The Successful Talent: Tips for the Actor & Model

COMMUNICATION EPISODES

It should go without saying, but experience proves that it needs to be said.  Talent often complicate their lives by intending to find a simpler solution to the direction they are given.  Following directions is crucial, but in this blog we are mostly focusing on the communication between you and your agent. 

 

In a new relationship, it’s obvious to ask questions.  Find out the best mode of communication and the best times to do so from your agent directly.  Some prefer fax, where others prefer phone.  Personally, I like email. 

 

Find out what expectations your agent has for your developing relationship.  Is it ok to check in with him/her during the slower season?  How does he/she prefer to receive updated headshots/resumes?  What political events would he/she like you to attend?  Which industry partners (photographers, coaches, etc.) does he/she find most valuable for the talent?

 

In a seasoned relationship, the need to ask questions to stay updated isn’t nearly so obvious.  Talent who have had a long relationship with their agent develop a style of communication that becomes comfortable for all parties.  Sometimes, reminders are necessary to be sure that you are growing together rather than apart.  Once a year, take the time to touch base with your agent and ask if there are any communication standards you can use that would fit their needs better. 

 

Use some of the flexibility as a talent that makes you so successful in your relationships and watch the positive consequences that follow.  Your agent will be happier and know that you are a team player, which will make him/her work all the harder and put you at the top of the call list!

THE TALENTED CELEBRITY 101

One of the most valuable skills a talent can possess isn’t actually talent!  It’s the ability to follow directions consistently and carefully.  And on average, this same skill is the detriment of 99% of the people who ever had potential and never made anything of it.

 

A talent will find themselves following someone else’s direction 100% of the time.  It doesn’t stop with your mom or your agent!  Be willing and prepared to take direction from casting assistants, production assistants, wardrobe stylists, makeup artists, camera operators, and even that intern delivering coffee to the director!  Being a talent is a service-oriented business and requires a willingness to explore what the other creative (or administrative) minds envision.

 

Start with paperwork, for example.  Talent are required to fill out paperwork almost every time they encounter the opportunity to work with someone.  This paperwork is meant to be utilized by the agent, production team (an all-inclusive term for everyone on a set assisting the director/photographer), casting, the union, and even the IRS.  Directions are frequently typed clearly above each space, but talent often miss them and fill out fields they were meant to leave blank (or leave spaces where they were meant to share information).  If your agent doesn’t have your shoe size as requested, you may miss out on that major catalog deal.

 

A casting director, as another example, may ask that you submit a taped audition for a movie or television series.  Their instructions noted a “written slate” which should include certain information.  The talent who gets so caught up in their character and delivering a great read, but neglects to supply the necessary contact information as requested will likely never make it to the director’s room.  

 

<a href=” http://www.imdb.com/name/nm0315041/”>Ricky Gervais</a must be one of my favorite comedians and his show <a href=” http://www.bbc.co.uk/comedy/extras/”>Extras </a  portrays some of the ridiculous mistakes that naive talent make on and off set.  The production team is referred to lovingly as “team” because they join together to make everything work.  Undermining any aspect of that will put a talent in the “don’t use again” file very quickly.

 

Approach each person you encounter as a friend and business partner.  Not all of your experiences will be star quality, but you will no doubt be on your way to becoming a star talent among the opinions that matter most!

 

TALENT WHO FOLLOW DIRECTIONS

 

The top complaint I hear from industry personnel is that talent cannot accurately follow directions.  I could spend an entire blog making excuses for why talent repeatedly confirm this fact, but that wouldn’t be productive.  Let me start by saying that I agree that there are many distractions that contribute to the inability of a talent to complete the directions they are given.  Alas, despite excuse, it doesn’t win friends or influence people.  (It would greatly enhance your career to purchase and reread this book frequently.)

 

In order to “win friends and influence people” in the manner that will make them want to work with you many times over again, let’s discuss some positive tactics to help you better follow directions.  Identifying and then following through are the two steps to completing your task.  

