The Talent Agent: What is your job, anyway?

When I worked as an agent and spoke with people who had never worked with one, it became quite clear that most people have no idea what an agent does or why they should have one. The Dictionary.com definition of a talent agent is simply, “one who represents performers.” This is pretty vague and doesn’t say a lot. If you look up the definition of agent, the first entry is “a person or business authorized to act on another’s behalf.” This comes much closer to describing what an agent actually does. A talent agent has two main functions-to negotiate contracts, and to solicit clients on your behalf.

Agents really have two separate customers: the talent they represent (models and actors) and the clients who are booking the talent (producers, directors, art directors, etc.). The agent’s job is to meet the casting needs of the clients by filling roles with as many the talent they rep as possible. Agents often walk a fine line trying to please both groups of people. Because agents only get paid a commission off of the total amount of money that the talent make, it’s in their best interest to get their talent as much money as possible. Sometimes that means getting a lower rate to get five actors cast in a project instead of getting one actor paid pretty well.

This is often why you’ll see agencies that represent a huge amount and variety of actors and models.  They want to cover as many bases as possible in order to get the most amount of people cast. True, there are many specialty agencies, or agents who rep only a few big name actors, but in general many agencies make money by representing talent from newborn up to 80’s, in all types, skill levels, and ethnicities.
Figure out the math and it makes sense:

If I’m an agent and I’m submitting for a VISA commercial, I may figure out that each actor should get $1200 based on what markets the commercial is running in, and for how long. If I make 20% commission off of the job, that comes to $240. Now, if it happens that VISA is actually looking to cast 20 people for that commercial, I may give a sliding scale based on the number of people they book from me. For instance, if they book less than 5 people than the rate is $1200 per person, but if they book 5-12 people the rate may be $850 per person. If they cast 12 people that makes the total $10,200 for the job, or $2040 in commission to me. If the client agrees to book 13 or more people that rate may go down to $675 per person. That’s almost half of what the original rate was, but as an agent I’m billing them for a total of $1350 for 20 people, or $2700 in commission.

Casting agents always want the best people available, but EVERYONE is still working on a budget. So if they can get all 20 people from me for 30% less than another agency, they’re most likely going to try to book everyone through me. The clients are happy because they got the talent they wanted for less money, and the 20 people I booked are happy because they’re all working. Unless of course, the talent figure they should have been making the $1200, in which case they’re irritated because they’re only getting half of that to do a VISA commercial.

Is this right to work this way? I don’t know, but it is commonplace. No matter how close you are to your agent, he’s always going to do what he needs to get the highest commission possible, and if that means everyone makes less money to get more people booked, that’s most likely what’s going to happen.

January 16th Make Money Acting Workshop!

Learn how to get started making money acting and modeling! The entertainment industry has been called “recession proof” because it grows every year, despite our current economy. There are tons of opportunities to make money working in commercials, film & television, and print ads. Learn how you can get started! This workshop is perfect for people just getting started, those who would like to know how to get started, or those who would really like to boost their career. Appropriate for ages six through adult.

Workshop topics include:

-what sort of work is out there
-how to build your resume in a hurry
-how to market yourself
-how agencies work, and how to get signed
-where to find auditions
-how to audition in front of the camera
-headshot & resume consultation

…and more!

All workshop participants will receive a professionally produced DVD of the workshop. Select participants may be featured in an upcoming instructional DVD that will be distributed nationally.

This workshop will be run by Brian Bowers. Brian has over twenty years of experience working in the entertainment industry, including:

*a professional actor featured in regional theaters, commercials, film, and voiceovers
*former talent agent from the Talent Group, one of the top SAG/AFTRA franchised agencies in the region
*owner and photographer for Braedy Photography (www.braedyphoto.com)
*Cleveland Producer of the 48 Hour Film Project (www.48hourfilm.com/cleveland)
*judge for the National Film Challenge
*moderator for the New Vision Film Club
*producer/consultant for actors & filmmakers
*professional blog at www.thebrianbowersproject.com

Actors that Brian has previously worked with have gone on to work on Broadway, London’s West End, national tours, films, and broadcast and cable television.

