the open marketplace.
How have these changes limited competition? Programming created by a studio is often channeled directly to its co-owned network. It may later be passed along to its cable outlets in reruns. Subsidiaries controlling consumers’ access to television reception and the internet are part of some of these new super-conglomerates. DVD, product and intellectual property licensing, book, and film rights can even enter the picture. As one example, consider Viacom and how its various divisions serve each other. The company’s properties include CBS Television, MTV Networks (M-TV, VH-1, Nickelodeon, TV-Land, etc.), Showtime Networks, Infinity Broadcasting, TDI Worldwide and Infinity Outdoor, Paramount Pictures, Paramount Television, Paramount Parks, UPN, Blockbuster, Simon & Schuster, and theatrical exhibition operations in North America and abroad. Viacom’s parent company, National Amusements, Inc., has internet holdings, and operates approximately 1,300 motion picture screens in the U.S., the U.K., and South America.
Is Viacom/Paramount the only huge media corporation? Not at all. Disney, ABC, and ESPN have been one entity for many years. Comcast’s 2011 purchase of a controlling interest in NBC/Universal is another example of consolidation and vertical integration. It combined Universal Studios, the NBC network, ten NBC owned television stations, Telemundo and its sixteen owned stations, numerous cable channels (including USA, MSNBC, CNBC, Bravo, SyFy, Oxygen and the Weather Channel), internet holdings (including Hulu), and theme parks with America’s largest cable system which provides internet access and telephone service.
Are there any other important changes? Another trend involves distribution of programming. The long-touted 500 channel universe in now a reality. The promise of convergence is also being fulfilled with viewing via the internet - for the first time in twenty years the percentage of homes with television sets has actually dropped in 2011.
What about reality TV? The most significant trend in programming stems from the success of so-called reality shows. From the first of the genre, Fox’s “America’s Most Wanted” and MTV’s “Real World,” through a myriad of makeover, home improvement, and other non-scripted shows, networks have embraced this trend, in great part, because of economics. The cost of an hour-long scripted prime-time drama is approaching $3 million dollars, and the investment is not recouped until reruns as well as subsequent domestic and foreign sales prove successful. On the other hand, an hour of “Real Housewives” or “Jersey Shore” can draw almost as many viewers at a tiny fraction of the cost. Those shows have become the soap operas for this new paradigm as networks are quickly dropping the traditional serialized dramas that started in radio some 75 years ago and dominated daytime TV for decades. It's hard to view the reality genre as merely another cyclical trend that will run its course a few years down the road. The lasting imprint will include the further relaxation of the traditional network standards for language and content, and the further acceptance of "real people" as television performers, hosts and announcers.
What will be the most likely impact of these trends on the demand for future employees? Consolidation's shrinking of the industry may ultimately be balanced by an increase in entertainment outlets through cable, dish, internet and future direct delivery technologies. I think that growth will be slow however, as the business model for profitability for internet viewing has yet to mature.
What will be the most likely impact of these trends on the characteristics of people being hired? The innovation required in this changing industry will increase the demand for young professionals who can bring new thinking to the business. From the advances in technology and distribution, to the increased need for innovative programming, to the new ways that programming is being financed through strategic partnerships, there will be more opportunity than ever for creative employees. New college graduates will benefit as well, as the industry continues to seek new ideas that will appeal to the youth market that advertisers covet, and continues to cut costs as a means to maximize shareholder returns. As higher-paid senior executives and the working members of the craft unions are regularly being offered buyouts to reduce overhead, there are new opportunities.
What will be the most likely impact of these trends on the education requirements for jobs in the field? While there are clearly fewer apprentice and middle management positions in broadcasting than in previous decades, the expansion of internet distribution and other future media will ultimately create many more employment opportunities. As the dominance of the three networks of the 1960s gave way to the introduction of hundreds of cable channels, the continuing increase in viewing choices will support more programming. The doors are open for new faces and new ideas. Today’s viral internet video can quickly lead to a cable network series commitment tomorrow. As the industry further matures, some traditional fields of study are taking on even greater importance. Economics, marketing, law and an applicant’s overall business acumen will remain key areas of focus for students preparing for careers in management. Everyone presenting themselves for employment would be wise to have at least a rudimentary ability to read and draft budgets as well as how to dissect a financial report. I believe that understanding the nature of the business is important for everyone in the industry, performers and technical workers included.
