The Successful Talent: Tips for the Actor & Model

SIGNING THE CONTRACT WITH YOUR AGENT OR MANAGER (Part 2)

Why are "they" asking you to sign?  Keep in mind, if you meet someone briefly and they want to immediately sign you for anything, it's usually some hidden agenda at work, and usually not in your favor.  They can take the quick approach: “do it now or they just might change their mind” and “you'll be a nobody for the rest of your career”.  They also hope you don't read the contract, or at least not understand it or ask questions.  Read carefully for your financial obligations and don’t be shy about seeking clarification if needed.  Do they stand to make money only when you make money or will you be charged monthly fees?

 

In its pure essence, an agent or manager would want to sign an actor because they believe they can effectively manage, augment their talent stable, submit or otherwise significantly advance an actor's career - and both profit from the relationship, including financially.

 

Keep in mind that signing you may be a way of getting you off the market and their regulars a better chance.  (This is where you could actually have something to fear.  Generally, this practice is done in the major markets moreso than commercial markets.)  You stay home, their favorites go out.  Good questions to ask:  how many of my types do you have?  What kind of calls are you getting?  What kind of clients do you work with?  Legitimate, adult questions and answers you should know.

 

The adage, "if it sounds too good to be true, it usually is" really applies here.

 

NEVER sign a contract upon first meeting or even the second meeting.  Read it over in the quiet and privacy of your home.  Take that contract and have a theatrical attorney review it.  Don't be afraid to ask legitimate questions.  A workable contract will detail your relationship, what is expected from both parties and when.  Who is responsible and obligated for what.

 

Is signing a good thing?  If it is thought out and a fair contract for both parties, yes.  It also means an agent will promote you more than their unsigned clients.  You will have first crack at the jobs.  You're on the A List.  Doors should be open to you otherwise not open to you.

 

A management contract can get you the needed agents and opportunities that they can provide.

 

And even if you are signed, always keep in mind, you still must continue to advance your career on your personal level as well.  That includes staying current in your audition skills, training, headshots, and current industry trends.

 

SIGNING THE CONTRACT WITH YOUR AGENT OR MANAGER

New York City Casting Director, Scott Powers, shares his thoughts on how to take the fear OUT of signing a contract with your agent or manager from the talent’s perspective.

 

Sooner or later, you'll be asked to "sign."  It can come out of the blue, or after a steadily developing relationship.  How you handle the situation can definitely advance your career, or kill it - sometimes costing you money you didn't anticipate.

 

When an agent or manager asks you to sign, you the actor should approach this very serious offer with a cool head.  Don't be emotional, don't succumb to peer pressure ("everybody's doing it"), or look for bragging rights to friends and family.  Take a deep breath and proceed logically.

 

Generally, signing means you have an exclusive relationship with an agent or manager.  This means you are choosing to only go out through them, no one else.  You are handing over a part of the governance of your career to someone else, for better or worse.   In some markets, you can sign for commercial representation only and you are free to freelance for film, print, and TV through others (as an example).  There is no firm rule.  It is what the talent and agent agree upon.

 

Signing can be for a number of years, and can also be dependent on how many auditions or amount of income is generated with this partnership.  Sometimes, a contract can stipulate they represent you in the U.S. or throughout the world or even retain the right to use your name and image indefinitely, even if the contract lapses.  Any contract is going to be written in favor of the writer, not the signee.  That is ok as long as you understand your commitment and what to expect of their services.

 

Signing is a show business marriage.  On the personal front, hopefully you don't marry someone on your first date to Starbucks.  Do your research and give yourself time to make a solid decision. 

HONEYMOONING WITH YOUR AGENT

Every new relationship is exciting – we frequently refer to the new love euphoria as “the honeymoon stage” in any relationship.  Your partnership with an agent is likely to release the same endorphins that create the high you feel when seeing that cute guy or girl on whom you have a crush.  Your hopes are high . . . and if I might divulge a secret here, so are your new agent’s! 

 

Use this time wisely to set yourself apart and make their A list.  You can do a few simple things to show your new agent how serious you are and to permanently gain their good graces.  Keep in mind that you only get one chance to make a first impression – and that impression will create either a solid or shaky foundation for your future together!

 

Quickly supply the agent with the materials they are requesting.  Examples may be headshots, resumes, comp cards, digital images, database profiles, hardcopy prints, and even that pesky talent/agent agreement.  The faster you respond to their requests, the faster they will be able to get you working!