“The first time I met Brian, he drew me in, and boosted my confidence quickly. I grew as an actor and as a person in general just by spending a few short hours with him. As time progressed and I grew more he saw that it was time to bring me into the agency, where he personally took an interest in making sure I began working professionally as an artist. He organized the most important audition of my life to date. With a bit of advice from him I was cast in the role of Robby Sabian in “The Kill Point” where I was able to work with the likes of John Leguizamo and Donnie Whalburg. Brian is one of the hardest working men I know and he brings in an almost un-human positive attitude and work ethic.”

Ethan Rosenfeld-”Robby Sabian” on Spike TV’s The Kill Point (http://www.imdb.com/name/nm2624266/)

“I highly recommend this workshop for individuals that are serious about gaining information and confidence about the entertainment industry.”

Kevin Joseph Kelly-”Jimmy Sprinkles” on Fox 8’s That’s Life with Robin Swoboda

Workshop Information

Saturday, January 16th 2010 9:30 am (will last approximately 3 1/2 to 4 hours)

Location: Braedy Photography, located in Hodge School Lofts, 1075 East 74th St., #212, Cleveland OH 44103 (For directions click here).

Cost: $65 per person

Registration

All participants must register in advance by filling out this form. Secure billing is done via PayPal (you don’t have to have PayPal to pay for the workshop) and will be billed as Braedy Photography. Space is limited!

Frequently Asked Questions

Q. Will you make me a star?
A. That all depends on you. There are tons of talented actors out there, but most never get the opportunity to try. I’ll arm you with the tools and information that will give you an edge over 90% of other actors, but it’s still up to you to act well and land the part.

Q. I already get work as an actor-why should I take this workshop?
A. Are you also getting work in print, voiceovers, commercials, industrials, film, etc.? This workshop will explain why it’s better for most people to try to get work in all of these areas, and how you can market yourself to do so.

Q. There are a lot of scams out there–how do I know this information works?
A. See my bio above-all of the information is based on my years of experience working as an actor, agent, director, producer, and photographer. I’ve watched hundreds of actors audition, so I know what works and what doesn’t. I’ve also worked with hundreds of clients from ad agencies, photo studios, casting directors, and production companies, and I know what they look for when they try to book an actor or model on a job.

Q. Do I need to prepare a monologue for the workshop?
A. No preparation is needed, however feel free to bring your current headshot, resume, demo reel, or other marketing materials. We will go over what works and what doesn’t when marketing yourself.

Q. Will you critique my acting and let me know if I’m good or not?
A. We will go over how to best to prepare for different types of auditions, and try to give everyone a chance to read in front of the camera. However keep in mind that this is not an acting workshop as much as it is a marketing/informational workshop. We’ll assume that everyone has the ability to act a great part, and the workshop will give you the tools you need to get that big audition.

Q. The workshop is for my child-can I attend it as well?
A. Children under the age of seventeen may have one adult parent or guardian attend at no cost. Additional people would have to register and pay to attend.

Q. Can I bring a friend/roommate/boyfriend/girlfriend?
A. With the exception of an adult guardian for children under the age of seventeen, every person attending the workshop must register and pay to attend.

Q. Can I pay you the day of the workshop?
A. Sorry-due to size limitations, every person must register and pay in advance. You can register now by clicking here.

Q. I have several children (or friends) that I would like to bring to the workshop-do you offer a multiple person discount?
A. Yes! The first attendee pays the full $65 registration, and additional registrants pay $55 each. Multiple people must register at the same time to be eligible for the discount. More than three people to register? Contact me here for discount information.

Don’t miss out! This workshop can save you thousands of dollars and a lot of time and aggravation as you start your career in the entertainment industry, not to mention the hundreds or thousands of dollars you can make by booking jobs! Register today!

Private Lives

During the barrage of auditions over the last few weeks for the New Vision Film Club, I’ve seen a lot of resumes, business cards, and personal information from actors, directors, and other entertainment types. I keep resumes that I’ve received in a secure place, and never give out anyone’s information without their permission. I’ve dealt with a lot of actors and their personal information when from my time as a talent agent, and I know how sensitive people can be about their private information getting into the wrong hands. And for good reasons, of course. In today’s day and age where media and entertainment stars can reach an almost cult-like acclaim, it seems like there are even more freaks and stalkers out there waiting to haunt those actors and stars day and night. And the use of social networking sites such as Twitter and Facebook make actors even more accessible (aka vulnerable) to the lurking overzealous fan. Fans and stalkers alike often track their favorite star’s every move. If you think about it that way it’s actually a pretty scary thought! Even outside of Hollywood it’s easy for a local actor to be stalked. Does this mean you should be hiring personal security, or even getting out of the business altogether? Of course not. However, there are a few things you can do that should make you a little bit safer.