What will be the most likely impact of these trends on the qualities required for success? The obvious answer is the ability to handle rejection! Broadcasting has always attracted far more hopeful job applicants than it can accommodate. With the consolidation of the industry I believe there is an increased demand for people who have crystallized their specific goals and have gained adequate previous experience in college, cable, and local market broadcasting that will enable them to hit the ground running.
What do you see as the most important qualities required for success in this field? Beyond developing your innate talent and perseverance, the ability to work closely with others is vital. Television is a collaborative medium in which many people with individual skills must combine their talents, often under pressure. Because of the nature of news and the nature of chasing trends, as well as the economics of scale, most television is produced on tight schedules that require long workdays and close interaction with co-workers.
What do you see as the greatest challenge in your own job? There is a continuing need to adapt, grow and change with trends. Styles in presentation and delivery are continually changing. Interacting with the live and home audience requires performers to remain current with social and cultural trends, as well as all that is new in pop culture. Miss a month, and a performer's frame of reference in movies, music, slang and other rapidly changing lifestyle matters quickly becomes noticeably outdated. Likewise, as programmers and producers are constantly looking to ride new waves of popularity, there is a need to continually update your image within the industry.
What would you choose to do differently in building your career? In entering the field I underestimated the importance of building personal relationships, networking and blurring the line between work and social interaction. The ability to perform and "deliver the goods" is vital to the level of professionalism and competence. But beyond that, employers welcome the opportunity to work with acquaintances for several reasons. There is an ease and verbal shorthand in communicating with friends and past co-workers. There’s also an increased level of trust and confidence among acquaintances, and favors are more likely to be returned by friends. As programs are born and die quickly in an era of overnight ratings and increased demand for immediate success, most everyone from entry level production assistants to executive producers are continually laying foundations for future employment. Building relationships is vital to long term career success.
In major cities such as Los Angeles, is it possible to work both behind the scenes in the development of a show and as a performer? Or do you have to choose which side of the camera you'll be working on and stick to that side only? Your skills will determine where you will find your greatest success. Initially, multiple goals can be pursued simultaneously, but ultimately the business is one of specialization. The ability to pursue multiple goals returns once an individual achieves star status on either side of the camera. Star producers are afforded great latitude, but usually by the time they achieve that level of success they've lost interest in performing as a career; a career as a successful producer is infinitely higher paying in the long run. Those producers with performing aspirations find an outlet for that energy hosting run-throughs and presentations of their new shows, or by micro-managing the talent they hire. A good number of star hosts have been given a turn at producing, or have successfully formed their own production companies. Following Dick Clark’s and Merv Griffin’s examples, Ryan Seacrest is making more of that opportunity than anyone else in the industry today.
Up until the 1990s a talk or game show's announcer was invariably responsible for audience warm-up. The AFTRA code encouraged the continuation of this long-standing tradition in its provisions for an existing "cast member" to be compensated a modest additional amount for the added responsibility for warm-ups. The union’s minimum compensation for a separate warm-up performer requires budgeting for an additional full salaried position. There are several otherwise marginal announcers who maximized their careers with their truly gifted warm-up skills. New techniques for delivering higher production values and the intricacies of producing some shows have made tapings longer and longer. The resultant need to keep audiences for longer periods of time, and to have those audiences deliver louder and more enthusiastic responses, has changed the job of warm-up in recent years. In the past decade more and more shows have hired warm-up specialists. Now that has become the norm, especially on network and other large budget programs. For a number of years starting in 2001, I earned far more as a warm-up performer than I did in announcing and voice-over.