 

Directions can be verbal or written, and in our industry, even mimed (as when a director gives the actor a line reading or a photographer physically creates a stance to help the model).  Most of your communication with your agent will be some form of direction, too.  CDs have told me that they have clearly listed what the want the talent to slate on camera and the talent repeatedly are unable to complete the task.  It sounds absurd, but we’ve all fallen prey to this shortcoming at some point due to nerves, inexperience, or simply because we weren’t listening.  You can practice these skills like any other – follow the direction you are given on a daily basis.  The more accurate you are (this will improve as you learn to listen more closely) in following the directions in your daily life, the easier it will be when you’re under pressure on set or in the casting room.

THE POWER OF COMMUNICATION

One of the most effective and simple ways to keep your agent's attention is to keep the lines of communication smoothly flowing.   Of course, communicating effectively means knowing the best modes of communication for your partnership.  The agent will have many people – both talent and clients alike – demanding open lines of communication, so find out the best modes of communication patiently.  Any agent working in their talent’s best interest will want to make their clientele needing models and actors their first priority. 

 

If you haven’t defined the best mode(s) of communication with your agent, the first thing you need to do is pick the best time to ask.  Email might be the easiest option since it can be responded to at the agent’s convenience.  Another option would be to ask at the time you are face to face with your agent.  In this case, feel out the situation and only ask if there are no other pressing demands.  This conversation (or email) should be short and sweet.  Get the information you need, thank them, and move on with your day. 

 

Talent who can adopt the modes of communication preferred by their agent will not only continue building a positive relationship, but will keep their business foremost on their agent’s mind.  For example, when I receive purposeful emails from the talent we represent, that person's skills and abilities are pulled to the front of my mental files.  I’m not actively doing this, of course; it’s human nature.  The more correspondence your agent experiences with you, the more familiar they will become with your likeness and abilities – and the bottom line is that they will be able to better represent you.

KEEP YOUR AGENT'S ATTENTION - Part 2

CONTINUED FROM PREVIOUS BLOG . . .

6.) Have you worked somewhat with an agent by now? Have you thought about the holidays?  A MODEST gift might be well-received. No one can ever go wrong with liquor and chocolate.

Even better . . . find out what it is that your agent actually likes.  The gesture of chocolate is lost on me since I don't like it.  Of course, I notice the thought, which is really what counts in the end, but a token of appreciation is valued when done tactfully.

7.) Let an agent know if you have more marketing tools for yourself: do you have a career-oriented Facebook or Myspace. Do you have a link? The new buzz word now is whatsyourlink.

There are also a lot of industry-wide databases used for submissions today.  What online profiles might you need to create or do you already have accessible for your agent to use?  You likely have a profile page on the agency's website, too.  Keep these online tools updated regularly!

8.) If when meeting an agent and they give you specific requests to contact them in a specific way, do it.

Wanna know a secret?  I use the directions that talent are given through our three step interview process as a litmus test to see how well they follow directions.  Most of the time, I find myself using their inability to do so as a learning platform to help them avoid making those same mistakes with CDs or directors on set.  The talent who do not have to be redirected start our relationship with a full vote of confidence, which admittedly gives them a head start.

9.) Where is that reel? Agents looove looking at their actor's 2-3 minute reels - of principal work. Work on getting one that fits those requirements.

Not only do WE love it, but so do CDs and production people when they are first getting to know you as a talent!  Be wise with this step, however -- just because you have the footage doesn't mean it should be shared as a reel.  Get your agent's direction when putting it together or ask for help editing it so that it will be tailored to your market's needs.

10.) Have you ever been in a personal relationship? You know it takes time and work to make it work.

I share with our talent in the very first step of our interview process that things won't always be peachy.  Personality differences have to be settled.  Modes of communication have to be etched smoothly.  Past experiences and baggage will affect reactions to things that will arise.  Working through these complications TOGETHER with trust and cooperation is the only way to build a quality relationship.  And once that relationship has been built, a continued effort to have effective communication will be necessary.  Expect the rough patches and embrace them in order to get through to the good stuff!

These points above will help you develop your relationship with agents. They are your go-between for the good jobs. It is necessary work and the payoff, when it happens, can be so sweet.

