Affinity Artists: 2013

Developmental Talent and the Developing Agent

Am I a Developmental Talent?

Often when entertainment industry professionals get together they have a shorthand lingo for the levels of talent that they work with.

This article is intended to clarify not only the definition of ‘developmental talent’ but to help those very same talent understand some helpful methods for working their way into the Hollywood ‘system.’

Topics:

· Things Developmental Talent Hear

· LEVELS OF SUCCESS, HOLLYWOOD STYLE

· TALENT CAREERS: AGENTS WHO BUILD VS. AGENTS WHO BORROW

· TAKE YOUR AGENT SERIOUSLY

· HOLLYWOOD IS 'HIGH SCHOOL WITH MONEY'

· REASONABLE EXPECTATIONS

· TAKING ACTION

· DEVELOPMENTAL ROSTER REQUIREMENTS FOR MOST AGENTS

· MOVING FROM ONE REPRESENTATIVE TO ANOTHER

· Things Developmental Talent Say

· WHAT DEVELOPMENTAL TALENT MAY EXPECT FROM A TALENT AGENT

Things Developmental Talent Hear:

“We’re going to hip pocket you”

“We’re not going to sign you just yet but we’ll do an experiment together.”

“We’re going to let our Junior Agent work with you initially.”

These are phrases and expressions often heard by both ‘newbie’s’ who just got into town with their Masters degrees in Theatre, as well as by actors with years of experience in regional theatre but without any big name theatre credits on their resume.

LEVELS OF SUCCESS, HOLLYWOOD STYLE:

NAME TALENT: These are talent who have name or at the very least face recognition among the American and sometimes International public. They are easy to 'sell' and projects are plentiful for them.

These talents would be repped by the lead or senior talent agents at any reputable agency.

WORKING TALENT: These are talent who work regularly as Guest Stars on TV and Supporting Roles in Feature Films and/or work regularly in Commercials and Print. Many agents desire to work with these steady income earners.

DEVELOPMENTAL TALENT: These are talent who are either experienced in other aspects of entertainment (Live Theatre, Student Films, Modeling, Sports Figures, Dancers etc), or have recently completed academic training or are simply BRAND NEW to the entertainment industry.

Developmental Talent could have appeared in 30 or more stage productions. Unless they are recognizable theatres in NYC or other parts of the country--these are still Developmental talent.
Developmental Talent could have appeared in 20 commercials. They are still Developmental for feature films and televisions series.
Developmental Talent could have gone to Yale, Harvard, Northwestern--the finest dramatic education money can buy--they're still developmental talent.
Developmental Talent may have trained with the best independent acting schools in Los Angeles or New York--still developmental.

In general, developmental talent come in with materials that need to be added to, worked on or improved.

Pictures, digital reel, resume. In some cases a Talent Agent may ask a person to change their hair, teeth, body, make up, wardrobe to become more marketable.

In other cases the Agent may love a Developmental Talent’s look but feel strongly that they must quickly get into more advanced dramatic or comedic training with recognizable teachers in New York or Southern California.

TALENT CAREERS: AGENTS WHO BUILD VS. AGENTS WHO BORROW

Essentially, when an agent takes on a ‘developmental talent’ they are performing an informal experiment. The experiment is to discover if the talent is easily marketable or presents more of a marketing challenge.

Each agency and talent agent are unique in their approach to developmental talent.

Some large agencies won’t get anywhere near ‘developmental talent’ unless they walk in with a recognizable face from some other industry (sports/politics) or are under 13 years old.

Some small agencies wont take on developmental talent because they cannot afford to wait until the talent has achieved a fair amount of success in the industry. They need talent who already have a track record because those agencies live and die based on their bookings which must be plentiful.

And the opposite can also be true. There are large and small agencies that are more ‘risk takers’ and ‘long term investors’ in talent.

Some agencies do operate like nervous stock brokers. Like the stock broker who won’t take on a stock that isn’t almost guaranteed to double in price (and who’ll sell off stock at the first time it drops even slightly in value) these agencies only want ‘the sure thing.’ They wont touch developmental talent. Instead they’ll wait for the hardest working men and women in show business do that FOR them. They’ll let a boutique agency build the value of a talent through sheer tenacity, assertiveness and a large dose of faith. Then once the blood, sweat and tears have been shed by the pitbull of an agent who forced his client up the food chain, the ‘Borrowing’ Agent will capitalize on the first agent’s work and take on the ‘ready-made’ client that has been built up.

It’s certainly understandable. Who wouldn’t want the easy sale? Who wants to court rejection? But when it comes to commitment and hard work, it’s the Builder Agent you want in your corner.

TAKE YOUR AGENT SERIOUSLY

Some agencies will take on a ‘developmental talent for 3 months. Some will hold on to them for several years.

Some agents will hold onto a developmental talent as a favor (to a manager, to the client themselves, etc) and allow the manager to do the ‘heavy lifting’ of submitting the untested client and simply come in at the end when the deal must be negotiated and the work procured.