How often are you responsible for the audience warm-up before taping begins? Do you have different approaches to this task, depending on the show? The jobs of audience warm-up and announcer were melded into one for the vast majority of game shows from the earliest days. In establishing a career I found that some producers were equally or more concerned about an announcer’s ability to work magic with the audience as they were about his proficiency behind the microphone. That’s changed of late. I performed warm-up for virtually every show I announced up until Newlywed Game. That show afforded me the luxury of being comfortably seated in a glass-walled room off of the control room. I find myself far more bonded to the production crew, but it’s at the expense of the intimate interaction with the host. I do miss that connection, as it’s been partnering in the trenches with the emcees that has allowed me to develop some wonderful friendships. The approach is different in that the warm-up work requires a lot of physical stamina now that tape days last up to twelve hours or more. When doing warm-up I like to be aware of whether a paid audience will be present as opposed to primarily tourists, and what kind of age group was requested by the producers. The approach is far different if the majority of the audience members spend several days a week in TV studios, as opposed to first-timers. If the audience is mixed, I’ll ask the pages to indicate where they sat which group, so I can play my material to the folks who will appreciate it most. There’s so much great fun to be had with tourists who are new to the experience, but the paid workers have heard all of that before and prefer to be thought of as fellow, working professionals. Also, when performing warm-up I always have to be intimately familiar with the shows’ format, rules, production techniques and camera blocking. Only with that knowledge can I coach the audience on what they are to see, how the game is played, and when they need to be silent to protect from giving or revealing answers. I have to know the show and the producer’s vision in order to cue the audience to react to correct responses, wins, losses and whatever moments of drama might play out. Some producers want the audience to be wild with whooping and cat-calling, and they need to be prepared to yell appropriate phrases such as "No Deal" or "Double." Other shows want the complete opposite, such as in the case of Weakest Link where audience members needed to sit absolutely still and not react during the rounds. Knowing the rules and the production technique are important to help explain why taping may stop at any given moment. Being prepared with knowledge of the camera movements is necessary to stay out of the shots, as well as to stay well out of the way when one of those massive pedestal cameras quickly dollies to grab its next shot!
How important is it that an announcer also be good at warm-ups? Some lower budget cable shows continue to follow the earlier model of having the announcer handle warm-ups. The inability to do warm-up will usually preclude employment on these shows. Outstanding warm-up skills can greatly increase one’s overall employment opportunities.
What makes for a good warm-up? That is the most complex of your questions. Contrary to most people's beliefs, the skills for warm-up are not the same as the skills for stand-up comedy or for acting. The unique goals in warm-up are to create a comfortable yet high-energy environment, and to build a sense of family among audience members. The result will maximize an audience's audible responses. Members of the audience at a movie theater are far more reticent to react audibly to a movie than those same individuals would be watching that movie at home with friends in their living rooms. As such, the goal is to create that kind of comfortable emotional environment and to quickly get a collection of total strangers to emotionally bond. One of the warm-up performer’s roles is to act as a catalyst for interaction among audience members, lowering their natural inhibitions and giving them the opportunity to participate as a group in the pre-show entertainment. Another part of the job involves communicating the producer’s vision for the audience’s role, and evoking those responses at each beat in the program. On different shows those reactions can run the gamut from contributing a stone-faced, judgmental air, to wild cheering, to contributing disapproving or suggestive reactions to titillating comments. The most valuable attributes for a warm-up professional are likeability, the understanding of human nature, insight into practical psychology, and the ability to instantly respond to unexpected situations or comments.
What is the future trend in game shows? When the avalanche of reality shows started to occupy network time periods and then expand even deeper across the cable landscape, it was looking bleak for the future of game shows. Could a programming genre as old as broadcasting itself actually disappear? Were Price, Jeopardy! and Wheel the last of the dinosaurs, with the life form doomed to extinction? I was among the many who were worried. I'm now quite certain that we're just evolving as game shows did in decades past. Watch an episode of the original Bill Cullen hosted The Price Is Right to see how slow and static that game was. Especially as compared to the pace and energy of the current incarnation, that itself is already 40 years old. While the execution and stakes of the games have changed, the basic appeal of game shows hasn't changed, and I doubt it ever will. Here's how I see the secret of that appeal, and it's the same human phenomenon that makes much of reality television so popular. People are intrigued by watching other regular folks like themselves being challenged, comparing their own instincts with those of the participants, and living vicariously through the successes and failures of others. Screaming the answer to a Wheel of Fortune puzzle in your living room before the contestant has solved it, and feeling the drama as a contestant struggles to answer the final big question on Who Wants to Be a Millionaire has the same basic appeal as imagining yourself in the throws of a Survivor challenge or plotting how you would interact with the others in the Big Brother house. As times have changed the impact and risk simply had to be raised and the presentation pumped with the TV equivalent of steroids. By this thinking, reality competitions are simply a new amplified incarnation of game shows. Instead of sweating in an isolation booth trying to answer a question, the increased expectations of the audience now have us emoting with and living vicariously through contestants challenged to bungee jump off a bridge or swallow a beaker of live beetles. Instead of neon lights providing the "eye candy", the next generation of game shows has something as vast as a tropical island for a backdrop. While the art of producing this next generation of games is vastly different from producing the traditional game show, I think their appeal and their basic plots remain unchanged. While I'll always be nostalgic for the flashing lights, bells and buzzers, nothing is as constant as change.