1. Use a stage name

Stage names aren’t reserved for the uber-famous. There are many, many professional and amateur actors and performers that use a stage name for a variety of reasons. This may be one of the simplest and best ways to protect your personal information. Your stage name can be a different combination of your real name (for instance your first and middle name-in my case I’d go by Brian Jefferys), or something completely made up. The key is to use it consistently, and only for your acting work. If you ALWAYS go by your stage name when you perform and your personal name during the rest of your life, it should make it harder for potential stalkers to get any more information about you.

HINT: If you have aspirations of joining Equity, SAG, AFTRA, or any other union, it’s highly recommended that you make sure your stage name is available. Unions prohibit two active members from sharing the same stage name. It would be bad news to use a stage name for years only to find out that name is already taken by another member of the union.

2. Ditch the cell phone

OK don’t actually throw away your cell. But invest in a forwarding number such as Skype or Google Voice. Both of these services are low cost or free, and they allow you to create a separate phone number with its own voicemail and forwarding features. As an actor, you could set up a Google Voice line that will forward to your cell phone-if you answer the number you’re connected with the party, and if you don’t it goes to your separate Google Voice voicemail. This allows directors, agents, and producers to be able to get ahold of you without you actually giving out your personal cell phone.

3. Get a separate email address

This one is easy. Set up an email account that is completely separate from your personal email address. There are tons of free ones out there, such as Gmail, Yahoo, and dozens of others. Set it up in your stage name, of course. Many of them even have features to forward to your personal email if someone does write you, that way you’re not checking multiple email accounts every day. For example at my company Braedy Photography, the emails info@braedyphoto.com and orders@braedyphoto.com all forward to my main Gmail account. When I reply back to an email, it gives me the option to reply back from Gmail or from the original email, so you can still choose to keep your personal email private.

4. Make information “need to know”

I’ve gotten business cards and resumes that have everything but a social security number and credit card number on them. Remember these are tools to introduce yourself and make yourself accessible to clients if they need to contact you; there’s no need to put your life history down on paper. If you’re a regional actor, just list the closest major city (i.e. if you’re an actor in Westlake, OH you list Cleveland), your stage name, your new forwarding voicemail number, and your acting email address. This is plenty of information if someone needs to contact you about a role, and it doesn’t compromise your personal info.

5. Start a fan page

Social networks make it easy for people to stay in touch with their friends, family, and idols. It also makes it easy for stalker to track your every movement. So make sure you create separate accounts for acting and personal. On Facebook, keep your personal account in your name but make it private. Then start a Fan Page in your stage name so you can post acting updates. Then legitimate fans can keep tabs on your work, and not where you’re going for Christmas Eve this year. Do the same with Twitter, and get a free program such as Seesmic Desktop or Tweetdeck to manage the multiple Twitter accounts.

With all of the above said, the key to all of this is to be smart. Don’t give out any information to people who make you uncomfortable, and if you have someone hanging around the stage or set, CONTACT THE PROPER AUTHORITIES! It’s frightening how easy it can be to get people’s personal information in this wonderful Digital Age, so always play it safe!

Best of The Brian Bowers Project!

Here are the top 5 posts over the last year since this blog has been around. It’s been a great year, and I hope you’ll continue to follow me as we discuss Entertainment, Film, Business, and Life!

 

Ohio Film Incentives-Facts & Figures

So what is this film tax incentive that has Columbus and the rest of Ohio in a tizzy? Do you understand what the tax incentives entail, and what this would mean to the local and state economies?

Tax incentives have been in place for the film industry in many states for over a decade. Film industry revenue in the United States alone is close to $20 billion yearly. According to some older figures from the Alliance of Motion Picture and Television Producers (AMPTP), approximately 75% of films were produced in California, with the other 25% spread among other states in the country (Coolidge,1995). Read more…

 

Seven signs that your talent agency is about to shut down!

