WHAT'S IN IT FOR ME!
Most people approach an agent with a “what can you do for me?” attitude. Forget that. Look at yourself from their side of the table. They will be asking themselves these questions:
1. Has this actor done any work?
2. Is this actor well trained?
3. Does this actor do workshop regularly?
4. Will this actor make me look good?
5. The magical phrase.
Let’s take the questions one at a time.
1. Has this actor done any work?
In the film business there’s a saying: “You can’t get work till you’ve had work, and you can’t have had work till you get work.” A quintessential “catch 22”. Most reputable agents have as many as 250 actors on their rosters. There are agents who have as many as 600.
In consideration of this, what do you have to offer that is up to the level of the actors already signed to the agent? Why should they sign you?
Hopefully you have followed the advice in this book, and you have some credits on your resume. This will give the agent a comfort level that you or your child can “book” a job.
2. Is this actor well trained?
Any reputable agent will insist you do a “cold read”. The agent will give you an appointment to come in. First, the agent will talk to you for a minute.
If the agent is interested in you, you will be asked to review a few pages of script for five or ten minutes in the hall or waiting room. These script pages are called "sides". Then you will be asked back in the agent’s office to do a “reading”.
This is where those expensive coaching classes will pay off.
If the actor is a child not reading yet, the parent will feed the child the dialogue to memorize in the hall. Young actors many times memorize much more easily than older kids or adults.
3. Does this actor do workshop?
Any reputable agent will not consider you if you are not doing regular workshop. If for some reason you get yourself to this point without workshop, they will generally insist you enroll with a coach they recommend.
Now this is completely different than the “talent boiler rooms” we talked about in chapter one. The agent makes no money from the coach. The coach will be a legitimate one with good actors to their credit. You will be going to workshop with other working actors.
This is where you will make very important friendships. It is a great place to network for opportunities.
4. Will this actor make me look good?
Saved the best till last.
In the case of a child actor, the parent’s behavior is a key issue.
If the agent feels the parent will be a pain, they will turn down the child flat no matter how talented they are.
If the parent aggravates the agent, the parent will aggravate the agent’s clients. They cannot afford to loose clients.
A book came out by Dick Van Patton advising parents to call the agent every day to ask what the agent is doing for the actor. This is the best way to get dropped by the agent!
Sure, Van Patton can do it for his kids, or himself. He is a big money working actor. He’s putting a lot of food on the agent’s table, and they don’t want that to go away. So they pretend to like it when he calls every day.
Realize; the agent’s day is completely filled with conversations with producers, casting agents and directors. If you want the agent working, helping you, you’ll get it much faster by delivering a tin of chocolate chip cookies or cappuccino Jelly Bellys.
Don’t get in your agent’s way.
NEVER, EVER, call your agent during “breakdowns”. This happens every morning. That is the time when the propduction companies release auditions for that day.
The agent goes through all the casting calls, and sends out headshot links. The agent will tell you what time is good to check in. It is usually mid afternoon, at the end of the day, the agent is calling talent to book auditions for the next day.
If you are well trained, and you are pleasant to be around then the headshot and resume will go out. Become your agent’s friend. Not adversary.
Instead of calling them and harassing them, volunteer to come in and help them get the breakdowns out, or bring them the high caff coffee!
Make their life easier, not harder.
THE LOBBY IS A MINE FIELD!
It is common practice for the receptionist to report inappropriate behavior to the agent, casting director of producer by the actor while they wait in the lobby. You must be on your very best behavior from the parking lot on in. You never know who will rat out bad behavior.
5. The magical phrase.
The phrase an agent loves to hear is: “I am getting lots of work on my own, basically I need someone to negotiate my bookings.”
What are they going to do, turn down free money? If you have guts and creativity you can find work for yourself.
Buddy up with the American Film Institute in Los Angeles; become active with the Motion Picture and Television Fund.
Join Central Casting. Often actors hired as background talent will be given speaking roles if the producer and director like them. This gets you a SAG voucher. Enough SAG vouchers and you are eligible to join SAG. That is gold.
What goes around comes around. Be active in the motion picture and television community; get to know people. You will raise yourself above the radar.
At the end of the day, you will get an agent when you deserve one.
If you want to save time, don’t go to an agent until you have all your ducks in a line. If you come in the door fully prepared, fully loaded, the agent will be impressed and work hard to help you. This is a true case of Agents helping those who help themselves.
Remember this: an agent judges first the TRAINING and creative talent of the actor; LOOK is absolutely secondary. The exception being if they are just looking for cleavage or a big bum.
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