What's your take on the possible resurgence of daytime game shows? With all of the soap opera and talk show cancellations, do you think we're heading back to more daytime games? Bring it on! Game shows have always been less expensive to produce, and that attribute is more important than ever as overall viewership is down and ad revenues have fallen. For financial reasons, soaps are quickly going out of vogue, and the market already seems saturated with talk and court shows. CBS’ cancellation of Guiding Light for Let’s Make a Deal was considered successful enough for the network to cancel another hour of daytime drama. While this has been a sad development for soap fans, this new trend will hopefully bring a cyclical return to daytime games.
As a game show fan, do you enjoy all of the recent remakes of older games, or would you prefer to see some new ideas? New or old, I love a well-crafted game. From playing a contestant on pilots and being part of many development run-throughs, I think I’m especially sensitive to a format that has flaws, a game that isn’t intuitive to play, or fails to engage a viewer. The classic shows became classics because they work, so I’m not a fan of change for the sake of change. I believe revivals need to respectful of the elements that made the show a hit. By the same token, it is so difficult to create a new game that plays well that I’m amazed by the art, the skill and the work that goes into birthing a successful new format. New or old, I’m a fan of a good game that is well presented.
People often ask how they can begin pursuing a career as a game show host, announcer, writer, etc., and I've been told that networking is a huge component towards this goal. How can an average person begin this process, especially if he or she doesn't live in LA or New York? College internships have been the first step for so many people to get a foot in the door. Colleges far from Los Angeles or New York, including Northwestern University and Emerson College, arrange for semesters of internships for their students. They often come as a group and stay at the Oakwood Apartments in Burbank. I’ve helped in mentoring some of these passionate and bright students, and I’ve seen some return to paying positions following their graduations. Internships work especially well for producers because there are both an implied endorsement and a channel for recourse through the school in the event of any difficulty. And as internships are non-paid positions, the price is right! For the student, it’s a golden opportunity to work on the set where, if they can prove themselves, there’s a chance to quickly advance. The process is far better than any traditional job search, which usually includes mass mailings of resumes and unreturned phone calls. For sentimental value, I also have to mention working as a network page. So many pros started by wearing the silly uniform in exchange for minimum wage, a chance to learn the business, and the opportunity to make contacts. That was the route for people including Gene Rayburn, Dave Garroway, Regis Philbin and Marc Summers, as well as at least of couple of folks I know who have been on staff at The Price is Right
You've worked with so many game show icons over the course of your career. If you could put together your dream game show, what would the basic style be like, and who would you choose to host it (assuming you were announcing, of course!)? I’ve been blessed to work with some truly amazing people – both Dick Clark and his heir apparent, Ryan Seacrest, as well as Bob Barker, Wink Martindale, Bob Eubanks, Chuck Woolery, Ray Combs and Marc Summers to name just a few who are on the talent side of the camera. Equally fascinating has been watching the creative process of producing and directing icons including Mark Goodson, Merrill Heatter, Jay Wolpert, and Mark Breslow. I’m not sure what kind of game I would be my dream game - words, cards, Q and A, memory, stunts, dice or relationships. To my thinking, all of those choices are simply the vehicles that get us to the vital, classic elements of drama, risk, strategy and jeopardy. Keep it simple and intuitive to understand, and it’s got to have the all important ingredient: playalong. As Bob Stewart has said, a great game has people screaming at their TV screens at home. The choice of host would follow, as different emcees have different strengths that make them better suited to different shows. They’re all unique, but I love working with all of them!
What was the first game show you ever saw in person? I remember that I wasn't even 12 years old when I followed the famous, omnipresent audience member of the 1950s and 1960s, Miss Miller, into a taping of Ed McMahon's Snap Judgment at NBC's studio 8H in 1969, back in New York. Here was this strange older woman wearing a big, fancy hat whom I'd seen being interviewed on TV by Jack Paar and Merv Griffin. I figured if I stayed near her I would be in good company and would probably get a good seat. When I asked if I could sit with her she said, "No, you stay with the kids"! Well, I was lucky to be seated away from Miss Miller, and instead near the right edge of the audience. That's where this exciting bundle of energy and joy named Johnny Olson made his entrance and ultimately did the announcing. I had never seen anything like what I was involved in for the next 15 minutes! Although I was pretty tired and somewhat grouchy from standing in line, and knew nobody else in the audience, through the magic of Johnny's warm-up, within minutes we were all one happy and crazed family! That was the day I began cutting classes and returning to TV tapings; it ultimately led to a friendship with Johnny O, and an increasing fascination and respect for what he did.
