If only one franchised agent is interested in you, sign with him. Still, find out who you're dealing with. A franchise tells you only that the agent is basically on the up and up. It doesn't say that he's any good or that he's right for you. Even if you were buying the last car on earth, you'd still want to know how it runs.
Looking Him Over
There's no Better Business Bureau for agents; but fellow actors, instructors, and other industry people can be of help. Should you meet a client, ask if he gets out on interviews; if he's treated courteously; if he has easy access to, and is happy with, the agent. Just bear in mind that every agent is hated and loved by someone.
The Agent's Enthusiasm
The key ingredient in choosing an agent is the excitement factor. His enthusiasm about your potential can cover a multitude of sins. If all his clients hate him, if he doesn't work for anybody else, if he's not very pleasant to be around, but if he's excited about you and works for you - you've got a good agent.
Number of Clients
No single theatrical agent can adequately handle more than about 50 people. (If there are two theatrical agents in the agency, they can handle 100 actors; three, 150; and so on.) More than 50 clients means you're signing with a meat market that's hoping you get lucky finding work on your own, and then they'll cash in.
SAG says agents must present their client lists to prospective clients on demand. But, to be diplomatic, pop over to SAG and ask to see the agency's client list. Count the names. (Only those signed theatrically. Some agencies have many different departments. You don't care how many people they've got signed, say, commercially. SAG uses a different code number for each category - ask for the theatrical code.)
One Man, One Job
If you come across a guy who works alone and claims he's a commercial, theatrical, voice-over, modeling, and kitchen-sink agent, pass on signing with him unless you want your career to go down the drain. No one individual can handle more than one category.
Nor Across the Board
As mentioned above, many agencies have multiple departments with different people handling commercials, theatricals, etc. - and it's possible they may want to sign you in every category (called "across the board"). Well, that's fine, but things can get a bit sticky if you wind up happy with your theatrical agent and miserable with your commercial agent. If that's the only way the agency will sign, and you really want them, go ahead. But it's best to sign with different agencies for each category.
Clout
"If someone wants you, it doesn't matter who your agent is, says theatrical casting director Marci Liroff. That's absolutely true. But don't let anyone kid you - clout counts, baby. There are such things as "day player agencies" (small agencies a casting director calls when casting bit parts that are shot in one or two days). Most likely that'll be your first agency, and that's fine when starting out. You want to get some small parts under your belt. (It's rare to get bigger roles anyway.) But the agent should intend - and have the drive - to grow beyond this. If he won't, you won't.
Despite any denials you may hear, the size and clout of your agency has a direct effect on how the industry sees you. (An actress we know went up for a three-line bit part. While talking with the casting director, she mentioned that she had just left her "day player" agency for a slightly larger one. The casting director blanched and said, "Oh... Oh... You're with them now? Well, I can't read you for something this small." He then immediately handed her a guest starring role to read.) Not convinced? Ask any casting director to pick up the phone and call ICM for an actor to fill a two-line part.
One method of pinpointing clout is to think of all agencies as being "A," "B," "C," or "D" list agencies. An "A" list agency is a giant such as William Morris, CAA or ICM. They handle major directors, writers and, especially, stars (which is what gives them their clout). Whole movies can be, and are, "packaged" almost entirely from within that agency alone. A "B" list agency is almost as big, with mostly name actors and, possibly, directors and writers among their clients as well. A "C" will handle some guest stars and many supporting players. A "D" is your basic day player agency, top-heavy with newcomers.
It won't hurt to ask yourself periodically where you are (are you a "C" list actor yet?) and where your agency is. The twain should meet. But remember, agencies can grow with their actors. As theatrical agent Jim Gibson put it, "I'm not a farm club for William Morris."
Interviewing the Agent
Once the agent is finished interviewing you, gently "interview" him by asking...
You should both basically agree on how he'll be submitting you. If he's too far off the mark, look elsewhere - but be sure it's him who's off. "Be honest," says theatrical agent Pat Doty. "I can't work with people who perceive themselves as Elizabeth Taylor, and I'm seeing Ruth Gordon."
One agent answered that question by saying, "My clients are only to call me between 9:10 and 9:30 A.M." Well now, wait a minute - who's working for whom? It's one thing for an agent to ask clients to call him, say, only in the morning; another to give a 20-minute time span. That answer told us he was not only a bureaucrat, but a bully.
Good agents want to hear from you. They welcome ideas. They won't want you to call every day, but will be open to suggestions. Got the feeling the agent "doesn't want to be bothered'? Don't "bother" him by signing.
When you're starting out, your agent will expect a lot. As you move on, perhaps a little less. But neither party should ever be expected to do it all. Some agents will tell you not to seek interviews on your own, as they feel this is "bad form." If so, go along for a few months. If the interviews are coming in, fine. If not, go back to work. You can starve playing by someone else's rules.
After the interview, it's time for a mull. Was the agent straight with you? Did you catch him in any lies? Did he ignore you? (At lunch with a prospective agent and his sub-agent, an actor we know listened as they spent the entire lunch talking about what a great deal they had just gotten for another actor.) You don't have to love your agent - perhaps not even like him - but at the very least there should be a little rapport. "It's critical that you have good chemistry with your agent," advises theatrical agent Joel Rudnick. "Your relationship with him or her is very important. If there's someone in town who has good clients and a nice office and irritates the hell out of you, you really should look elsewhere."
And go with your gut - agents do. Often, they'll accept or reject an actor strictly on gut instinct. If a small voice tells you something's right or wrong - something's right or wrong.
Other Suggestions
Agencies can get typecast too; some are known for handling character actors, others for "beautiful people," others for ethnic groups, etc. Other agencies mix their talent. It's best to be compatible with your agent's specialty because a casting director in a desperate hurry for your category of actor will call your agency first.
Verbal Agreements
If your prospective agent tells you, "We won't have a contract, we'll just have a verbal agreement," bluntly, you don't have an agent. He's waiting: if you fall into a part, he'll be glad to take ten percent. As Samuel Goldwyn is said to have put it, "A verbal agreement ain't worth the paper it's printed on."
But, if that's all you can get, take it - and keep looking for an agent willing to put it in writing. Meantime, write the agent a letter confirming your verbal agreement, send a copy to all the unions, and list him as your agent in the Academy Players Directory. This way, potential employers will be able to find your representative, and you'll appear more like a pro.
SAG says a verbal agreement is good for three months, but it's unlikely you'll have problems if you want to sign with another agent within that time. (In practice, the agreement can last as long as you and the agent can stand it.)
The Contracts
The three contracts you sign with a franchised theatrical agent are standard contracts, hammered out between agents and the unions. There are no "surprise" clauses and all contain an "out" - a provision that, if you don't get 15 days of work in any 91-day period, you or your agent may terminate the contract.
This came about because actors didn't want to be saddled with an agent for a year if the agent obviously was not working for them. There's nothing to stop you from signing with an agent you're not crazy about and continuing to look for someone who suits you better, safe in the knowledge that you'll be available in 91 days. It's not the most pleasant thing to do, but neither is looking for an agent when you don't have one.
So, as we said, when you're starting out, sign with any franchised agent who wants you - and, if you're unhappy, keep looking for another, better agent. A cardinal rule of Show Biz psychology is: it's easier to find an agent when you have an agent.
