Put on a hard hat, 'cause some large chunks of stone wall are about to bounce off your head. Agents have far more experience turning you down than you have convincing them to sign you. When you're starting out, merely getting one to see you will be a time for buttered popcorn all around.
When you hear the time-honored "Sorry, we're not taking on any new clients at this time," however, bear in mind that agents are always/never taking on new clients, and there's no room/plenty of room for you.
"Every agent will tell you, 'I don't need any new people,' and every agent will tell you privately, 'I'll take someone on if I feel I can make some money off of him.'" says voice-over casting director Bob Lloyd. And he's right: let Paul Newman walk into an agent's office, and room will be found for him.
If you can act, have experience and a SAG card, there is an agent for you. It just might take many miserable months to find him.
A WORD OF WARNING
To avoid getting ripped off, never sign with any agent who isn't unenfranchised. A franchised agent has agreed to abide by all union regulations, and you'll be protected from most unethical practices. Once you're union, in fact, you aren't allowed to sign with a non-franchised agent even if you've gone too long without a sun hat and want to.
If you are interested in a particular theatrical (movies/TV) agency, check your list of franchised agents. If its name is not included, call SAG (ask for "Agencies"); perhaps the agency received its franchise after the list was published. If the agency you want is legitimate (stage), call Equity.
Most agents hire additional personnel, called sub-agents. SAG and Equity list them as such, and they need not be franchised as long as the agency for which they work is franchised.
A word of warning: You may run across so-called "agents" or "agency-finder services," with impressive-sounding names like "Galactic Representatives International." They prey on the unwary actor. They guarantee jobs; demand money for ads in their "magazines," which, they promise, will be seen by everyone in the industry from Louis B. Mayer (So what if he's dead?) to the washerwoman at William Morris (Who knows? She may be casting something next week); set you up with photos for a mere $500 or so; offer acting classes that teach you to stand in a corner scratching and moaning. The very worst of the lot can even be fronts for prostitution. How can you avoid the sharks in the water?
If an "agent" ever asks you for money, run, don't walk, out of his office. An agent on the up-and-up makes his money from one source only: ten percent of what you make, after you make it. Your best protection is that franchise. If the agent isn't franchised, don't sign. Period.
THE SIMPLEST WAY . . .
... To get an interview with any agent is to have a producer, director, casting director or even a represented fellow actor put in a good word for you. If you know someone in the industry, ask. Bear in mind, however, that a referral won't guarantee the agent will sign you (or even see you). As theatrical agent Joel Rudnick cautions, "We're always looking at people. But signing and looking are two different things."
SECRETARIES AND THE BRICK WALL SYNDROME
Today's secretary/casting coordinator/receptionist is tomorrow's agent/ casting director/producer. Taking them for granted is like eating ice cream on a diet. You'll be aghast at where it shows up later.
Assistants control access to agents, casting directors, and producers. Whether they throw broken glass or roses in your path is up to you.
When commercial casting director Beth Holmes was a casting coordinator (see what we mean?), she said: "I think actors know to be friendly to me because I have the first waste paper basket." Because they constantly deal with actors - in person and on the phone they've developed pretty good defenses. You'll sense that tone of indifference the minute you start talking. Without getting obnoxious, find a way to catch their attention. Learn and use their names. Ask questions. Try to involve them in conversation. Most of the time they'll be too busy to talk and, if they are, leave or hang up.
Every once in awhile, though, you'll catch a secretary during a lull. Then it's time to try to make a friend. What you are striving for is a businesslike amiability - a scaredy-cat, TU-just-die-if-you-reject-me" air isn't going to sell you any better than a hotshot approach. As casting coordinator Tawn Holstra put it: "The thing about telephones is that the fears of the people on the other end comes through. I mean, I'm not going to bite you. You can ask me things and you don't have to be afraid of me. There's nothing I can do to you on the phone. Nothing"
And, when you talk to anyone, bear in mind these two tips from theatrical agent Vikki Bandlow: "When the actor calls, he usually calls in slow motion. Get it out." And: "Everything's so heavy in this business. If someone can get me to laugh on the phone, 111 have him in. I love to laugh!"
OTHER METHODS OF GETTING AN AGENT
Classes/seminars
Seminars with agents as speakers can be helpful. Ask questions. Make the speaker notice you. Afterwards, go up and introduce yourself, and see if you can wheedle an appointment. We've seen it work.
If you're well-trained, you might take a class that has "industry nights" when agents, etc., are invited to come and watch/teach/comment. (Don't confuse these with classes that promise jobs or recommendations - avoid those!) Warning: if you're not ready, industry nights can backfire, emphasizing your limitations instead of your strengths.
You could also ask your instructor (especially if he's a casting director), or even a fellow student, for a recommendation. Be aware that the teacher usually is flooded with such requests and has only so many favors he can ask of his connections. (On the whole, however, take classes to learn, to stretch, to take chances in private, away from judgmental industry eyes
- not to impress in hopes that someone will do something for you.)
Serendipity
Actually, when seeking an agent you're limited only by your own imagination. Actors have sent flowers (rather obvious) and have taken out billboards on Sunset Boulevard {very silly). A fresh approach such as one suggested by publicist Barbara Best can be charming: "To a single agent of your choice, send one genuinely funny greeting card every day for 30 days. When you're done he should certainly be interested at least in meeting you!"
The real key to getting an agent is how hard you try.
INTERVIEW WITH A THEATRICAL AGENT
Lo and behold - an interview! Now, the agent isn't yet ready to sign on the old dotted, but you have at least piqued his interest. There's something about you, your pictures, resume and/or a performance he saw that is "special" and can possibly fill a gap in his client list. (Unless the agent is merely doing a friend a favor in seeing you.)
Now he wants to size you up. Do you have craft? Intelligence? Knowledge? Common sense? Are you confident without being cocky? Can he send you out on an interview and know you won't make a fool of yourself? Will you come through with poise when the cameras roll or when you meet important people? Are you pleasant to be around? (The last we heard, "Grumpy" still doesn't have an agent.) And, most important of all, can he sell you - will he make money if he represents you?
If he hasn't seen your work and you have no videotape on yourself, he may also want you to do a "cold reading" or an "office scene" for him. (More about interviews, cold readings and office scenes in the next section; they're skills in themselves, and you'll be doing a lot of them for casting directors, producers and directors as well.)
Okay. The interview went smoothly. A few days or a week has passed, the agent has done his thinking and discussed you with his associates, and has decided he wants to take you on. Now the question is: Do you want him?