Growing up, what was your favorite game show? Well, your question assumes that I've actually grown up; around game shows I feel like I'm still a teen! My fascination began very young, I couldn't have been more than 3 or 4 years old when I sat intrigued by Seven Keys and Camouflage. I guess it was the flashing lights on Seven Keys, and the way Jack Narz dramatically tried the keys in those padlocks; I even learned to unlock the front door of our house with a similar flair! Again on Camouflage it was the graphics that first got my attention. Later I was amazed that, through the magic of television, the host of Camouflage was also The Shell Answer Man on commercials. Imagine the thrill when I met Jack, and so many years later worked for a season with Don Morrow on The Challengers!
What sold or unsold pilots have you worked on? Did you work on the pilots of the game shows that you have announced? As I slowly managed to take what I had learned into a transition from contestant to announcer and warm-up, I first had to prove myself on pilots. And as you know, many pilots are taped for each show that is lucky enough to breakthrough to being a series. As such, the names of the programs like Show Me, Hot Numbers and One A Roll are long forgotten by almost anyone who didn't work on them. But the experiences and the people behind those shows live on, and will be appreciated for affording me early opportunities on pilots, most of which failed to sell. They include Jake Tauber, Charlie Colarusso, David Greenfield, Ray Horl, Steve Radosh, Richard Reid, Syd Vinnedge, Jay Wolpert and so many other pros who took a chance on trying to channel my enthusiasm in the 80s and early 90s. The new century started with the November 2000 taping of Card Sharks, and I still work on an occasional pilot. Of the series that have made it to air, I announced and/or did warm-up on many of the pilots; that would include all of the shows I did with Wink Martindale, as well as Hollywood Showdown. But in the strange way that things happen in game shows, I was hired after the pilot stage for some shows, too. Those include All New 3's A Crowd, Supermarket Sweep and Newlywed Game.
What is the best part of working on a game show? For anyone who works in front of an audience there is no thrill quite like that of feeling and hearing the evidence of the audience members' enjoyment. Laughter and applause really are powerful; they can make a performer feel completely alive, and push their performance to new heights. Of course watching a particularly exciting game or a wonderful contestant is always a joy. But day in and day out, the most stimulating part of the work is being a member of a team of so many very bright, articulate and talented professionals. You see and work with many of the same people over and over again; they are all specialists in what they do. I could never do their jobs, and they say they wouldn't know how to start to do a warm-up. Yet as a team, we can pull together to do some incredible work. And because many of us have been in game shows for some time, there's always someone around who can share a story of Johnny O or Jay Stewart that I never heard. Over the long hours of taping 5, 6 or 7 episodes a day, we develop a great sense of family
Do you have any tips to give to the people that want to become a game show host, announcer, writer, producer, etc.? It seems that no two people came to this specialized area of work via the exact same route. But, like the first generation of game show hosts and announcers, I also started in radio. I was a DJ for many years at stations all across the country from Poughkeepsie to Los Angeles. Behind a live microphone for hours every day your creativity is constantly challenged; in radio you either learn how to think quickly and ad-lib gracefully through almost any situation, or you find yourself out of work. Todd Newton and I have exchanged a few radio stories, and he agrees that radio was an important part of his experience, as well. Most producers I've known were writers first, and writing is a vital part of any game show. You could easily argue that the writing is the key ingredient that makes Jeopardy! so great. Jay Wolpert taught me a great lesson about writing when he challenged me to write 100 questions in 3 days that would all fit the requirements and style of his show Faker's Fortune. It was not as easy as it looked! If you have real passion for a career in game shows, be willing to serve an apprenticeship; it's the best way to learn. And remember, while the work can sometimes appear to be simple to a viewer, the ability to perform expertly, consistently, precisely, over and over again, under pressure and on demand is what's needed. Even if the task is as basic as fact-checking a question, turning a playing card, totaling a score or reading an advertiser's plug or prize description, the predictable proficiency that's needed comes only with experience. I would suggest finding any way possible to watch, learn, and be involved; make the effort to develop mentoring relationships whenever possible. If you work towards your goals with optimism, and your dreams are vivid enough, they CAN come true!
