What Does A Talent Agent, Talent Manager & Casting Director Do?

What Does A Talent Agent, Talent Manager & Casting Director Do?

by David Petro
www.BroadwayBreakThru.com

  
TALENT AGENT:

Obtaining a talent agent is one of the most important steps in a performer’s career. A talent agent works for a talent agency where they use their contacts to arrange auditions for the actors represented by the agency. Actors need a talent agent to survive. A talent agent is able to provide an actor with auditions they would not otherwise know about. Without the appropriate industry auditions, an actor’s career will go nowhere. Securing auditions for the performer is the main job of the talent agent.

Agents spend most of the day on the phones, looking through the “breakdowns” (a daily listing of all the acting roles the studios/casting directors are seeking) and submitting pictures to casting directors, hoping to get you in on an audition. If an agent works hard for you, they may be able to get frequent auditions for you. This is a good thing because the more acting auditions you go on, the better chance you’ll have of getting a part. Agents also negotiate contracts and how much money you get if you do get an acting role. However, most of the days are spent trying to get you the audition.  

An actor should never pay a talent agent up front for auditions or representation. A legitimate talent agent should receive a 10 to 15% commission only from the work they find the actor. A talent agent should never receive any percentage above fifteen percent.

TALENT MANAGER:

A talent manager’s focus is more on managing an actor’s career than with arranging auditions. Talent managers keep in close touch with talent agents to ensure a shared vision for the actor, but a manager stays mostly on the management end of the actor’s career. Sometimes a talent manager may set up an audition for an actor, but that is not their focus. A talent manager will not guarantee auditions for an actor. A talent manager handles public relations, business matters, and helps to make a career plan and keeps the actor on a path toward success. Most actors cannot juggle the acting demands as their fame and careers grow, interviews, and appearances that come with a prominent career. That is where a talent manager comes in.

Talent managers invest a great deal of time and energy into an actor’s potential,
and into a long-term career for their clients, long before the actor has a track record of booking consistently. They typically work with their clients over a period of a number of years. They tend to genuinely care about their clients, almost like a family, and protect their clients from the harmful situations that may be encountered in the dog-eat-dog world of show business. A personal manager is the one who believes in and keeps fighting for a client when all others have given up. The following are some things that many talent managers may also do:

• Prepare talent for meetings with potential talent agencies.
• Arrange introductions to agents
• Help talent decide on a talent agency for representation.
• Advise talent on acting classes and coaching.
• Help talent choose a good photographer and pick out headshots.
• Promote talent to industry professionals to try to help talent get auditions.
• Prepare resume or advise talent on preparation of a resume.
• Help make any and all decisions related to talent’s career. 
• Answer questions on anything related to a career in show business.

Typically a talent manger receives 15-20%. The differences between a talent agent and a talent manager vary, but their responsibilities are geared toward the same goal… advancing an actor’s career and getting the actor more acting jobs so the actors makes more money. A good manager will help shape the direction an actor goes so as to generate the most revenue. 

The bottom line is that when an actor succeeds and gets paid, everybody gets paid. Both talent agents and talent managers will work hard to make that happen. 
 
CASTING DIRECTORS:

A casting director is a middleman/middlewoman who finds the actors needed to fill roles in movies, TV shows, theatrical productions, commercials or even corporate and music videos. A casting director works for the creative team, not the actor or performer. The studio, producers, director and writers are on one side, and the actors and talent agents on the other -- with the casting director in the middle. "

A casting director's responsibilities extend beyond contacting actors or agents and holding auditions. Casting directors assemble casts that may include hundreds of actors, negotiate deals with the actors' agents and manage the contracts once the actors have signed.

Casting directors is involved in pre-production and has the following responsibilities:

•   Meets with the producers, the director and possibly the writer to understand the project.
• Meets with the production accountant for information about the casting budget, the money that'll be used to pay the actors.
• Reads the script and make notes about all the speaking parts 
•  Creates a list of possible actors, in preferred order, for the most important parts first.
• Contacts the actors or their agents to determine their availability.
• Provides the list to the producers and director to make their decision Lead actors may not be asked to audition.
• Prepares lists of actors and production schedule for supporting and more minor actors.
• Makes appointments for auditions or readings with the available actors. 
•  Provides information about available parts to talent agencies and lists opportunities with Breakdown Services, a company that maintains a daily list of acting opportunities.
• Conducts the auditions
• Makes recommendations, based on auditions, for each speaking part The director and producers make the final selections.
• Negotiates contracts with the actors' agents, keeping an eye on the casting budget
• Issues casting calls for minor acting parts and conducts those auditions
• Acts as a liaison between the director and the actors, once contracts are signed
• Finds replacements, as needed, during production for actors who can't fulfill their contracts.