Times are tough right now for every industry-but especially advertising. With marketing budgets being slashed for small businesses and national corporations alike, companies are spending less money on placing ads, which in turn means less commercials and print ads. Because these are the bread and butter of most regional talent agencies, many are being forced to close up shop.

Don’t be left out in the cold when your agency closes! Here are seven signs that your agency is in trouble: Read more…

 

Groundbreakings–Ups and Downs in Cleveland Theatre

This has been a week filled with some very mixed emotions for most of the Cleveland theatre community. By now most of us have heard about the Beck Center’s plea for $150,000 in additional funding. You can read Tony Brown’s complete Plain Dealer article on his blog here. A letter sent out by Beck Center President Cindy Einhouse asks individuals and companies that can make even a small donation to please do so. The institution is one of the largest in the area, hosting art galleries, a dance studio, a slew of classes in theatre and art, and two theatre spaces boasting some of the most eclectic shows in the region. Read more…

 

48 Hour Film Project Cleveland 2009 Film Nominations

The films have been screened, the ballots have been counted, and the votes are all in! Our judges and audience have narrowed the over forty films completed this year down to the few nominees you see in each category. Congrats to everyone who participated in this year’s competition, regardless of if you have a nominated film or not. Please join us this Friday from 7-10 pm at Anatomy Nightclub for the Wrap Party/Awards Ceremony. We’ll show short clips from each of the nominees in each category and announce the winner of each award, culminating in the “Best Film” of 2009! Read more…

 

How to (legally) get out of your talent agency contract

So you did it! You finally got an agent! Someone who believes in your work. Someone who has the connections to get you more and better work, and someone who has the business sense to get you the best deal and most money for gigs. Congrats!

Then your biggest fears start to come true. Your agent stops taking your phone calls. You go months with no auditions or bookings. You meet other talent who have been waiting to get paid for gigs from months ago. All of the sudden, your stardom dreams are turning into a nightmare! What have you done? Did you sign a deal with the devil? Read more…

Up for two roles? Here’s how to handle it!

Disclaimer: For Cleveland actors squirming right now, you can relax–this guy is from out of town. But wise up for next time!

 

How to (legally) get out of your talent agency contract

So you did it! You finally got an agent! Someone who believes in your work. Someone who has the connections to get you more and better work, and someone who has the business sense to get you the best deal and most money for gigs. Congrats!

Then your biggest fears start to come true. Your agent stops taking your phone calls. You go months with no auditions or bookings. You meet other talent who have been waiting to get paid for gigs from months ago. All of the sudden, your stardom dreams are turning into a nightmare! What have you done? Did you sign a deal with the devil?

Fortunately in most cases, it is possible to get out of your agency contract. Here are a few things to look for when you’re trying to break ties with your agent or agency. They may not apply to everyone’s particular situation, but they are a good starting point.

1. Did you sign a contract?
It sounds obvious, but remember that if you didn’t sign a contract, you may not be legally obligated to stay with your agent. If you did not sign a formal contract, your best bet is to just give your agent a nice professional phone call to let him know that the relationship is just not working out. Be careful though–if you agreed in an email or other written form to certain provisions, those may be then considered contractual obligations. On the flip side, if your agent agreed to certain duties in that email and is not living up to his obligations, he may be breaking that contract. In this case, seek the help of a qualified contract lawyer to clarify who is legally obligated to do what.

2. Are you actually dealing with an agent or a manager?
Look carefully at the wording in your contract. It may not seem like a big deal, but there is a huge difference from a legal standpoint between an agent and a manager. Agents are regulated by state and sometimes federal laws, but managers are not. Managers are not legally allowed to procure work and negotiate contract on behalf of an artist. If you have signed a contract with a manager who is promising to do these things, the entire contract may be null and void.

3. Is your agency properly licensed?
Actual agents and agencies require extensive licensing which varies from state to state. Many states require that talent agencies register as an employment agency, or require a special talent agency license. Other states require that the agency be bonded. The Association of Talent Agencies (ATA) has a list of agency licensing requirements by state, which you can find here. The ATA itself was created to monitor and regulate the talent and literary agency industry. If you question your agency’s licensing, contact the ATA through their website at www.agentassociation.com. They may be able to clarify the requirements, and point you in the right direction if your agency is in violation. If your agency is not properly licensed, you may be able to break your contract with no legal repercussions.