What sparked your interest in game shows? We know that not only do you announce game shows but you're also very "game show literate" what sparked this interest? My mother is a very intelligent and educated woman who has yet to meet a crossword puzzle she couldn't zip through; as a high school teacher she loved to stimulate inquisitiveness among her students. While it wasn't always fun to come home from a day at school to a mother who was also a full-time teacher, it certainly introduced me to games like Scrabble at an early age, and it meant that the TV was often tuned to quiz and game shows when she was home. I'm not sure exactly what school holiday it was when I took the New York subway into midtown Manhattan and wandered into NBC's Rockefeller Center studios for the first time to watch one of those shows tape, but it was a day that left a lasting impression. I thought the huge studio 8H with all the equipment was cool, but the magic really started when this funny, exciting and energetic man bounded onto the stage. He danced, laughed, ran up and down the aisles, and within a minute the entire audience was electrified! Johnny Olson made me feel like I was part of a big family that was having an incredible party. I was only about 12 years old, but everyone in the audience seemed to be having the same kind of fun. When the two or three episodes of Snap Judgment were finished taping, I didn't want to leave! I returned again and again, and always though that being part of a TV audience was more fun than playing sports or hanging with friends; it was certainly more fun than doing homework or cleaning my room! As a kid, I saw just about every game and talk show that originated from New York during the early 1970s. And when the initial novelty of simply watching the games themselves started to wear off, I always found new interest in watching and learning what I could about the different productions. I would make it a point to sit at the far left or right edge of the audience so that I could watch what the various production people and technicians were doing. I was especially fascinated by the way Johnny O. and the other announcers could do two jobs simultaneously by reading prize plugs while still leading the audience applause. Johnny was very generous in answering my questions, and he then sparked a whole new fascination by giving me a chance to participate in his warm-up whenever he would spot me in the audience on my regular visits. Being on the stage was a tremendous adrenaline rush, and Johnny knew I loved being part of the action. Later, he recommended that the producers use me as a contestant on What's My Line? in 1971. After that, I was hooked for life!
How did you get the job subbing for Rod Roddy on The Price is Right? I can say that being prepared for an opportunity is only part of the synchronicity. Besides being qualified and experienced, uncontrollable elements such as timing and luck often play heavily. That was especially true in this case. Roger Dobkowitz's accessibility and wonderfully open attitude about people were added bonuses that helped a chance introduction develop into an opportunity to be considered for the job. I'm only saddened to know that one of the uncontrollable factors of fate that played a hand in this instance was my friend Rod Roddy's health challenges.
Did you ever think you would get the job? And how is it filling Rod's shoes? That's a thought provoking question because on one level I have felt for many, many years that I might possibly, someday, have an involvement with the show. That came from my admiration for Price, my many years with Johnny as a mentor, and my friendships with a couple of staffers, such as former Technical Director Ray Angona. Just the same, the reality of actually being offered the opportunity for what started as essentially an on-air audition is still quite unbelievable. Because of my tremendous respect for Bob Barker and for the show's high standards of professionalism I consider this a tremendous honor that few announcers have ever been treated to. Both Rod's and Johnny's shoes are huge; I couldn’t think about filling them. I simply stood in their footprints hoping to maintain a level of professionalism.
What is the hardest announcing job you've ever done? Easy. The Price Is Right! But there have been some other very challenging gigs on live shows. I announced Nick's Kids' Choice Awards and Big Help shows live for many years from all sorts of strange venues... giant theatres, The Santa Monica Pier, Universal Studios, among them. Because they are not studios you may be in a makeshift room that is not really comfortable or well suited for the purpose. And because these shows are live, script pages are being switched during the program and new commercial teases might be yelled in your ear with just enough time to scribble them on scrap paper before reading them.
Out of all the game shows you've announced, which was your favorite to do? I'm always most excited about the job I'm doing at the present. That was especially true about Price because of my respect for the show and it's production team. I enjoyed Supermarket Sweep because of its adlib demands in following the fast action. I also remember the thrill I felt working a number of shows with Wink Martindale, Bob Eubanks and other icons. I've been very lucky to work with some really wonderful people. There were also some wonderful moments in the thousands of performances of The Price is Right – Live. We performed in venues all across the country, including Las Vegas, Atlantic City, San Diego, and Shreveport. During the six years on stage with Todd Newton, Marc Summers, Roger Lodge, Mark Walberg, George Hamilton and Chuck Woolery there were incredibly rewarding and fun experiences.