 

Do your best to be available to opportunities!  The first few times your agent calls, you need to be able to make yourself available to whatever opportunities are presented.  The work is not below you even if it’s simple or a less than desirable pay rate, despite what you may think.  Agents need to build trust in talent by getting feedback from places where the talent won’t have the ability to cause lasting damage if they don’t hold up their end of the bargain.  Commit to being able to say YES no matter what for at least the first five casting opportunities you get.  The warm fuzzies that your agent will feel when dialing your number will be established and ensure more calls in the future.

 

Be prepared and professional for each new opportunity.  I recently watched a talent get black-balled from ever seeing a powerful CD on his first casting opportunity with that company.  He made a very poor choice and is going to suffer the consequences of that first poor interaction for the rest of his career with that one connection.  Feedback from CDs, producers, production assistants, and directors is valuable to the agent (whose job is to protect the sanctity of their full roster, keep in mind).  Positive feedback earns major brownie points and will have an agent going to bat for you in a heartbeat; whereas negative feedback will handicap that relationship for an extended time period.

 

These three simple actions will guarantee a long lasting and profitable relationship and career.   What have you done to built a positive relationship with your agent?

QUESTIONS TO ASK A POTENTIAL AGENT

Wise talent ask relevant questions.  Questions tell the agent a lot about the talent’s previous experience and understanding of the industry, which will reflect on how that talent deals with the clients.

Poor question:

How many talent do you represent?

Relevant question:

How many talent in my demographic/type do you represent?

Goal:  You want to decipher how many other talent may be up for the same spots that you would be auditioning for.  Note that even if there are several other talent in your age and look, they may have different strengths/weaknesses.  Use your gut feeling to judge how sincere and comfortable you are with the relationship, rather than trying to judge conflicts already housed on the agency’s roster (you don’t have substantial information to do so).

 

Poor question:

Is Disney, Nike, [insert coveted company name here] your client?

Relevant question:

What types of work do you book? (e.g., commercial, film, print, etc.)

Goal:  You want to understand in which categories of work you can expect to be marketed.  No one agency owns full rights to booking on their talent for any one company. 

 

Poor question:

Do you charge fees?

Relevant question:

What will you expect me to provide in order to be marketed?  Will I be responsible for anything else?

Goal:  Of course the agency charges fees – it’s how we make money!  The fee should be a percentage of the work that the talent books.  What most talent are trying to find out is what the costs involved in running their business will be – which is important information.  This includes marketing materials, which will vary from region, agency, and category of work.  The agent should be able to give you a good idea of what items will be necessary and expected without going into detail at this stage in the game.

INTERVIEW WITH AN AGENT

Most talent report feeling intimidated when they meet with a new agent for the first time.  Their impression is understandable considering that an agent’s day is frequently spent putting out fires and juggling  emotions from both casting directors, directors, producers, and the talent themselves.  There are ridiculous demands on the agent’s time, which encompass the full 24 hour day and include weekends.  Stress is the agent’s way of life.

So what can you glean about the agent?  As a career, we are busy and have to get to the point.  In a culture where we hope to be coddled, having someone get to the point strikes us as harsh and leaves us uncomfortable.  Here’s my suggestion about prepping for an interview with an agent:  deal with it.  A good agent is a busy agent, so don’t be upset if they are curt.  (There’s always that small chance you might catch them with a few extra minutes to be more laid back, but don’t plan on this being the case.)

Every agent runs the interview process differently.  Some do mass open calls where they see everyone at once.  Others don’t take time to see new talent until the talent is making money (e.g., booking jobs).  And there are a few agents who invest in the relationship enough to do a personal interview.  Whichever course the agent of your desire takes, be willing to follow their direction.  The process is set up to allow the agent to focus on their top priorities, which are client and working talent needs.

When you get the chance to speak with the agent face to face, speak their language.  I regularly see talent lost in their own concerns and needs.  Talent who understand the business, however, speak the industry language by sharing special skills, hobbies, relevant physical abilities and statistics. 

What do you imagine an agent would be most interested in knowing about you?

THE RESPONSE FOR REPRESENTATION

Within a few weeks, you should be hearing responses back from the agencies who are interested in knowing more about you.   Congrats!