KEEP YOUR AGENT'S ATTENTION - Part 1

Casting Director contributor, Scott Powers, offers these ideas on how to keep a healthy relationship with your agent.  I've made some personal notes below each idea in APPLE RED.

How do you stay in an agent's line of sight and top of mind without seeming pesky? 

1.)  After meeting an agent, send them a bread-and-butter picture postcard of thanks. Mention your appreciation of their time and you look forward to working with them.

This is also a great idea to use with CDs after a callback or to a producer/director after working on their set.  We all want to be appreciated.  The more you take the steps to show it, the more likely the rest of the industry will reciprocate that effort, which will lead to a happier working everybody!

2.)If you're in a show, let them know! Some agents will attend, some won't. Regardless, it shows you're out there being pro-active in your career. Building up valuable theatre training and credits, which all agents want. You will always come out ahead.

I LOVE **really want to stress that I do love** it when a talent notifies me of their being in a live production.  Attending everything is impossible since I am only one person, but when the talent goes out of their way to provide a comp ticket and I am not able to attend, I pass the comp along to another industry professional with whom the talent can benefit from impressing such as a casting director, producer, or screen writer.

3.) Send them a postcard once a month - for the rest of your life - with something worthwhile to say. What have you done since the last monthly postcard. Keep in mind, no one gets a booking every month. A callback is good. An audition is good. Be specific - for what, who's the director, who submitted you. This is information the agent likes to know. Taking a class? Agents want to know their talent is always training. Whatever you are doing to further your career. This separates you from those who are sitting by the phone waiting for it to ring.

In my case, I like a quick email (do your back pocket and the tree population a favor).  Reminders even about callbacks for significant projects or a memorable story from a set give your agent something to humanize you during discussions with production people.  The human connection also makes your agent more likely to feel impressed to push your career a little farther.

4.) New headshots? Ask the agent if they'd look at your selects. That means not the 200 that were originally shot. Best if those selects were available in digital format so it is easy to make choices. Agents reviewing your shots makes them feel an instrumental part of your career.  If you have dropped off hard copies of your headshots, they will use them up in the course of doing business. Running low! Checking in with their office will be in order to see if they need more - and drop them off within 24 hours, looking great and grand.

If I had a nickle for every time a talent dropped off headshots with corners bent, resumes not attached, or crud smeared on the front of their image, I'd be sitting on a beach in Tahiti typing this.  Your agent cares more about your reputation (and their own) to send that out to someone forking over money for your presence.  Make your materials shine so that your agent is sure to never miss the chance (or push the envelope a little) to [be able] to submit you!

5.) Did an agent give you stickers? To put on the back of your headshots when going on auditions or go-sees? You use them up. Running low! Checking in with their office to pick up more is in order. Pick them up the next day, again looking great and grand.

A suggestion here that I missed the first time I read it was to "look great and grand."  Your agent will have minimal face to face contact with you, so it's important to always look your best so that the most impressive image of "you" will stick in their minds when pitching you to a client later. 

Stickers are still used in some markets, but check with your agent to find out what process they prefer - we have a stamp, but are happy to send stickers via email for talent to print if requested.

These points above will help you develop your relationship with agents. They are your go-between for the good jobs. It is necessary work and the payoff, when it happens, can be so sweet.

YOU HAVE AN AGENT. NOW WHAT? - Part II

Now that you’re off to a simple, but valuable, start to your business of being a talent, we can take it a step farther.  Like the awkward growth of a child into an adult (we all want to forget it, but you can’t – puberty – there, I said it), young talent will experience growing pains as they learn to navigate the uncertain waters of entertainment.  Once you can walk, chew gum, and do the previous suggestions, add these:

 

Third, ask your agent to give you recommendations to help put together high quality marketing materials.  The worst thing you can do to handicap your agent’s abilities is to supply them with poor to mediocre materials.  If you can’t even get into the audition, neither of you stand to make money by booking it!  Agents know which photographers, printers, and coaches will give you the edge, so trust their advice and show them you’ve acted on it.