4. Is there a termination clause in your contract?
Most legitimate contracts will provide a clause so either party can terminate the agreement if things aren’t working out. If you signed a contract that does not have one, contact a lawyer immediately to look into the matter. In most cases, your contact is for a specific length of time–one year for instance. If your contact does not automatically renew, the worst case scenario would be that you just don’t sign a new contract once the year expires. If the contract automatically renews itself (meaning, you only have to sign it once, not every year) then you’re usually required to send written notice if you wish to terminate it. This should always be done via certified mail so you have a receipt that the notice was delivered. This will protect you from disputes as to whether or not notice was given. Be careful though–many self-renewing contracts have a window in which you have to send a termination notice. For example, you may have to send written notice no more than sixty days prior to the anniversary date of your contract. If you miss that window, you may be legally obligated to live out another year of your contract.

Fortunately, most legitimate agencies will do their best to keep the talent happy. If the relationship is not working out for both parties, they may be OK with terminating the contract before the term has expired. Just remember that if they do agree to end things before the contract is up, you need to get it in writing or you’ll still be legally obligated to the contract.

If your agency is giving you a hard time about leaving you may still have some other recourses. Here a just a few more contractual items that may give you reason to legally break your contract. These apply specifically to AFTRA agency contracts, but the principles may apply in your state as well. Always seek the advise of a qualified contract lawyer in your state if you have questions about these.

1. Is your agent actively seeking work for you?
If you’re an AFTRA member working with your franchised agency, you may request a written list of all of the jobs and auditions you have been submitted for up to once a month. If the list is empty or only has a few things on it, this may give you just cause to break your contract. Remember that an agent is legally obligated to attempt to procure work for you by any legitimate means. Even if you’re not a union member, if the agent is not attempting to find you work then they may be violating their state regulations.

2. Did your agent make you go to one photographer, or acting coach?
It is a common and often illegal practice for an agent to get kickbacks from a photographer or acting school for talent referrals. Even if they strongly recommend one particular photographer or coach, AFTRA franchised agents need to supply a list of qualified candidates to their talent. If you are forced to go to one person they are in violation of their AFTRA franchise agreement. Even if you’re dealing with a non-franchised agency your should still have a choice. If you think your agency may be getting some kickbacks, contact your state Department of Labor right away so they can investigate it. If they are in violation you may not be legally bound by your contract.

3. Is it a revolving door of employees at your agency?
AFTRA franchising agreements require something called “Continuity of Management”. Basically, the agency needs to keep a low turnover rate. If more than half of the employees your agency has listed with AFTRA are no longer with the agency, you may have legal grounds to terminate your contract. There may be similar clauses at the state level–check with your attorney to find out.

Remember the rule of thumb is to check with a lawyer who specializes in contract law to get the specifics for your state. But in most cases, the agency contracts are there to protect the talent just as much as the agency. The bottom line is that if your agent is not doing their job, you need to cancel your contract and find someone who will.

Seven signs that your talent agency is about to shut down!

Times are tough right now for every industry-but especially advertising. With marketing budgets being slashed for small businesses and national corporations alike, companies are spending less money on placing ads, which in turn means less commercials and print ads. Because these are the bread and butter of most regional talent agencies, many are being forced to close up shop.

Don’t be left out in the cold when your agency closes! Here are seven signs that your agency is in trouble:

1. Things are tense in the office

When revenues are down, agents are under the gun to get people booked. This can be a Herculean task if there are no places in town booking models or actors. Chances are the agency owner is pressuring the agents with threats of wage cuts or even termination. If your agent seems testy, this is not a good sign.

2. Bookings are few and far between

Obviously if you are not working, that’s a problem for you. Ask your agent-is it just slow? Is the market slow? Should I be marketing myself differently? A savvy agent will take the time with you on the phone to answer these things. An agent worried about his job may not (see item 1). Ask around during auditions-are other people getting work? Many times the clients that book models and actors may play favorites when it comes to talent agencies, especially when their budgets are limited. Clients want to work with an agency they can trust when times are tough. You want to make sure your agency is the agency of choice

3. The cattle calls are more frequent

Agencies may sometimes actually create fake auditions in order to keep up the appearance of being busy. Nothing is scarier for an agency than an empty office. I have personally known of huge cattle call auditions being called out just so actors feel like they’re being submitted for work, even if they’re actually not. Some warning signs: vague details on the job, short or no scripts, or being called in multiple times for cattle calls for the same “client”.

