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Welcome to The Vermillion Podcast, a free audio library of business strategies, creative inspiration and industry knowledge for actors, filmmakers, writers and anyone looking to activate their creative potential. I'm Nisha Culver, a writer director who helps artists build the careers that they dream of. I really hope that this podcast inspires you in some way. Thanks for tuning in.
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Let's talk about agents and managers.
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We're going to be taking questions from our listeners today. And
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I'm going to answer as many questions about agents and managers
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as I can.
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I do want to let you know
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that I am running a massive,
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amazing agent manager
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program in December.
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So you can check out the website for more details on that.
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But it does include not only
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me walking you through exactly how to get an agent
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or a manager,
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but showcases with ten
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very well-established
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mid, large and boutique size
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agencies and management offices in mostly New York, but a couple that are bicoastal as well.
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So again, you can check out the website for that
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and we'll put the link in the show notes.
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That's happening in December.
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It's one of the biggest and best programs that I have ever offered. And I've
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reduced the price as well because
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it's a little bit of
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tight squeeze right now for actors in this current
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market.
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So I am sympathetic
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to that.
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All right. So agents and managers, you know, I'm working with a lot of top
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agents and managers in these classes that I'm teaching lately.
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So
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I have a lot of insight into not only just generally how they think and,
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operate.
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Not to mention, I was an actor for 20 years before I started making films.
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So I know a lot about this.
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and I really understand their perspective on things.
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So I also have a sense of where agents and managers are at right now.
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If you're at home
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being like, my agent hasn't sent me out in
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three months, or I've only gotten five auditions this year.
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I mean, that sucks.
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Really? But you're not alone. A lot of people are just getting less and less and less
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from the agency managers. So
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a little bit of a contracted market right now that's really normal is probably not you, but
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maybe it's them.
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You know,
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maybe your agent or manager isn't really
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doing their job very well. And that's info that you need to have.
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It might be you, it might be them, but you need to figure out which one it is so that you can take the steps that you need
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to move your career forward.
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Don't get stuck with a dead duck
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rep.
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Please.
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So I do think we have some questions
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from our audience.
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If you want to bring those in,
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it's my intern. Doga You can come on. Say I think you do.
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First question is,
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do I need an agent and a manager?
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Short answer. No.
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All you need is one good one.
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But,
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you know,
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it depends on where you're at in your career. If you're just starting out, definitely not.
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You just need one good person getting you into the offices that
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you might not have access to.
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If you're a bit more established and you have enough work
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and enough really, you're making enough money to justify
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the ten and 10% or the ten and 15%,
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then maybe you do want both because
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like, you know, pulling in a quarter million a year and you need somebody to help you
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make sure that not only are your contracts going to be great
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and sound,
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and protect
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you, but
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the
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general meetings, you know, the general guidance on your career and how to continue to grow your career. That's more the
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manager's forte
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that that's also going to be sound. So I think if you're just getting out of,
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smaller program or you're, you're early in your acting career.
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You should probably only focus on trying to get one good one instead of both.
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Second question can I get an agent with no credits?
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Well, agents want to see a demonstration of currency, and I've spoken a lot about currency and how to demonstrate value in previous episodes. But
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it's not an automatic no. You can't get an agent without credits.
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You would have to be bringing a lot of other currency to the table, though. Like, you would have to have, you know, maybe another career that could translate pretty easily to acting like, you know, you're already an
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international model,
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or I have one client who
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is a literal cowboy, and he doesn't really have any credits, but yet he's been booking commercials like Super Bowl commercials as a cowboy
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because he's so good at what he does.
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and I think he should have an agent,
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but you kind of want to be already world class in something else, because that's going to get the attention of an agent that will say, oh, I can take that world class achievement
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and move it over to
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some TV or stage, like pretty easily.
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So short answer no, but long answer
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no.
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You don't need credits, but you do need something else.
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pretty extraordinary to get their attention.
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Next question.
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Is it an agent or manager's job to tell me what my type is?
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No.