 

Fourth, check back regularly to keep your representation stocked and able to work their magic!  Providing your agent with updated headshots, resumes, comp cards, portfolios, and digital images is crucial to your success.  It also defines your level of professionalism and says a lot about your ability to follow directions.  And sometimes sadly, it’s a telling sign for the uber-talented model or actor who will likely sabotage their good chance at a career in superstardom.  Each time your resume changes, it should be changed EVERYWHERE – your agents’ files, your hardcopy headshots (sitting by the front door ready to go on a moments notice, of course), your digital profiles, etc.  Each time your look changes, your headshots should be updated within a reasonable amount of time (it’s reasonable to have this done within 2 weeks if it was a change by choice).  Each time your new tear sheet is released, it should be added to your book and the book on file at your agent’s office. 

 

If you are unaware all the places that your agent might be using your materials, find out immediately.  They want you to know and want you to help keep things up to date!

 

Don’t be the talent who misses the job because you didn’t uphold your end of the bargain.  A successful career is here for the taking, but “taking” is an action verb and requires you to be productive.  What can you to do to take action today that will keep you in your agent’s line of sight?

YOU HAVE AN AGENT. NOW WHAT?

We’ve worked so hard to get to this point!  After sealing the relationship, though, the excitement can wear off at an alarming rate.  Most talent make their career mistake at this crossroad.   I like to picture the misinformed young model or actor sitting at home in the afternoon curled on the couch watching their favorite soap opera and popping bon-bons . . . all while a little cell phone nestles quietly in their lap.  (Of course, in my mind, it’s still an old 30s style black phone with white ivory numbers on the end table beside them.)

 

If you aren’t supposed to sit around waiting for the phone to ring, though, what ARE you to do?  The answer isn’t simple, but we’ll start with the obvious.  Scroll down to the very first blog post and start working the full system again.  Agent or not, it’s your job as the talent to continue working the clientele as much as possible – that includes digitally, via mail, in person at events, and of course, in the casting room and on sets!  The breakdown of financial gain is a good balance to base the amount of work each partner should be doing.  If your agent takes 20%, then you should be doing 80% of the networking, marketing, etc.  Of course, take into consideration the amount of time you spend on actual paying sets, as well (your agent won’t mind picking up the slack if you’re constantly booked, trust me).

 

After you realize that your level of responsibility hasn’t been diminished, focus on the new responsibilities to which you have committed.  First, give your agent every chance to experience your abilities and learn your strengths.  I love it when my talent give me comp tickets to their theatre shows, for example!  I also find reels of their work beneficial.  Every time your face, name, or body are in the presence of your representation, you secure a stronger place in their mind and confidence in your skills.

 

Second, take the time to show appreciation to the people supporting your career – most obviously your mother and your agent, who both have a vested interest in your success.  Thank you notes/postcards are a great way to reinforce your relationship and encourage your agent to put you at the top of their list!

 

Start with these two simple baby steps and you will be guaranteed to launch a good foundation to a career.  Continue on with the next blog post suggestions, and you’ll grow into the charming young talent that will make a momma proud!

THE 'IT' FACTOR

Think you’re the next Brad Pitt, Tom Cruise, or Julia Roberts?  The most successful talent are said to possess the ‘it’ factor – an ability to impress us without having to do or say what appears to the layman as “much of anything at all.”  I like to think it’s something pertaining to confidence and comfort in one’s self. 

 

The actor comes in all shapes and sizes; all ages and ethnicities; with accents and without.   The guidelines here are less stringent only because they are telling stories about other REAL people – and we already agreed that real people don’t look like fashion models.  So no matter what your physical assessment found, it won’t hold you back!

