An agent's perspective on the business of acting ...

There is no better advice than the advise of a true pro who wants to help those who are on the way up. In academia, we call them "educators"; in the real, post-college world, we call them "mentors"; in the business of acting, we call one of them Sharif Ali.

Sharif is the co-president of the Los Angeles-based talent agency Aimee Entertainment. In our four-part interview on "Inside the Business of Acting," Sharif talks about the nuts and bolts of the business from an agent's perspective. If you're seeking your first agent or feel the need to change your current agent, what Sharif has to say will empower you on that journey.

In short, don't send a head shot or place a phone call to a new or perspective agent without watching these segments first.

Episode #1 premiered two weeks ago; Episode #2 was added today. At just (roughly) 12 minutes each segment, Sharif's advice on "how to" is worth its weight in megabytes.

Happy learning ...

BL

Drawing the line on commissions ...

It’s a tough economy – and while that’s, unfortunately, nothing new for most actors (especially new-to-the-business actors and recent college grads), it is the landscape in which we work (or want to). An opportunity to actually land an acting job is a great thing for any actor, both economically and emotionally, but the terms under which you get access to these opportunities are worthy of highlighting.

All of this is sparked by an e-mail I received the other day from a young actor who has found herself having a decision to make. New York-based, after a search for an agent, she found a company that was willing to take her on, under certain financial terms. The agency wanted to “charge” the actress not the usual across-the-board 10 percent commission on worked she booked, but, instead, 20 percent on any non-union work she landed.

A little understanding of this part of the landscape is in order.

Commission on union work is regulated by SAG and AFTRA; non-union work is not, which is why this agency (and others) often attempt to get a higher commission rate for non-union work out of their clients. While it is true that, generally speaking, non-union work pays less than union work, for the agent, it takes no more time or energy to do one booking over the other, but it is, indeed, you who show up to do the acting job.

Agent commissions should be no higher than 10 percent, whether it's a union job or not. The desperate actor seeking representation under any terms might accept such a deal, but this isn’t a smart move. If an agent offers you this arrangement, tell him or her what your terms are, take or leave it. If they say "no," seek representation elsewhere. Remember, agents work for actors.

It’s hard enough to earn a living as a “working actor.” While you can’t do it completely on your own, you must be comfortable with the terms you accept from any agent you hire. At the end of the day, you want to take home as much as you can, while still ensuring that those who represent you get what they deserve, what they earn – and no more. As your career builds, so, too, will the commission they are entitled to, in dollars, not percentages.

BL

Legendary Hollywood Columnist Army Archerd Dead at Age 87: A Personal Appreciation

I was very sadden this afternoon to learn about the death of a true Hollywood icon. Army Archerd covered stars and the business like no other journalist. His access to the movers and shakers of the industry was unprecedented. His power could also not be denied. For over 50 years, his Daily Variety column (in which I'm honored to say that my name has appeared in) was a must-read for everyone in the business of acting and entertainment. From stars to show publicists, from network presidents to network pages, if being in and being a part of the industry mattered to you, Army Archerd was the only true Hollywood columnist who mattered.

Newspapers and magazines will sing his praises in the wake of his death. They can do what they do best. But, none of those reporters knew the Army Archerd I knew.

I was connected with Army over the years in my role as publicist and managers to numerous actors who were always thrilled to see their names in print in his column. Later, I got to know Army and his wife, Selma, well when I was brought on to head up press coverage and publicity for the mega Hollywood event that honored Army for his 40 years with Daily Variety.

It was a star-studded Hollywood event to beat all other star-studded Hollywood events, and, in the process, those honoring Army helped raised over a million dollars that was shared among three of Archerd's pet charities.

For me, the professional highlight was getting a cover story about Army and his legacy in the Wall Street Journal. A personal highlight was getting to know the man socially in a way I hadn't known him before. "Brady," he called me. I liked that.

There comes a time when the curtain sets on an era. This afternoon was a sad reminder that in a new media, online, hi-tech world where what qualifies as "news" is hardly worth mentioning, Army was the best of the best of the old school. Much like Walter Cronkite's respected reputation as a newsman, Army Archerd represented an era of Hollywood journalism that I also mourn the passing of.

BL

Right place, right time? Sometimes ...

I received an e-mail from Nicole, a young actor, who is looking to get to the next level in the business, having recently graduated from college in the mid-west. She posed two important questions that apply to a lot of other actors, as well.


Nicole wanted to know “How to be in the right places" and "What to do” as she begins her career journey. Her newly acquired agent's advice: "Be patient." I hate that. Indeed, you must be much more than just "patient."

The requirement, from the Business of Acting philosophy, is that you are (or have to learn how to become) pro-active in every way possible. Being in the “right” places requires you to define and discover where those places are. Anywhere you can hone your craft, develop your skills and network with other like-minded people is the target.

If you are a SAG member (or as soon as you become one), you are eligible to participate in the many, varied and wonderful SAG Foundation events and seminars, all for free. If I were you, I’d be at every one I could possibly attend. L.A. Casting regularly offers free seminars for its members. I highly recommend both of these.

I would also look at some “private” groups that might also be beneficial for you to join, such as The Actors Network. I would also (if you don't already do this), make it a point to regularly read at least one of the two trades and Backstage every week. Knowledge is empowerment — and the more you know about the business in which you want to make your living, the better prepared you will be for every opportunity that comes your way.

If you haven’t read The Business of Acting, I think you will find a lot of helpful perspective contained in its chapters. In it, you’ll read that agents work for you. To be told by your agent to “be patient” isn’t good enough. The book teaches you how to take charge of your career and be the leader of your team. You might also find a lot of helpful advice and information on the Business of Acting Blog, accessible through a link on the home page at TheBusinessOfActing.com.