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You're going to want to have a pretty good sense of what your type is before you start talking to reps. I mean, they're going to they're going to want you to know what you think your type is, because if
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you
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think that you're a marvel hero and you're more of like,
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as kind of scrawny SNL type who's really good with, like,
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comedy, that probably isn't going to be a fit, and that's going to be a red flag to them that you don't really understand how you fit into the market.
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So.
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I always say that brand, your brand is 50% what you like
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and 50% what the market will pay for,
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and you're going to want to try and create a brand that's at the intersection of those two things.
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So the agent or manager may have a different idea of where that intersection lies, but it's really important that you be firm and clear on
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half what you like and half what you think the market will pay for, and how you can meet in the middle.
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On those two things.
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Next question.
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Does a social media presence help
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with getting an agent or manager?
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Yeah.
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Yeah. This goes back to
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a form of currency that is known as your followers.
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So if you can demonstrate a large following.
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The reps are going to know that that's going to be able to translate to cash money.
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You can leverage a follower count to create more cash money on the other side, whether that's through brand deals.
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Box office.
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Views for a TV show,
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you know, the amount of downloads on something.
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So it can help. But I was just reading a quote from George Clooney when he was trying to direct a movie, and the studios kept sending him actors and being like, well, this one has
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100,000 followers and this one has 500,000 followers.
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And his response was to start telling actors to get off of social media completely, because then you're not even on the grid. There's no one to compare you to, and you don't look like you're kind of
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losing the game of social media compared to somebody else, because you're not even playing that game.
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don't know if I agree with that theory, but it's it's an interesting one to,
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think about,
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where if you don't feel like you can compete at all on social,
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maybe not even having a profile at all.
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That said,
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I kind of like social media, but it does harm your brain.
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So think about that. If you're scrolling short form videos, you're actually causing brain damage. That's scientifically proven.
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Next question. How do you know if you need
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an agent or manager?
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Can self submitting get you anywhere? Oh, honey.
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Yes. Yes, indeed. Self submitting is extremely important. I think it's more important than having an agent or manager. Why? Because it teaches you to go after your own opportunities,
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and
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it teaches you to interface with casting
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with directors. It puts your career in your own hands, not your rep's hands.
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They're not going to ever work harder than you are.
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You're going to be the single hardest working person on your team, as it should be.
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It's not their job to work harder than you. They probably have like at least ten clients and you have
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one. Or maybe two reps. So you need to
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be the hardest working one because they've got other clients, you know.
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So I love self submitting even if you're wrapped
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I think it's great.
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And of course there's like
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special cases where it's not really appropriate or you're too big to self submit anymore. You just don't have time or whatever. Obviously. Yeah. But the vast majority of people should still be self submitting.
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And
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do you need an agent or manager? No.
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Is it nice? Are there other reasons to get an agent or manager other than you need help getting roles? Yeah, there are other reasons to have one.
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Sure. I'll go through this list right now.
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So other reasons to have an agent or manager that
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have nothing to do with actually booking jobs.
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You want help with your contracts? Don't want to read or decipher your own contracts, or they really confuse you and you want an agent or manager to protect you when it comes to your legal.
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You want self validation. This is real. So get real with yourself. Like what? I feel better about myself if I had one. Or, you know, even if they're not sending me in, like, would it just help me feel validated?
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Other validation?
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Would other people take me more seriously if they saw that I had a rep? Sometimes, yeah. Like literally,
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especially as a writer director, if I had an agent or manager going to bat for me, I would definitely be taken more seriously.
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I have a great lawyer.
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I'm sure that counts for something, but the optics of having a rep can really change how people perceive you as an artist.
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And then another reason is advice.
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Maybe they're not getting you in all the time, but you can call them and ask them for advice.
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And that might be incredibly valuable to you because it's a really confusing business.
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And,
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you know,
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unless you're
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weirdly like, old for the way you look like me and have been around forever.
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A lot of it's probably going to not make sense to you in terms of navigating the business.
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And I just have been around forever, and I I've seen a lot, and I know how things work. So,
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if you're new is starting out, that advice can be
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can be really, really helpful.
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Guys, I drink a lot of water. I don't know what to tell you. I get sleep and I drink water. Okay.