 

The key to being an actor, however, is connecting with . . . emoting . . . understanding . . . and studying people. Emotions are worn on the actor’s sleeve because they must be readily available at all times.  (For example, actors are commonly asked if they can cry on command.)  It takes courage to venture into the emotional depths of pain, trauma, frustration, abuse, loss, joy, love, laughter, etc.  Actors are willing to tap into the dark side – commonly termed in psychology as “the shadow” – and showcase it for the world.  It’s that extreme case of vulnerability that makes you cry with Meryl Streep (Doubt 2008) and hope with Kate Winslet (Titanic 1997).    Some people do this naturally – and we find ourselves drawn to their presence.  Some have to be taught to master the craft from scratch.  But all have to be given tutelage; to be challenged and stretched; to be coaxed into the emotional fullness that keeps them sharp and ready [see Walking The Tightrope].

 

The height of success in the acting world is marked by fame and fortune . . . and don’t forget the paparazzi!  Actors move from their local markets to Los Angeles every day.  And actors return with their tails between their legs just as quickly  . . . luckily this constant movement keeps LA from falling into the Pacific!   The serious actor knows that LA is their goal, but rarely do they know how to get from point A [insert where you are reading this now] to point B [Los Angeles].  It’s the need for approval and the drive to be seen that keeps the actor dissatisfied with being the big fish in a small pond.  Swim a few thousand miles and you’ll find yourself on the other shore and with the industry executives who have been waiting their entire career to find YOU!  Or at least, that’s what the actor wants to believe – I’ve been there myself.

 

Ok - all sarcasm aside - there are Oscars to be won and there is no reason why you can’t be one of the recipients, right?  I agree.  All I’m suggesting is that you do it wisely so that you actually make it to the podium when your time comes.

INVISIBLE MARKETING

Talent have the responsibility to provide their representation with marketing materials.  Agents and managers use these materials to submit and pitch talent for work.  They can also be used to keep a talent’s face present with a client on an ongoing basis or to build networking opportunities.  At the end of the day, if your representation wants to send you out and you have not supplied them with the necessary materials, their hands are tied and that means YOU are not working!!  Before you panic, here’s a simple list of what the basic requests are likely to be from your agent/manager.  This is not an exhaustive list, so listen carefully when you are being directed and be sure to follow through on each request to give yourself the best chance to be a success!

 

1.)      Printed Images.  For actors, this will be a headshot (or 2-3

images in some markets) with a resume attached properly.  When looking at the printed image, you should be able to flip it over and see the resume clearly.  Staples are generally requested, but other methods include glue or printing directly on the back of the image.  Truth be known, the fixation technique you choose will be lauded by some and ridiculed by others.  Time and experience will teach the wise talent which directors and CDs prefer which style.

 

For models, these images are usually composite cards.  Your agency may use them most often to submit you for work, but you should have a few in your portfolio to hand out as business cards when you meet an industry professional.

 

2.)      Digital copies.  The most amazing technological advances have graced the starving artist’s budget with online transmissions using digital materials.  This means the talent doesn’t have to pay nearly as much for printing as they might have in the past. 

 

The proactive talent utilizes industry respected databases like Actors Access, NowCasting, LA Casting, and your own agency website to compete in the ever faster moving world of entertainment.  Not only are these profiles necessary and convenient, they are readily watched by CDs seeing your face over and over.  Is this person growing?  Do they have new credits . . . new tear sheets?  A common mistake on the part of the talent is not keeping these database profiles up to date.  Agents submitting outdated images, resumes, skill sets, etc. cause the talent to look unprofessional.  The damage isn’t done to the agent or manager, but rather to the talent him/herself.  Update these profiles regularly!

3.)      Video Files.  Not only are talent given access to databases, but the old film reel to show hard and fast ability has been converted to digital format.  It’s rare that agents and managers even use the hard copy DVD anymore (again, another material you don’t have to purchase).  Video files can be transmitted electronically through most databases and websites.  Clients expect immediate responses when requesting a talent’s reel – even the overnight process is too slow in today’s market.  Be sure your agent or manager has copies of all your relevant work in both hardcopy and digital formats!

4.)      Electronic Portfolio.  Designers are asking for a models’ book of tears electronically, too.  Your hardcopy portfolio is still necessary, but shipping it across country or even down the street is costly!  Why be billed those fees by your representation when you can provide an electronic resource at a much lower cost and supply your client with an immediate response?

 

Where can you be found?