Work with the entertainment industry top Talent Agents, Talent Managers & Casting Directors
only at Broadway Break Thru! 

Tenacity

by David Petro
www.BroadwayBreakThru.com 
 

"Let me tell you the secret that has led me to my goal: my strength lies solely in my tenacity." ~ Louis Pasteur

Launching a web start up in today's economy is extremely difficult. Almost as difficult as breaking into the entertainment industry. Both are over populated, filled with no talent hacks, offer false promises and much talent gets lost in the crowd.

I recall my performing days, running from auditions to classes to my job. Navigating through the actor rejection maze seemed insurmountable most days. Often dreams of my "big break" kept my head in the clouds long enough to blur my vision. When my feet came crashing to the New York concrete, I realized I need something much stronger than day dreams. I needed will power, a strong support system and tenacity.

Dictionary.com's definition of tenacity is: pertinacious, persistent, stubborn, or obstinate. Adhesive or sticky; viscous or glutinous. Holding together; cohesive; not easily pulled asunder; tough. At one point in my life I have been called all these words. Rarely, in a positive context.

Day dreams do not keep me beating down closed investors' doors, striving to motivate my team, searching for new partners and sharing a concept in which I whole-heartedly believe. Nor did they drive me to a successful career as an actor, Casting Director or Executive Director of Broadway Break Thru. My persistent, stubborn, obstinate, viscous, glutinous, cohesive and tough creed propel me beyond my goals. As an aspiring "everything" I challenge you to be even more relentless. Keeping in mind that "NO" isn't even a four letter word.

How To Audition For A High School Play Or Musical

How To Audition For A High School Play Or Musical 
by Eric Theigs 
www.stageoflife.com
www.BroadwayBreakThru.com 

Today's blog post comes from Eric Thiegs, Founder and CEO of www.StageofLife.com. 
Thank you for your contribution and for sharing your wisdom and experience.

I'm a 37-year-old director of a high school musical theatre program, and I have some audition tips for you young actors looking to perform in your fall or spring theater productions.

But first, I have to set this up for you.

I love what I do. Seriously...directing at the high school level is probably one of the things, after my wife and daughters of course, that makes the biggest and most inspirational impact on my life year in and year out.

And no, I'm not a professional director or actor.

--I acted in an AFTRA commerical once.
--I did two regional runs with the touring company of an Off-Broadway show.
--I made some major call backs during my 20's (one very close for a national TV show).

But guess what...it wasn't in my stars to be the star, and I'm okay with that.

I've found that my role is to help young talent find their inner voice and hopefully give them a little encouragement to pursue acting and the arts after high school. I know enough to have passion about my job and hopefully fill the role of a mentor here and there but I fully expect my kids to find professionally trained acting instructors in college who will take them to the next level.

But all of that aside, fall approaches and I have a new round of talent ready to audition.

This year, I want to pass along some auditioning tips.

This audition advice comes from witnessing over 1000 students audition for me over the last nine years for roles in South Pacific, Footloose, Once Upon a Mattress, Bye Bye Birdie, Beaty & the Beast, Wizard of Oz, High School Musical, Little Shop of Horrors and this year...Les Miserables.

It by no means is a comprehensive list of audition wisdom but it's definitely the top areas that need improvement by young thespians. Take a look and please add comments for other tips, suggestions, etc. that you've experience during the audition process:

Eight Audition Tips for the High School Actor

1. Memorization is Key. If you are asked to deliver a monologue or sing a song from memory, you better make sure you know both inside and out. No cheat sheets or crib notes. If you forget a line, don't panic. Just keep going and think on your feet. You need to show the director that you can perform under pressure and keep your cool.

2. Don't Just Stand There. I can't tell you the number of times I've sat through an audition where the person simply stood in one spot with her hands behind jer back. You have to "act." Use the stage. Use your body. An actor controls both his voice and his body so make sure you are not just standing there with hands behind back, or worse, in your pockets.

3. Look at the Director. It's interesting when an audition starts and I find a young actor suddenly start looking off stage right or stage left as they roll into their monologue, as if they are delivering the monologue to an invisible person next to them. It's interesting because the young actor has no idea that the purpose of the audition is so that I can see them...the invisible person does not care believe it or not. So don't use your profile in the audition - deliver it full on to the director in the audience.