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I think I'm ready for more questions. Do you want to pop on in?
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Thank you.
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What are some daily goals I should set for myself in order to get an agent or manager?
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I wish I had the
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names of
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who sent these in, because this is a really great question, and I want to thank whoever, whatever listener, viewer,
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wrote this question.
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So daily goals to set for yourself to get a rep.
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I would lay out a five year plan
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to become world class at what you do.
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Because in five years
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you're going to be older.
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And either you're going to be that much closer to being world class, or you won't.
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Shalom talks about this. You know,
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when you got on the stage and accepted. Was it a BAFTA?
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Yeah, he's BAFTA
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and he's like, I want to be the best.
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Now that man has
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at this point maybe hundreds of millions of dollars.
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Some definitely did not need to go up there and say he wanted to be the best. He would be just fine. Never
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being in any movie ever again or being even like mediocre at this point, with the amount of
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fan base that he is created.
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He could be mediocre and still skate for a long time.
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no, he wants to be the best,
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and that's probably how he got to where he is now by that dedication to being the best actor.
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So
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see if you can devote yourself to becoming the best over a five year period,
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whatever that means to you. The best. I mean, that's like very vague, but
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set yourself up to really take your craft seriously.
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And then simultaneously, you must let people know that you exist. So most agents and managers don't know that you exist. And you can create a campaign of communication with them.
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So networking with them
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so that they grow to learn that you exist. And this is something that I see work time and time again.
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There's a lot of different ways to create this campaign.
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I walk you through it step by step in the December program.
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So
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I'm not going to go into it here because it's like
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hours worth of curriculum, but
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a campaign of approaching agents and managers and the specific strategies that you need in order to do it properly and professionally
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can be extremely effective.
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But I would say the first step is to get a list of agents and managers that you want to work with.
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Names, offices, emails
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them.
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Next question
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do I need a real before I try to find an agent manager? I would say yes. I mean, unless you're that cowboy or, you know, international model or,
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you know, soccer player or whatever,
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like
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if you're an actor actor and you're just starting out.
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Yeah, yeah, I would try to get a real and you can do that by booking student films,
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independent films, web series, you know, shooting your own material.
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There's a lot of ways to get footage now
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I mean, most of it's unpaid opportunities. But get the footage, get the footage, get the footage is the best way for someone to give you a job.
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It's for them to see evidence that you've booked other jobs, even if the other jobs are just student film. So I think a real is very important.
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And no, a self-tape really is not the same thing.
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Sure, if I have a self-tape reel, that's fine. It is not the same thing and a real with actual production value on it, like real camera was used in the making of it. Real set, real actors.
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That's going to be a lot stronger to you booking a job than a self-tape real.
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And yes, agents are managers. Do watch your real so try to get one.
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How do I know if my rep is doing their job?
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Unknown
Do you get sent in for auditions?
00;15;49;52 - 00;15;56;22
Unknown
If yes, and if you're satisfied with the amount of auditions you're getting, then I would say great.
00;15;56;22 - 00;16;04;49
Unknown
If you're not satisfied and or, you know, if it's less than a few times a month, I would say it's
00;16;04;49 - 00;16;21;48
Unknown
It's not a good fit. It's not working out a few times a month. No. Like I think a good number like even in this climate, once a week is a functional relationship in terms of how often you're getting in the room thanks to your agent or manager.
00;16;22;14 - 00;16;33;11
Unknown
And I know a lot of you are not pulling those numbers right now. You need an upgrade. You need somebody who's actually getting you in because it's not just the submission report. It's not just hitting send
00;16;33;11 - 00;16;39;33
Unknown
on that, you know, breakdown services or actors access. It's verbally pitching you.
00;16;39;33 - 00;16;45;28
Unknown
And if they're overwhelmed and they don't have the energy or the wherewithal to verbally pitch you to these offices and push for you.
00;16;47;52 - 00;16;49;25
Unknown
Well, what are we doing here? You can hit
00;16;49;25 - 00;16;57;43
Unknown
submit. You can hit send on that button yourself. You can hit that button on actors access. Their job is to push for you in my opinion.
