- A movie or TV show: Are we kidding? No, actors do luck into these even without agents. Just be sure you've got lines - extra work doesn't count. You may be surprised to find your movie/TV show does you little good before it opens/airs; when it does, however, work hard and fast. Send out letters or postcards, wait a few weeks, then call back.
- Prepared scene/cold reading showcases: Non-existent a few years ago, today they are one of the best ways to be seen by an agent (or a casting director).
- " 99-seat (Equity-Waiver) theatre: You may do this kind of theatre whether you are union or not. The theater will seat less than 100, and, if it's a good production and well publicized, your chances of being seen by industry people are fairly decent.
You "old pros," new only to Hollywood, may balk at this. You may feel you've proven yourselves on stages all over the country, and advice to do more stage work - in small theatres, no less - is insulting and a waste of time. After all, you came to Hollywood for film work!
Do it anyway. Nobody wants to buy a ham in a poke - unless they see you act, how do they know if you're an experienced, interesting actor or one who's merely left audiences comatose from coast to coast?
- Equity productions: In Los Angeles, if you're in an Equity show, there will be industry professionals in at least some of your audiences. Unfortunately, there's little paying theatre in the city, so you've probably got a better chance of getting into a movie or TV show.
- Community theatre: Not only off-limits to union members, it's also often difficult to get industry people to come to community theatre. Agents aren't all that interested in seeing a cast composed mostly of insurance executives doing theatre as a hobby; their chances of picking up a client are slim. Still, you might get lucky: someone may come to the show because he's a friend of a cast member. Be sure the theatre keeps a guest book (buy one for them if they don't), and check it every night.
If you go over your allotment of complimentary tickets, are doing a major show, or the theatre doesn't give "comps," shell out for them yourself.
THE DIRECT WAY . . .
This method isn't a lot of fun, involves a lot of work, and gets old fast. It's only got one thing going for it: it does work. Take the list of franchised agents, scratch off the top dogs such as William Morris, ICM, Creative Artists, APA, etc., and mail your picture, resume, and a cover letter to the first ten remaining agencies on the list.
A sample:
Dear :
Your agency has been recommended to me a number of times in my search for representation in Los Angeles. A look through The Academy Players Directory seems to indicate you have no one quite like me, so I enclose photos and resume for your consideration.
Ill call in a week or so, and hope we can get together for a chat.
Also, do you have a favorite 99-seat theatre?
Very truly yours,
The above sample appeared in the first edition of the book, as a guideline. We hoped no one would be silly enough to copy it. Boing! An agent we know received an exact duplicate, copied word for word.
Please, come up with your own letter, keep it brief, and use just about any approach that's comfortable, without getting silly, negative, braggadocios, or out-gushing 01' Faithful.
As personal manager Melissa Torme-March observes, "Clever letters attract people." For example, one of the most effective cover letters we've ever seen was sent to commercial agents by a light-skinned black actor:
Hi! I am seeking commercial representation and would like you to consider me as a client. I am new to Los Angeles, just in from Washington D.C., and am enthusiastic about commercial acting. I have heard wonderful things about your agency, and, although I look more like wheat toast, I think I am the 'white bread' you are looking for.
Need we say he got a lot of replies?
"I think you have to figure out why I'd be interested in you," says director Andrew McCullough. "It really has to be on the basis of 'I have something to contribute.' I mean, so many letters come in, pitched on 'I would like to act.' Well, so what? I think that's why so many letters fail."
And one other thing: remember, your letter reveals something about your common sense. "Anyone who can't spell 'Dear Mary Spencer' is out," dryly notes theatrical agent Mary Spencer.
So, send out ten resumes, resume shots and Pulitzer Prize-winning cover letters in one week. Then, the following week, pick out the next ten agents on the list, repeat the process, and, in addition, start calling the original ten agents you wrote. For the next six months or so, you'll be calling and mailing to ten agents a week. Expect 99 percent rejection. And a few "Can you call us back?" responses. And back . . . and back . . . and back . . .
Sound awful? It is. That's why there are more unrepresented actors than represented ones. Many actors try this approach for a week or so, quit, then wail, "Ya can't get an agent." Whether dropping by or phoning, you're going to be talking to a lot of secretaries.
A variation is the old dropping-in method. Usually, it doesn't work, but you never know. You may not get to see an agent, but you can leave your photo, resume and a personal impression - if only on the receptionist. And all that walking is a great way to lose weight.