Not only have you announced game shows but you've played in them, what were those experiences like and what was the first game show you appeared in as a contestant? My first appearance was on an episode of What's My Line? which was running short. I was plucked out of the audience by Dick DeBartolo and put on the show in a matter of minutes; Soupy Sales guessed my line as a disc-jockey. Interestingly, on a trip to New York a few years ago I had dinner with Soupy; of course he had no recollection of that day. But I'll never forget it as the first of many contestant appearances on shows and pilots. I really enjoyed all the contestant experiences, but naturally my favorites were the shows on which I won the most! Those included a three episode championship on Press Your Luck, and another three day run on All Star Blitz. Hit Man and To Tell The Truth were also great fun. But even the shows where I left with tons of Rice-A-Roni and mountains of Goobers and Raisinettes instead of cash or a car were wonderful experiences. They served as opportunities for me to learn more about how television works, and to meet some of the great pros in the industry who later hired me for pilots; some ultimately became friends. I owe tremendous thanks to the people who took a chance by giving me the early opportunities, among them are Jake Tauber, Art Alisi, Charlie Colarusso, David Greenfield, Ray Horl, Michael Hill, Steve Radosh, Richard Reid, Syd Vinnedge and Jay Wolpert.
How about the rest of your contestant appearances and your winnings? What’s My Line? – Soupy Sales guessed that I was a radio disc jockey on a "Who’s Who?" segment. I received $50 and a star sapphire ring that I still wear each and every day for luck! Face The Music – The less said about this appearance the better, as I was first player to be eliminated! Press Your Luck – In a nail-biter of an episode, in a distant second place with only one spin remaining in the game, I landed on a car that was valued at just enough to give me the win! I was on for three days before exceeding CBS’ $25,000 maximum, and left with a grand total of just under $30,000. All Star Blitz – Another three-day reign with incredible luck that netted approximately $20,000. Hit Man – In an episode that has made the rounds among tape traders, Jay Wolpert saved me for the 65th and final show thinking I would likely win, and then race through the bonus round. He was only half right! To Tell The Truth – As an imposter, I drew two of the four votes, all incorrect. We stumped the panel, all claiming to be the owner of a Washington DC tour service that told the tales of dozens of the city’s great scandals through the decades. I won $1,000. Sweethearts – Charles Nelson Reilly hosted this To Tell The Truth-inspired game of couples presenting stories of their relationships hoping to be more believable than the other two couples. I was "Eugene Somebody;" my "wife" and I sold our sordid story very well. We won a few bucks, but the Rice-A-Roni was ruled community property! I think I appeared on a total of nine broadcast shows, but the memory of the remaining two is clouded by a haze of recollections of my participation in endless run-throughs, presentations and pilots.
What was your favorite game show contestant appearance? I don't know how to sum up the very different experiences of all the shows I was a contestant on... there were nine in total that aired. Then there were countless pilots and run-throughs where I first saw what went on behind-the-scenes in the making of a game show, and met all the greats from Mr. Mark Goodson down to lesser known but wonderful people who were very generous in helping to guide my career. One of the nicest is long-time Merrill Heatter producer, Art Alisi. Of the nine shows I appeared on, my first experience as a contestant was the most exciting because it happened with no warning or audition. I still wear the Sarah Coventry Jewelry star sapphire ring that I won on that show; the $50 was spent long ago! Also at the top of the list was my three day appearance on Press Your Luck. In addition to the intense competition of each of those games, it slowly started to dawn on me in the minutes between tapings that I was winning some serious money. To top it off, the shows' airdates included my birthday! I later catered a huge birthday party for myself where I invited everyone I knew to eat, drink, party and watch those Press Your Luck episodes on a giant screen TV. I even printed the invitations to look like CBS tickets!
If there is another game show you could be contestant on, what would it be? If there is another game show you could be an announcer on, what would that show be? From my years of work with so many game show production companies and their producers I'm probably no longer eligible to be a contestant on any American game show. But I can say without hesitation that there is certainly no greater show to be a contestant on than Price - the prizes can be huge, and the whole world loves and watches the show. It's an American institution! As an announcer, The Price Is Right is the mother of all shows not only because of its legacy, but because it is by far the most demanding game show. The voluminous quantity of copy and the way the show is shot live to tape without any stops to accommodate the announcer makes Price the announcing equivalent of walking the high wire in the circus without a net. It's the best job on Earth if you love adrenalin!