4. Project. Well...this one is a no brainer but again, there are been some fairly talented people I've seen come through auditions but with little to no projection. This is theater people, push and project your voice into the theater. Fill the auditorium. It's going to be hard to place you in a show if I can't hear you. And no...this does not imply that you need to yell during the audition. Project from your diaphram and use a normal speaking style based on the monologue you're presenting, but make sure the person sitting in the last row can year you.

5. Personality. There's something called the "X" factor or often the "It" factor. Some kids have it. Others don't. But if you don't, that's okay, you'll still make the show if you've got some half decent acting or singing chops. But when you only have one shot at making a positive first impression during the casting process, the thing that you have to remember is this...show a little personality during the audition. Be yourself. If the director asks you how your day is going, don't just say, "fine" and then stand. That's your opportunity to show off a little bit. Give the director a taste of the real you.

6. Smile. Nothing kills an audition for me than a student walking onto the stage with a flat line mouth. It's okay. I'm not going to bite. Have a little fun with the audition and smile...it'll definitely help with the nerves.

7. Breath. When you feel like your nerves are going to get the best of you, just take a big deep breath, let it out slow and smile at the end. Seriously.

8. Don't Take It Personally. You have to walk into that audition with the attitude that you've already been cast, and be prepared to not take it personally if you don't make the cut. If you can do those two things, all of the pressure on having to perform in the audition will start to dissolve and you can focus on the experience itself without wondering about the afters and what-ifs. Stay in the moment and don't take the process personally. If you do...you're not cut out to be an actor.

Eric Theigs
http://www.stageoflife.com/?tabid=72&g=posts&t=282

How to Write an Acting Cover Letter

by David Petro

www.BroadwayBreakThru.com

 As I discussed in my very first blog post "Agent Advice", one of the leading questions I am asked is about obtaining an agent. One of the essential elements when submitting your materials to an agent or manager is your acting cover letter.  Like all first impressions, your cover letter will set the tone for your future relationship with your agent. Here are the key elements for cover letters for acting agents and talent management companies.

1. Make sure your letter is typed but signed by hand.
2. Your name and contact information should appear at the top of your acting cover letter, along with the date.
3. Your letter should be addressed to a particular acting agent or acting manager within the agency or talent management company you're writing to. Do your research ahead of time and find out the name of the person you should submit to. If you're looking for acting representation in theater, film and television, ask for the name of the acting agent in charge of the adult theatrical division. If there is more then one, pick one. You don't have to include the agent's name in your salutation, but avoid using the impersonal phrase "To Whom It May Concern".
4. If you were referred by a casting director or a client of the acting agent or manager, mention that right away in your acting cover letter (and note it on the envelope too). If you are submitting your headshot and resume to this particular acting agency or manager because they are looking for your type or a special skill you possess, also mention that right away.
5. Briefly mention that you are looking for representation.
6. Give a quick highlight of your most impressive credits. If you can be seen on stage or on screen in the near future, make sure to mention that (along with an RSVP number for complimentary tickets). If you're starting an acting career and don't have any credits yet, give the most impressive recent highlights of your career, whether it's an important callback, audition, actor showcase you appeared in, or even a workshop you took with a casting director.
7. Wrap up your letter on a positive note, repeating your contact information.

Too many actors have a pleading tone when they write their first agent acting cover letter. When you're writing to an agent, remember you're the one who has a product to offer. The agent will make a commission on the roles you get, so avoid any begging and write with the confidence that you have a great product to sell. 

Mainly keep it short, to the point and positive. 

Everyone at Broadway Break Thru wishes you much success and happiness with your new agent and making your dreams your reality!

NERVOUS NELLIES

NERVOUS NELLIES

by David Petro

www.BroadwayBreakThru.com

When teaching, the most common questions I am asked is, "How can I get rid of audition nerves?" I'm sorry to say I don't believe nerves every go away completely. The process of auditioning, and being judged by a group of people you don't know, is frightening at best. The trick is to not let your nerves control your performance.

Experience and preparation are going to be your best friends. The more you audition the more comfortable you will become. The more opportunities you have the more you will be able to think of your auditions more like a performance. Audition like it's your chance to perform for new people who are forced to sit and listen. Take the pressure of getting a job out of the equation and add your joy and love of performing.