In an effort to be totally self-serving, as well as helpful, I would urge you to check out many of the interviews with working actors and other industry professionals now playing on-demand, for free, on our Web TV series Inside the Business of Acting.

Another book you might find helpful is Acting and How to Be Good At It, by veteran actor and acting coach Basil Hoffman. Basil writes from his many years of experience and serves up some very helpful advice for all young (and older) actors.

Go forth and become empowered. There will be a test on this. :)

Got a question about the business of acting? Post your question here or e-mail me directly at blemack@TheBusinessOfActing.com.

Brad Lemack

The impact of "reputation" in the business of representation ...

I found myself in an interesting position the other day. A young actor who recently purchased a copy of and read my book contacted me about one of the agents I interviewed for Chapter 4, “The Business of Talent Representation: Navigating the Muddy Waters of Association.”

Without naming names here, this actor was inquiring about some negative word on the street he had come across about this agent and his agency. He wanted to get my take on it.

I told him that I, too, had heard some of the same information. I also told him that it was important to recognize that your reputation is based on both the positive and negative experiences that any given person has had with you. Some people will say glowing, glorious things; others will say just the opposite. Being human, none of us are immune. Me included.

If you are an actor, particularly a young actor, seeking representation, this is worthy of further examination.

Such comments, whether actually true or not, cannot and should not be easily dismissed. This particular agent has attempted to reinvent his company and his image, having left his old agency behind and begun a new venture. I was happy to hear that. However, I remind you that agents (and managers) work for actors. If you accept representation from any agent (or manager), he or she would be working FOR you; not the other way around. You must perform due diligence in this process. If you have concerns over what has been said about him or her and how he or she conducts business, ask the question. If he or she refuses to discuss it, brushes it off or won't otherwise give you an explanation that you're satisfied with, then move on. Clearly, at that point, this person and this agency are not the right place for you.

Too often, too eager actors will sign with anyone who is willing to sign them, regardless of issues of reputation or complete comfort on the actor's part about the association they are about to enter into. Not a smart move at all.

There are a lot of decent agents (and managers) out there. If you have reputation concerns about an agent (or manager) you are interested in signing with and that agent (or manager) cannot adequately address those issues and your concerns, and in the process assure you that he or she is one of the ones worth being in business with, then wait until you find someone who can.

Class dismissed.

BL

A career journey "One Day at a Time" ...

Fans of the 1970's/1980's hit CBS-TV series One Day at a Time won't want to miss our four-part interview with series star Bonnie Franklin -- and actors at all stages of their careers will want to hear Bonnie talk about her remarkable career journey on our Web TV series Inside the Business of Acting.

From earning a Tony nomination for her critically-acclaimed role in Applause, on Broadway, to landing a television series that ran for an impressive nine years, Bonnie's story and the lessons learned along the way will inspire you.

Episode 1 is now playing on-demand at InsideTheBusinessOfActing.com

BL

How to ease resume stress at the beginning of a career launch ...

I recently received an e-mail from Dennis, a young actor living in Seattle. He just graduated from college and is preparing to relocate to Los Angeles to start his career journey. I think his question might be very relevant to may of you.

Dennis wrote:

“My acting resume is loaded with credits that I earned in high school and college productions. I read in your book that agents and managers and even casting directors won’t really care about that work. I’m confused and a bit concerned about what to do and what to actually put on my new LA resume.”

I wrote back:

“What’s relevant to list on your resume has more to do with what stage of your career you’re in than any standard that applies to everyone.

At your age, at this place in your career, anything “appropriate” is appropriate — and that includes high school and college productions and community theatre. As you build your career and your resume, new credits will replace the older ones as you begin to run out of room. It’s the natural law of “early credit falloff.

The most important thing a young actor can do is to quickly begin balancing their high school and college performing credits with professional classes, seminars and workshops. You should begin taking classes as soon as possible after your arrival in Los Angeles (or New York). ‘As soon as’ also means as soon as you can reasonably afford to do so. Rent, food and other “survival” and transportation expenses have to be covered first.

You can show a potential agent or manager that you are serious about becoming a viable candidate for success in the business of acting (and maybe even a successful client of theirs) by showing that you are developing your skills and your talent with some good, solid professional training. This will score you a lot of points.

Getting into professional classes will also introduce you to a new community of other actors, most of them a lot like you, just out of college, just starting out, just looking for a smart way to match their potential with a world of opportunities.”

• • •

I am always being asked to recommend classes or an instructor or coach – and that’s a tall order, quite frankly. Like a head shot session, what works to make a photo session a success for both the actor and the photographer has everything to do with the energy and the connection both people bring into he session. That’s a lot like what make a class or a coach effective, as well.

It’s all about personality, style, professionalism and attitude, on both the actor’s part and the teacher’s.

Having said that, I have personally sat in on classes with a few well-respected teachers in Los Angeles and can suggest that they be on your list of people you check out. You’ll find a downloadable, printer-friendly list on the Resources page at TheBusinessOfActing.com.

One of the people I like a lot is Jeremiah Comey. He teaches a great acting for the camera class and I have sent many of my clients to him over the years. You can watch our two-part interview with Jeremiah on our Web TV series “Inside the Business of Acting,” now playing on-demand on the Virtual Channel Network. He offers up some solid advice for all actors, but particularly for young actors.

I hope this helps you, Dennis, and the other couple of you making your ways to Los Angeles this summer, freshly graduated, all pumped up and ready for your career launch.

If you have a business of acting-related question, please post your question (or comment) here on our Blog site or you can e-mail me directly at blemack@TheBusinessOfActing.com.

BL