Have you ever hosted or wanted to host a game show or game show pilot? The closest I came was hosting a show in development for CBS. Chain Game was produced by Syd Vinnedge in the 1980s; I still have a crude half-hour tape of Charlie O'Donnell introducing me as I go on to host a sample episode for the CBS brass. While I was an adequate host, the experience gave me a lot of newfound respect for the guys who really excel at that skill. It also helped me to understand how I can be most valuable as a supporting player to the hosts that I work with. I think I'm happier and more comfortable handling the announcer duties. I get more than enough center-stage time doing the audience warm-up!
People will kill me if I don't ask this question but what do you know about the Hollywood Squares episodes that have turned up recently? Probably no more than you do. Just through word of mouth I've heard that a great number of that show's episodes have been located in one of the many L.A. area's film/tape vaults. Wink Martindale recently asked me if I thought there was any sense in his continuing to pay the bill to store some of the shows we worked on in the early 1990s. I suggested that there could be new uses for the old “playbreaks” from Boggle, Jumble and Shuffle and indeed he’s now in negotiation to repurpose that material into new gaming platforms. I think it's sad that so many of the great shows from the past have been lost to time, carelessness or budgetary considerations. That's why I was among the earliest members of the Museum of Television and Radio when it first opened in New York, and am active in a wonderful group called the Pacific Pioneer Broadcasters. As I read of the new contributions made to the UCLA Film and Television archives every year, I really believe that the tide has turned in terms of respect for our television legacy. You gotta love GSN for continuing to broadcast the occasional awesome classic show as part of their special programming.
What is it like working on game shows, with people like Todd Newton and David Ruprecht? It's like playing shortstop for the Yankees! It's wonderful to be a member of a team of professionals who each have their own unique, specific talent. A group of very bright and fun people come together with skills as diverse as engineering, art design, computer programming and hair styling. We all understand how our little piece of the puzzle fits into the total picture, but the creative spark and the people skills of the producer make it all gel. There's a great sense of respect, friendship and camaraderie, but there are also high expectations for everyone to perform their piece of the magic skillfully. The host could be considered to be like the football quarterback or orchestra leader; by officiating over the gameplay, he or she sets the pace and mood. The job requires tremendous concentration, yet needs to appear effortless. When the host is making it work, the entire team is all smiles! Both Todd and David are great at their jobs, and have become good friends. I see them both, as well as their families, even when we're on hiatus between seasons, and we exchange e-mails a couple of times a week. From Wink Martindale and Chuck Woolery to Todd Newton and David Ruprecht, I've been very lucky to work with some very gifted people who have become friends.
Do you have any advice for someone who wants to get into the game show profession, or even just the television profession? Because I asked this question myself of the people I sought advice from, I've done a great deal of thinking in formulating the most helpful answer that I can. If you have real passion for a career in game shows, unfortunately there's no school that will completely prepare you. You have to create your own course of study, then combine your knowledge and enthusiasm with perseverance and luck. No matter what specific area of production you're most interested in, I think it's valuable to learn all that you can about the entire business. That would include traditional courses as well as your own reading. The stray piece of TV history that you might mention in a job interview could help demonstrate the range of your knowledge and dedication. Go to tapings, watch how a show comes together, ask questions when you can, and become familiar with the process. I think it's important to be willing to serve an apprenticeship; it's the best way to learn. For a first hands-on experience, consider working in cable access at your local cable company. Remember, while the work can sometimes appear to be simple to a viewer, the ability to perform expertly, consistently, precisely, over and over again, under pressure and on demand is what's needed. Even if the task is as basic as fact-checking a question, turning a playing card, totaling a score or reading an advertiser's plug or prize description, the predictable proficiency that's needed comes only with experience. I would suggest finding any way possible to watch, learn, and be involved; make the effort to develop mentoring relationships whenever possible. If you work towards your goals with optimism, and your dreams are vivid enough, they CAN come true!
Thank you for your time and insight, Randy. I'm honored that you're interested in my experience and thoughts. I consider myself very lucky to have found a passion early in life that I've been able to pursue into a career. I still treasure the information and advice I received from those people who were helpful in my pursuit; I hope that something I said will have value to someone else. |
©2010 Randy West.
CLICK TO RETURN TO THE
HOME PAGE
Is the announcer of a television show usually responsible for warming up the audience, or is that usually a job held by another person?