4. You’re not allowed to do your own marketing

Actors often have to do a lot of the legwork to get booked on their own. This can mean a lot of networking with clients, photographers, and casting directors. It is often small projects such as indie film work or photographer test shoots that get an actor or model booked on a major campaign. The job of your agent should be to get you in front of as many potential clients as possible. If all of the sudden your agent has a problem with you marketing on your own, be wary. If there is a problem with your agency, or there really is no work, your agent may try to keep that information private so you don’t leave and go to a more successful agency.

5. A shoot with the “agency” photographer

When money isn’t coming in from bookings, agencies have to rely on other revenue. While it may be illegal, or at the very least unethical for a franchised agency, many of them receive kickbacks from photographers for getting their talent to shoot with them. Franchised talent agencies are not allowed to require their talent to go to a specific photographer, but it is a common practice to give an agent financial incentives under the table.  If you’re being pressured to shoot or reshoot with a specific photographer and your photos are still current, that may be because the agency gets money for sending you there.

6. Heavily pressured to go on the agency website

Again, agencies will have to rely on other streams of income when there is not enough money from bookings to pay the rent. There is often a fee paid to the agency for posting you on their site. Being on your agency website can be a useful tool, but if it seems like your agent is more concerned with you paying to go on the site than they are getting you work, turn and run! If they feel that strongly that you will get work if you go on their site, ask them to advance you the money and deduct it from the money from your next booking.

7. The big boss is in the office

If the agency owner is hanging around the office more than usual, that’s typically not a good sign. He may be dealing with floating money to pay rent, payroll, and pay the talent, going after uncollected accounts, or just pulling his hair out trying to wine and dine the clients. You may get called in to a meeting with the head agent or agency owner to talk about your career. This could be a good thing, as long as you get the impression that the agency is still truly interested in you. If the above conditions exist, though, it could be a list ditch effort to keep you from leaving the ship before it sinks.

I get phone calls and emails from talent on almost a daily basis who are concerned about their agency. If you’re seeing several (or even all) of these warning signs, chances are your agency is not in good shape, and you may be out of work sometime in the very near future.

So what’s an actor to do if he’s concerned about his agency? Check back soon for my post on how to get out of your talent agency contract.

Acting is not a business! (and other tall tales)

“Hey, I want you to introduce you to my friend Brian. You’ll really like him. He used to hang out with us back in college. And he’s an actor!”

“An actor, huh?” (Snicker and sneer). “So what’s your REAL job?”

Does this conversation sound familiar? I’ve been through it myself many times throughout the years. I’ve gone down a different path since I’ve had my family, but for a long time I was trying to make it as a working actor. Even when I was making some money, this was a pretty disheartening conversation. As soon as the word “actor” leaves your mouth, people form a mental picture of you waiting tables or living in a cramped apartment with half a dozen other wannabes.

Interesting–people know that actors have the ability to make money, but they always assume that you are not. If you ask around, people will be able to quote how much money Julia Roberts or Brad Pitt made in their last films, but they seem to have no concept of actors working but making less than that.

We’ll I’ll tell you a secret that you’re not going to like–we are part of the problem. Yes, us. The actors.

Do you have a current headshot? What are you doing to market yourself? What sort of acting classes are you taking? What are you doing to polish your craft, to network, or to create new work for yourself and others?

If you’re doing all of these already, then kudos to you. If you’re not, you’re probably not taking your craft seriously enough. If this is just something you do for fun, and sometimes to make a little extra money on the side, then that is awesome and absolutely great–but please stop telling people that you are an actor. When you tell people that you’re an actor they assume this is something you’re pursuing to make money, and that you are a professional. If you’re not a professional, or if you’re not doing all of these things to get yourself towards that level, then you should probably just tell people that you wait tables, and sometimes like to act for fun.