Being prepared, having appropriate material and being confident in your work are key factors. As I always say, auditions are like dating. You always want the one who doesn't want you. You want the person who walks in the door, bursting with confidence, owns the room and leaves you wanting more.

"No More Excuses"

www.BroadwayBreakThru.com

Today's post comes from MP Talent Management Group's, Malinda Petersen 

"NO MORE EXCUSES"

Originally Posted August 21, 2012

Did you clarify your goal for your performance career?  Did you accompany it with five or six action steps?  You still can.  From the wise words of a Facebook friend’s post: Success occurs when your dreams get bigger than your excuses.

If your goal is to audition more, let’s examine what to consider when auditioning.  There is the standard take your head shot and resume.  You should also take your sides (the part of the script you’ll be reading) but you’ll need them memorized when possible.  But just being prepared with the obvious tangible tools is only part of your required preparation.  Like anything in the professional world, there is an established etiquette you are expected to follow.  Of course, if you are new to something, you most likely don’t know what this behavior is, so you often have to learn the hard way, by making mistakes.  But, life is short.  We really don’t have time to make all the mistakes in the world, so we need to pay attention to the mistakes of others and learn from those.  It’s really rather efficient this way.  

Last week I had the opportunity to work with a group of 9-16 year olds who were recording an audition.  For many of them this was the first time they were auditioning for something on camera — or even performing in front of a camera in a formal setting.  Think about the first time you have done anything.  (No. Seriously.  Take a moment to think back to learning to ride a bike or read a new language or do an algebraic equation or cook a new recipe … )  You probably had some anxiety about the new task because you’d never done it and you didn’t know what the outcome would be.  That’s completely understandable.  Generally our fear is that we will fail on some level – that something bad will happen.  

I sensed this from the students.  Keep in mind that as children we are always in a position of learning, but as we grow we get used to having quite a few answers.  This can inhibit us from the risk of trying something new because we are not as open to learning.  But with young students, they are just used to learning something new on a daily basis.  However, every student had some level of nervousness when it was his/her turn to record.  So I asked the students, “Why are you nervous?”  The answer was always, “Because I’ve never done this before.”  Fair answer. 

Next question: “What bad thing do you think will happen?” “Um. … I’ll mess up?”  “Sure.  You could mess up, but we can delete that take and do it again.”  “Oh.”

Wheels would turn, we’d record a few takes, they’d sit down for the next actor to read, and then at the very end almost every student wanted to do it again.  Why?

Because they learned that they could!  Each actor auditioned, nothing bad happened, in fact only good resulted because I showered them with compliments and let them watch a bit of their tape, and voila!  They felt a level of success.  And, this is the important part, they wanted to do it again, but they wanted to do it BETTER!  They understood the basics: where to stand, where to look, how loud to speak, what a slate is, to say thank you at the end.  They then wanted to apply all that to their newly gained confidence that comes from the success of doing something for the first time.  (Not doing it well, necessarily, but just doing it.)

Think about your auditions in the past year.  Did you walk into the room with confidence?  Did you greet the casting director with a simple hello?  Did you hand the assistant a neat copy of your head shot and resume (8x10, stapled, color photo on photo paper)? Did you listen to her instructions on where to stand, where to look and when to start?  If the instructions weren’t given, did you ask those simple questions?  Did you deliver your performance to the best of your ability?  Did you say thank you and politely leave when you were finished?  Fantastic!  That’s all you can do.  Audition and forget.

Now, if you’re not doing those things, what are you doing?  Are you walking into the audition room digging in your bag, fixing your hair, turning off your cell phone?  Are you walking right up to the CD and offering your hand and engaging in small talk?  Are you dropping your sides, asking to start over, apologizing for messing up, appealing for sympathy for that scraggly cough that you just can’t get over?  (Blogger’s note: I’m wincing with embarrassment for you if you are doing any of those things.) 

I’ve just provided you with some dos and don’ts.  Learn the don’ts without doing them.  Apply the dos to your next audition.  Really what you want to be working on when preparing for an audition is the choices you’re making for your character.  The etiquette will be second nature, but what you really want to show the casting director is that you can create another person and commit to those choices in your performance.  That’s when you will get direction in an audition and be asked to do it again making a few adjustments.  That’s when you will be professional.  Eliminate the excuses and dream big!

Click here to visit Malinda Petersen's web site 

The Acting Technique That Will Set You Free (and Land You Roles!)

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