 

Note:  An agency who does NOT know anything about you and still says they want to work with you might be worth reconsidering.  Agents can’t properly represent or pitch their talent until they get to know a bit about what you have to offer.  Good agents know their talent's strengths and weaknesses and how to position them to reap the full advantage of their potential.

 

You have likely been asked at this stage to submit further materials (a reel, snapshots, or taped audition, for example) or to set an interview appointment.   If asked to submit supplementary materials, follow directions carefully.  Smart agents will be watching to see how well you do – this is key in knowing how a talent will respond to a director’s direction in the casting room. 

 

If an appointment is offered, be prepared and professional.  Some agents will prepare you with what to expect; others choose not to do so.  Interviewing without information can be nerve-wracking, so choose to define your tools before arriving. 

Tools should include:

(1)         Any Marketing Materials.  This may include a headshot, resume, comp card, portfolio book, reel, and anything else noteworthy and related to your business of being a model/actor.  Be prepared to do whatever you list on your resume, by the way.  If “fluent spanish” or “cockney accent” are under your special skills, you are likely to be put on the spot.

(2)         Monologues.  Two to three monologues that are age and gender appropriate are expected.  Use various genres and try to showcase your best qualities (avoid your weaknesses).  If you cry on cue, be sure to show that!  A monologue does not need to be longer than 45 seconds, so try to stick between 30-60 seconds.  You want to leave the interviewer wanting more, not stopping you in your tracks because they’ve “heard enough.”

(3)         Details about you.  The interviewer is a stranger and wants to find out what makes you spark.  This is likely how the agent’s client is going to feel when they meet you, so producing an interesting product to be marketed is important!  Spend some time brainstorming what makes you unique.  What gives you an edge over other talent in your demographic?  You should easily be able to answer the inquiry – “tell me about yourself.”

(4)         A Professional Wardrobe.  Wear clothing that fits in the industry (or err on the side of corporate professional) and is appropriate for your body style.  A common mistake talent make is to wear clothing that shows too much skin or which they deem “high fashion”, but does not flatter them as an individual.

 

If you have not heard from anyone, don’t be offended.  There are only a hand-full of agencies in the world who will send you a refusal letter.   Wait a few months and continue to develop as a talent.  Once you have something new and improved to offer, resubmit.  Follow up on each submission to ensure the agency receives it, but do so wisely by emailing or getting postal delivery confirmation.

 

What monologues do you keep prepped to deliver at request?

 

RUN AND WAIT

It’s the creed of entertainment.  Run as fast as you can when the opportunity presents itself (or someone else might beat you there) . . . and then wait forever for the next step, next opportunity, or next piece of direction.  It can make even the most stoic talent go mad.  (To quote Tim Burton’s movie, Alice, “But all the best ones are . . . “ mad, of course!)

 

You’ve delivered all the packages to their respective destinations.  You’ve check off every item on your to-do list.  And now you must sit . . . wait . . . hope.  How can you keep from going insane?  Simple – keep working and growing!  Talent who “run & wait” are never going to make it in entertainment.  No one is going to knock on your door or ring your phone to offer a career to a professional coach potato!  Get out there and continue the path that you started several weeks back.  Active talent meet active industry professionals all the time, but you have to be OUT in order to meet someone new. 

 

A close friend of mine recently proved this philosophy when she was let go from a major agency downsizing its staff.  While other former employees were depressed and licking their wounds at home, my friend (we’ll call her Jane) gave herself one day to wallow in misery.  After her day was up, she was back out hitting the streets, being seen, doing what she loved to do and what was required in her career.  Within weeks, she had landed a brand new job that she loved all the more than her prior situation.  She was working in the specific part of the industry that interested her most; she got a phenomenal new boss who valued her skill set; and she was pulled into a company whose operating philosophies matched her heart.  Despite the downer situation, Jane chose to take the bull by the horns and place herself strategically to be a sought after commodity . . . and so she is!

 

Follow Jane’s lead!  Get out there and continue to build your resume, gain footage for your reel, challenge your skill set, and grow your network.  If your focus is on becoming a more sought after commodity, you will be found before you know it!

 

How do you deal with the “wait” part of your career . . . . are you active?

 

SUBMISSION FOR REPRESENTATION

You have options and you know how each agency on your list prefers to be contacted.  Now what should you include in your submission?  Good question!  