The problem with the entertainment business and acting in general is that there are a lot of myths surrounding the whole industry. Many people have acted in one film or in one commercial, or even nothing at all, and then promote themselves as experts. This has caused a lot of confusion among lay people, and even the acting community itself. Here are some of the common myths that I have heard:

Acting is not a business
Well, this couldn’t be further from the truth. Again, if this is something you’re just doing for fun and have no intention of going any further than the amateur level, please keep having fun with it! But if you want to be a professional actor, then you need to act like a professional actor, and arm yourself with the training and tools you need to get there. To give a real life example: if you really want to make it in business, you’d probably go to business school, get an MBA, hang in the right social networks, attend trade shows, network your butt off, wear great suits, and have a great resume. If you just wanted to have fun working for a business, you would wear jeans and a blue polo shirt and work at Blockbuster. There’s nothing wrong with working at Blockbuster, but you certainly wouldn’t tell people that you were a business exec when you’re really a clerk at the video store. Get my point? The same thing goes for acting.

You don’t need a headshot to get work
As a disclaimer, yes, I own a company that photographs headshots for models and actors (www.braedyphoto.com). I started that company because it’s something that every actor should have!!! I don’t care what you’ve heard or who you’ve heard it from, if you’re an adult trying to make it in acting, you need a professional headshot. And by professional, I mean not your cousin taking a photo of you on your front porch–a professional shoot from someone who knows how to work with models and actors, and what clients are looking for. Casting directors and producers can tell the difference, and a poor quality headshot makes you look like a hack. Your headshot is your calling card; it’s what people will remember you by after you’ve left your audition. Even if you’ve been able to get some work without it, you will never be able to get the big, well paying jobs on a consistent basis without having a headshot. Any reputable agency will require that you have headshots so they can submit you for work in commercials, film, television, and print. The industry is a little more forgiving of young children not having them, because kids change in appearance so quickly it would be expensive to keep getting headshots redone. But even for the big film, television, and commercial jobs, those children all have their headshots taken at least once a year.

Your agent will get you work
Many inexperienced actors sign on with agencies thinking that this is their ticket to make it big. So they stop doing their own networking, auditioning, and acting lessons. Huge mistake! The priority of most agencies is keeping the clients happy, not the talent. By clients I mean the producers, casting director, and ad agencies who are booking the talent. Agents will do whatever it takes to please the clients, even if that means actors lose out on jobs or make less money. That’s very important for you to remember as an actor. From a business standpoint, it makes sense–the clients are the ones that are paying the actors (and the agent’s commission), so they agency will do whatever it takes to get them to keep coming back. I’ve seen deals where actors have made about half of what they would have normally in order to keep a client happy. Does this mean that you shouldn’t sign with an agency? Of course not. You just have to keep things in perspective. Agencies usually represent hundreds of people, and excited as your agent may seem to be when he signs you, remember that you are just one of hundreds of other actors. You’re probably not going to get special treatment. When you’re a fit for something, your agent will probably submit you for a job. But if you hear of a big audition, or if you really want to audition for a big film in LA, you need to be proactive and do it on your own (just make sure you’re not violating your contract by doing this; in most cases you’re fine). Keep networking with clients, keep going to auditions on your own, and keep trying to meet with casting directors and producers. There are many times when clients will call an agency to book a talent that they’ve worked with, seen at a class, or met at an audition. Your agent will then step in to get you the best deal possible for that gig. Just remember that agents are good to have, but you shouldn’t rely on them to do the work for you.

You should not work for free
There’s a fine line here between what you should and should not do for free. There’s a great website called www.gotpay.org that will give you some guidelines. Basically, if there’s a job where the client is going to make money (i.e. an ad, a video spokesperson for a website, etc.) then you should be getting paid. You should not do this type of work for free. But that doesn’t mean that you should not do unpaid work. The more experience you can get, the better you will be. Student films, deferred pay indie work, photographer test shoots, acting workshops and classes are all great ways to get some experience. I’ve never taken a class, no matter how basic, where I did not walk away with something–whether that was a new concept or a new way of looking at something I’ve done hundreds of times. If you’re primarily a film actor, try auditioning for a play. It will probably be a frightening experience at first, but it’s a great way to really work on the physicality of acting in a way that’s much different than film acting. If you can get the opportunity to be on film or on stage, try to take it if all possible.

