Shirley Ford, Voiceover Artist - Test 3

B2 First · Multiple Choice Reading · Cambridge B2 First 4, Cambridge University Press

You are going to read a magazine article about a voiceover artist. For questions 1–6, choose the answer (A, B, C or D) which you think fits best according to the text.

During our first, hour-long conversation, Shirley Ford speaks to me in the voice of a cheeky Brystal-old boy, the boy's tired mother, an amusing elderly Scottish woman and a very fast-talking alien. Her voices – I struggled to keep count of them all – are recognisable to viewers of children's TV and cartoons, and to people who have seen a whole range of educational videos to vacuum cleaner adverts. 'I've just done a voiceover about back injuries,' she says, 'so I had to learn quickly how to pronounce loads of medical terms.' Shirley talks about what it takes to do voiceovers. 'Lots of actors, some very highly regarded, reckon they can do funny voices and, actually, many of them probably can,' she says. 'There's more to it than that, though. You have to bring the script to life for an audience who can't see you. You wouldn't believe how many beautiful-sounding people are desperate to do voiceover work. Thinking of the publicity, producers will invite them to auditions, but often they don't get offered parts because they're too used to acting with their whole bodies.' After school, Shirley enrolled on a drama course with a standard acting career in mind. During the course, she had some occasional work singing jingles for TV adverts. 'One day,' she says, 'the man who ran the recording studio suggested I try out for the part of a rabbit in the soundtrack for a cartoon. It seemed ridiculous – I hadn't studied drama to play rabbits – but I tried it for a laugh and, amazingly, ended up getting a major part.' Shirley realised she could do voices and that voiceover work might be the way to go. Adult female actors are frequently asked to provide the voices for small boys and girls. Their voices are lighter than those of male actors, and in the recruitment of child performers there are complex procedures and endless forms to deal with, which production companies on tight schedules would rather avoid. Shirley has learnt to create the right sounds from the back of her throat, and to avoid always sounding like the same child, she collects new voices as she watches children's TV. Cartoons are the highlight of a job that includes a whole range of things from educational videos to vacuum cleaner adverts. 'Those are hard because you have to sound enthusiastic about something you care nothing about, but my years in this profession help,' she says. 'They've taught me that the trick is to smile while you're talking – that makes your voice sound bright and cheery.' When I've got some days doing animation work, it feels like a holiday: the interaction with other actors makes a huge difference. The competition for work is fierce, and a good showreel – a recording demonstrating what the artist can do – is essential. It's definitely worth investing in a strong showreel. 'Shirley says. 'There are agencies which specialise in helping voiceover artists put them together.' She claims to have got where she is – at the top of her profession – through doggedness as much as natural ability. 'Whether it's making your showreel and taking it round all the film and TV companies, advertising agencies and recording studios, or simply practising your voices, it's all about setting goals and refusing to give up.' For anyone considering a career doing voiceovers, Shirley recommends attending 'specialist workshops – they cover all types of voiceover.' She also believes a passion for human sound is fundamental, describing herself as obsessed with voices and, in a sense, becoming the characters she is performing. 'If I've been in the studio doing a particular kind of American voice, for example, it can take control of me and I'll be speaking like that for hours, perhaps even days afterwards,' she says. 'My children have grown up used to their mum talking in completely different voices.'

the number of her voices that seemed familiar to him

the speed with which she could master new voices

the ability she had to make different voices sound funny

the wide range of voices she could produce

What first impressed the writer about Shirley Ford?

Many actors fail to take it seriously enough.

It rarely suits actors with a background in comedy.

It requires skills that well-known actors sometimes lack.

Producers tend to be reluctant to consider famous actors for it.

In the second paragraph, what does Shirley say about voiceover work?

Their voices often seem strange alongside adult voices.

They tend to sound very similar to each other.

Hiring them involves completing a lot of paperwork.

It takes a long time to train them.

What can be a problem with children doing voiceover work?

She understands that some jobs are more interesting than they might seem.

She knows how to hide her lack of interest in certain kinds of work.

She feels free to spend more time on projects that she enjoys.

She no longer feels bad about promoting certain products.

What do we learn about Shirley from the fifth paragraph?

determination to succeed.

success in her career.

willingness to accept support.

knowledge of her field of work.

The writer uses the word 'doggedness' in line 61 to refer to Shirley's

how badly Shirley's career affects her family life.

how much Shirley enjoys doing certain accents.

how exceptionally talented Shirley is.

how involved Shirley can get in her work.

The writer's purpose in the final paragraph is to show

Shirley Ford, voiceover artist

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