Again, most agencies will tell you what to include, but here is  general list of suggested material:

For the green talent:Talent new to the industry should not try to know too much. Agents can tell when someone is blowing smoke, so be honest and transparent about your experience. 

a)   Cover Letter – only 3-5 sentences maximum!  Agents do not have time to read a dissertation on your dreams.  The agent will understand your position if you end up working together, but show them that you value their time.  Keep your words direct and concise.

b)   Snapshots – show us who you are physically.  A smiling image of just your face, a non-smiling image of just your face, and two images that show your body (one straight on and one side profile usually work).  No more than 4 pictures.  It’s important that the images are flattering, yes, but please do NOT use too much makeup or put your hair in your eyes.  Pull hair out of face (it can still be down) and use only light powder, light mascara, and lip-gloss.  They won’t be your favorite pictures, but it’s important for the agent to be able to see a clean slate.

c)   Resume – green talent like to think that they don’t have a resume, but 9 times out of 10, I can sit down with a new talent and put one together in only a few hours of talking with them.  Include anything you’ve ever done (and you’ve been doing free projects and student films, so add those)!  It doesn’t have to pay . . . and you don’t have to show us the final product if it’s bad.  If you were in front of people or a camera, it counts.  Show the agent that you have drive and are making an effort – the agent can help edit the resume to fit their needs down the road.  

For the working talent: Talent who have been working in the industry should not try to show off too much.  Agents expect working actors and models to know how hectic things can become and to respect the demands on the agent’s time.

a)   Cover Letter -- only 3-5 sentences maximum!  Agents do not have time to read a dissertation on who you are and what you’ve done.  The agent will glean the necessary information from your marketing materials.  Keep your words direct and concise.

b)   Headshot/Comp Cards – a talent’s headshot is the one image that represents their skill set across the board.  It should be real, flattering, and inviting.  Comp cards should give a concise and diverse appeal to the talent’s ability.  It’s the model’s resume of relevant experience.  Most likely, this will give the first impression – be impressive!

c)   Resume – Be honest, be professional, be all inclusive.  If you can do a back flip or cry on command, write it down under special skills!  Agents frequently browse special skills and hobby categories to find talents they don’t already represent.  Credits are important and training is a space-filler, but agents don’t usually spend much time considering these categories.

d)    A Professional Reel – if you have one, send it.  If you don’t, do not try to put one together.  You either have the footage of real work or you don’t.  A bad reel will do far more harm than no reel at all.   Your mom may love it, but that doesn’t make it professional quality!  

What piece of material are you unsure about submitting?  Ask first!

 

FROM THE CASTING DIRECTOR'S DESK (Part 2)

 

11.  Who are you?  When returning a call, you will be perceived as so professional if you say, "Hello, this is (your name) returning (so-and-so's) call.  The more you tell "them" your name up front, the barriers go down, the gatekeepers of the industry swing open the doors and you waltz in.  And if asked your name, answer with your FIRST NAME AND LAST NAME.  Ashley?  Ashley who?  We work with 15 Ashleys.  If we have to pull information out of you, it's not going to get any easier.

 

12.  Similarly, to reprise an incident that occurred in our office only yesterday, don't call a company and say, "Do you know who this is?"  Our blood pressure starts to rise.  Our answer: "Noooooo."  Then we hear, "I was in two years ago!"  On the way to a coronary.  Then we ask, "Who are you?"  Answer: "BRIAN!"

 

13.  Say "good-bye" when hanging up.  Again, there must be a reason for saying this.  Unfortunately as you may be guessing, actors as a group have less than admirable telephone manners.  A disproportionately large number of talent just hang up when finished with a telephone conversation – don’t slam down the receiver in the ear of someone who can help/hurt you.  100% of the business professionals in this industry view this hanging up as rude and unprofessional and makes people not want to work with them.

 

14.  Make conversations brief and to the point.  Be focused.  Before you call, know what you want to say.  These are business calls.  The person you're talking to usually is juggling many different phone lines.  They can speak to hundreds of actors a day.  They don't have the time for life histories.  Get on, say it, say goodbye and hang up.

 

15.  If returning a call, don't start off a conversation with  "Hi, somebody called me about something.  I think it was yesterday.  I don't really know, my phone's been acting up."  This is much better: "Good afternoon, this is [your first name/last name] returning [first name/last name's] call 5 minutes ago about [subject].  Professional, with just a little more effort makes a big difference.