Remember, these are all guidelines for actors that really want to progress to the next level. There are many other things I didn’t touch on, such as marketing yourself, resumes, demos, and professionalism. But if every professional actor works on these few concepts, it will raise the bar for the whole acting industry. If you take yourself more seriously, then the rest of the world will as well!

48 Hour Film Project Cleveland 2009 Film Nominations

The films have been screened, the ballots have been counted, and the votes are all in! Our judges and audience have narrowed the over forty films completed this year down to the few nominees you see in each category. Congrats to everyone who participated in this year’s competition, regardless of if you have a nominated film or not. Please join us this Friday from 7-10 pm at Anatomy Nightclub for the Wrap Party/Awards Ceremony. We’ll show short clips from each of the nominees in each category and announce the winner of each award, culminating in the “Best Film” of 2009! After the Awards, stick around at Anatomy or join us at Legation Gallery for the After-party, an informal gathering of the filmmakers where we recap the films and celebrate all of the Cleveland 48HFP filmmakers. We hope you can join us–and congrats to all!

Best Musical Score

“Bulletproof”                   Out of the Box
“Excuse Me, Lady”        Something Misleading
“The Note”                      Johnnymop Productions

Best Special Effects

“Get in the Car”            Hahoozafax J Productions
“Suburban Solution”   Black Griffin Films
“Victory”                        EPPHD

Best Costumes

“Fantasytown”            The Gunslingers
“Free Love”                  Aloomination Productions
“Guilty”                        Moodswing Productions

Best Use of the Line

“Bored-Dumb”          Team Nehez
“Free Love”                Aloomination Productions
“Modern Trial”          No Dice Films

Best Use of the Prop

“Blend or Brenda”    Akron Film Festival
“Second Chance”      Diversified Industry
“Shake”                      The Eli Experience

Best Use of the Character

“207”                        Corrigan Creations
“Bulletproof”          Out of the Box
“Modern Trial”       No Dice Films

Best Sound Design

“Get in the Car”     Hahoozafax J Productions
“Totally Content”  Lockjaw Studios
“Victory”                 EPPHD

Best Cinematography

“Modern Trial”      No Dice Films
“Second Chance”   Diversified Industry
“Totally Content”  Lockjaw Studios

Best Editing

“The End”              Gigantic Video
“Totally Content”  Lockjaw Studios
“Victory”                 EPPHD

Best Acting (Ensemble)

“Bored-Dumb”      Team Nehez
“Second Chance”  Diversified Industry
“Sunnyside
Orphanage”          James Leon Pictures

Best Writing

“The 4th Floor”     Kinook Creative/Big Jones Productions
“Fantasytown”      The Gunslingers
“My Better Half”   Pocket Changes

Best Directing

“The 4th Floor”     Kinook Creative/Big Jones Productions
“The Chopper”      The Tree Project
“Second Chance”  Diversified Industry

Audience Award Group A

“The 4th Floor”    Kinook Creative/Big Jones Productions
“The Chopper”     The Tree Project
“Free Love”           Aloomination Productions

Audience Award Group B

“Bored-Dumb”    Team Nehez
“Guilty”                 Moodswing Productions
“Sunnyside
Orphanage”       James Leon Pictures

Audience Award Group C

“The End”            Gigantic Video
“Fantasytown”    The Gunslingers
“Oh, Amanda”     The Adcom Players

Audience Award Group D

“Excuse Me, Lady” Something Misleading
“Modern Trial”       No Dice Films
“Second Chance”    Diversified Industry

Best Film

“The 4th Floor”     Kinook Creative/Big Jones Productions
“The Chopper”      The Tree Project
“Modern Trial”      No Dice Films
“Second Chance”  Diversified Industry
“Victory”                 EPPHD

The last six weeks…

Updates on the last six weeks since I’ve been away from the blog

• I moved into a new office space, the Hodge School Lofts in the Superior/St. Clair district
• Ohio finally passes a film tax incentive
• 48 Hour Film Project came and went for Cleveland. All of the films are being judged now!
• Next Monday August 24th I’ll be performing in the AIDS Taskforce Benefit performance of “The Great American Trailer Park Musical” at Cassidy Theatre. It’s a fun show, awesome cast, and a great cause so please come support us if you can!