00;16;57;43 - 00;17;05;51
Unknown
So I think, you know, if you're satisfied with your rep or not. And it's just the hard task of then, okay, I'm not satisfied.
00;17;05;51 - 00;17;08;15
Unknown
And what do I do now?
00;17;09;05 - 00;17;14;22
Unknown
How do I communicate what I want to my agent or manager?
00;17;16;12 - 00;17;27;34
Unknown
give you the hello. Hi. Yes. So there's this really cool audition that I know is coming up for this show that I saw shooting in New York.
00;17;28;14 - 00;17;35;01
Unknown
Is there any way that you can get me in? I think so-and-so's casting it, and I met her in a class last year,
00;17;35;22 - 00;17;37;34
Unknown
and I would really love to get in for it.
00;17;37;34 - 00;17;46;11
Unknown
Do you think that's going to be possible? Oh, great. Okay. Thank you so much. Oh, by the way, happy Halloween. Awesome. Okay. Have a great day.
00;17;46;11 - 00;17;47;22
Unknown
Thank you. Bye.
00;17;48;27 - 00;17;50;29
Unknown
That's if they take your calls.
00;17;50;29 - 00;17;53;00
Unknown
If not, put it in an email.
00;17;53;00 - 00;17;57;02
Unknown
And if they don't respond to your email, then something is wrong.
00;17;57;02 - 00;18;01;24
Unknown
So just really direct, you know, easy, friendly,
00;18;01;24 - 00;18;05;44
Unknown
not anxious. You're not putting this whole big emotional weight on them,
00;18;06;18 - 00;18;09;46
Unknown
is it? How's everything? Do you have any feedback? Was there any notes on that tape?
00;18;09;46 - 00;18;18;11
Unknown
No. That's exhausting. Just be normal. Be cool. Hey, I'd like to go in for this thing. Great. Yeah. Cool. Bye.
00;18;18;32 - 00;18;19;54
Unknown
Thank you, thank you. Bye.
00;18;21;13 - 00;18;23;58
Unknown
Final question.
00;18;24;04 - 00;18;26;29
Unknown
Do cold emails work
00;18;26;29 - 00;18;30;11
Unknown
to get an agent? Manager? This is a great question.
00;18;30;34 - 00;18;32;49
Unknown
And one that we are going to deal with
00;18;32;49 - 00;18;34;08
Unknown
a lot
00;18;34;08 - 00;18;34;51
Unknown
in
00;18;34;51 - 00;18;36;21
Unknown
the showcase program.
00;18;37;00 - 00;18;41;08
Unknown
So yes, cold emails can work, but I want to I want to leave you with
00;18;41;08 - 00;18;42;49
Unknown
critical distinction.
00;18;43;12 - 00;18;44;09
Unknown
So.
00;18;45;15 - 00;18;51;21
Unknown
You have the cold email campaign to agents and managers. That's your base level, right?
00;18;53;00 - 00;19;05;07
Unknown
Ten times more effective than a cold email campaign is going to be asking actors who are already on the roster of who you want to work with to refer you.
00;19;05;43 - 00;19;16;02
Unknown
There's a few reasons that that might not happen or go well, but just know that it's ten times more effective than a complete stranger emailing this rep to ask for a meeting.
00;19;16;02 - 00;19;31;41
Unknown
cold email ten times more effective than that is asking an existing client to refer you ten times more effective than that is getting a referral from casting director director producer showrunner.
00;19;33;28 - 00;19;40;33
Unknown
I go into the Y in my December program, but that is the hierarchy.
00;19;40;33 - 00;19;57;04
Unknown
So if it's ten, ten, ten times more effective, just know that this one, you might only need to ask three people. This one, you're going to have to ask maybe 1012 people. This one you're going to have to ask like 100.
00;19;57;04 - 00;19;58;21
Unknown
I hope this was helpful.
00;19;58;21 - 00;20;04;19
Unknown
Let me know if you get a rep as a result. And it was really great to chat about this topic. See you next week.
00;20;04;19 - 00;20;31;40
Unknown
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