 

16.  Call during business hours.  Usually considered 9:00 am - 6:00 pm.  Calling and leaving a message at 3:00 am is not well received and reflects poorly on the actor.  Also remember, you have to have a conversation, requiring interaction.  You cannot do that at 3:00 am.

 

17.  Choose your times wisely.  If you are calling an agent on your own for whatever reason, and not specifically returning their call, never call first thing on a Monday morning or last thing on a Friday afternoon.  That's when they are the least receptive to anything.  They can be crabby.  So don't play into a bad time.  Also keep in mind that in offices, mornings are used going over breakdowns and sending out calls; late afternoons are devoted to giving out auditions.  Think about that when making the call.

 

18.  Speak distinctly!  You're an actor, no marbles in your mouth.  If we can't understand you over the phone, we have learned the hard way there's no reason to go further with you.

 

19.  Let people want to like you.  A rule of life is you cannot make someone like you, you can only let them want to like you. 

 

Remember, how you handle yourself over the phone speaks volumes about you and your future in this business.  Having this skill is as necessary - and mandatory - as any other performing skill.

 

And never lose sight of the show business mantra:  Your job is to make their job easier.  And how you choose to apply that mantra will be reflected in the success of your career.

 

FROM THE CASTING DIRECTOR'S DESK (Part 1)

This note is from New York City CD, Scott Powers, who shared his thoughts on helping talent present him or herself professionally via phone.

  

He said:

Too many talented actors unknowingly hurt their careers in this area.  Are you one of them and don't know it?  Time to do a reality telephone check.

 

In person, we know some gifted actors with great looks and lots of personality.  But, on the phone, they come off snarly or the proverbial box of rocks or just clueless.  If we hadn't known them personally first, we would have never would have called them in to audition.

 

Pointers to boost your career, guaranteed!

 

1.  Put a smile in that voice of yours!  This is another interpretation of that "happy, bouncy, perky" attribute we keep talking about.  Do not be "The Voice of Doom" and put a thundercloud over our day.  In fact, SMILE when you're speaking - it actually comes across in your voice.  You may not notice the change, but we certainly will.  Try smiling in a mirror when you're on the phone - a trick some smart cookies use with impressive results.  Smart and successful salesmen have known this secret for years.  Now you do, too.

 

2.  Record your telephone conversations.  Play them back with a critical, dispassionate ear.  Do you like you?  We know too often what the answer is!

 

3.  If calling from a cell phone - and who doesn't these days - make sure you use a service that provides reliable service and get a quality cell phone.  Calls from an actor where the conversation is constantly breaking up is incredibly frustrating.  We try to insert missing words in the conversation, with mixed success.  It willcost you in the long run.

 

4.  DON'T be on the phone while doing anything in the bathroom.  Why do we say this?  Hearing the toilet flush - or what happened just prior to the toilet flushing is what we're referring to.

 

5.  Similarly, DON'T be on the phone while doing anything in your bed.  Again, why do we say this?  Learn to control what you were in the middle of doing.  Or maybe you were expecting Fantasy Fone?  Sorry to disappoint.  We don't give that kind of good phone.

 

6.  There's an unwritten rule that calling a sleepy actor too early is asking for trouble.   Are we waking up a Sleeping Beauty or a Sleeping Dragon?  Hearing a wispy, raspy, sleepy "hell-wo" on the other side sounds just so uncool.  But if you do happen to be sleeping when the phone rings, never let it come across when you answer.  You're an actor, right?

 

7.  Always have a pen (that writes) and paper (more than just a scrap of Post-it) within an arm's reach.

 

8.  If an agent is giving you instructions, YOU write them down; NEVER say, "Call me back and leave the details on my voice mail."  This scenario happens more often than you think.  It will guarantee not hearing from them again.

 

9.  Returning a call?  How many times have we said return calls within minutes of you receiving a call or message ? How many times have we seen jobs lost/representation lost/you name it because of too long a time in getting back? More than we care to remember.  The latest excuse?  "I'm more used to IM'ing and texting than using a phone."  That recent wannabe actor was fired and got no second chance.  Ever.

 

10.  If someone leaves a message for you to return their call, listen to the message first! Then return the call.  Don't make us repeat the information again unnecessarily.  This behavior can slowly build up a change in attitude about you.

 

Phone skills are an important part of communication – and communication is the thing that can make or break a successful relationship.  These suggestions are a good place to start, but more are to come!  Keep watching and feel free to post your own suggestions to help us all continue growing into a better partnership.