But when an Agent is INVESTED in the success of the developmental actor, they will provide some guidance to set the actor on a path out of development and into the the arena of the Working Actor. They will submit that talent aggressively and consistently to CDs and Producers .

As indicated, every talent agency is unique. In general however we can say that most agents have less time for grooming talent than do Personal Managers. It is for this reason that Developmental Talent must take very seriously, the advice given by any Talent Agent offering formal or informal representation.

Taking your agent seriously means that when the agent requested it, you:

changed your portfolio materials (pictures, video, resume) if and when requested.

joined appropriate acting classes

explored different photographers.

The agent will then take you you more seriously. And when, based on the new changes, they see you achieve multiple auditions and multiple callbacks or bookings within 3 months to a year (depending on the agents representation philosophy) the agent may offer more formal and aggressive representation.

Here’s what would let an Agent know that an actor is not ready to move out of development but IS ready to move out of the agent’s talent roster.

--The actor didnt change or upgrade or edit materials as requested.

--The actor didnt confirm or respond to auditions.

--The actor didnt begin classes/trainings when requested.

--Casting Directors did not respond to the same old materials that the actor kept (showing that they ignored the agent’s advice).

Yes Booking the job mean Success: But for some Agents, success is something that is built over the long term and they define success more broadly.

Sometimes the actor does everything right:

· You make the agent-requested changes,

· you go to workshops,

· you increase training,

· you get into lots of unpaid productions to increase your reel,

· you film your own reel, etc.

When some Agents see this kind of HUSTLE they will often give credit by continuing the business relationship with a ‘non-booking’ actor as an act of faith.

HOLLYWOOD IS 'HIGH SCHOOL WITH MONEY':

As an agent, I'm a strong believer in talent, regardless of industry experience or credits.

However, while you may have reasonably good credits in Theatre or a unique look or training, Hollywood is indeed sometimes similar to a High School Popularity Contest. If you are a ‘Developmental Talent’ right now you're not 'popular’ by Hollywood standards. But a good Talent Agent may create strategies to fix that.

In Hollywood POPULAR means you have all of these elements:

You've been in one or more well-known television shows or movies with speaking roles.
Casting Directors are familiar with your acting skill through workshops.
You've got a dynamic digital video online on your various casting website profiles.
You've got amazing pictures that 'pop' and are impossible to ignore.

If you are a Developmental Talent, more than likely you're missing one of these popularity elements.

So how do you become 'popular' in the entertainment industry?

Just like the 'new kid in school' your best strategy is to hook up with someone who IS popular, whom everyone knows and likes. You want to connect with an AGENT (or Talent Manager) who has gained the trust of the 'high school' and whose taste in people everyone generally agrees with.

Essentially, when a Talent Agent takes you on as a Developmental Talent, that is what s/he is offering to you. The Agent is offering their aesthetic seal of approval and lending you a piece of their reputation as a ‘tastemaker.’

But remember, even the ‘popular kid’ in school cannot force the other kids to like the ‘new kid.’ The established, popular kid can only give his approval and hope others follow his lead. If the new kid acts foolishly during the introductions, he hurts himself AND he lowers the reputation of the established popular kid as well.

REASONABLE EXPECTATIONS:

As the 'new kid in town', the Talent Agents have various expectations of you if you want them to represent you. The right Talent Agent will offer you the chance to prove yourself while they are proving to you and themselves that you are indeed marketable.

The most popular girl in high school can make high demands on her friends if she's a real pain...she can insist on 'more attention' and constantly demand that her friends call her every day or 'prove' to her that they admire and respect her and are actively doing things for her benefit.

Like the most popular girl, successful Talent Agents have actors who are getting lots of work, are on lots of tv shows and films, and yes, Talent Agents do have the rare successful actor who may sometimes act like a prima donna and demand lots and lots of attention from their agent. They can become demanding and insist on directing the efforts of the agent. For example, insisting that the agent submit on roles for which the talent may not be appropriate or insisting on a certain number of auditions per week.

Now all of these demands would be reasonable WANTS or DESIRES. But they are not reasonable if they become COMMANDMENTS. And they are certainly not reasonable for actors who are ‘developmental.’ or the ‘new kid in town’ (even if you’ve lived in NY or LA all your life you can still be the new kid as far as film and tv industry is concerned).

Sometimes these popular but demanding actors can have demanding managers as well, insisting on much more micro-management of their represented actors career. Frankly, if the talent is Jim Carey or Jack Nicholson or Brad Pitt, most agents will swallow their pride and do whatever it is they need to do to please the talent and/or their manager.

And frankly, to most agents, it’s worth it.

And someday, when the Developmental Talent is in the luxurious position of achieving that level of success, they too could become a demanding talent (although everyone in Hollywood prefers the diplomatic talent who works together with the agent rather than as their boss).Until that lucky day, however, Agents expect Developmental Talent to be REASONABLE talent with REASONABLE expectations.

TAKING ACTION:

So when a Talent Agent offers Developmental Talent a formal or informal place on their talent roster, the agent will need to see the talent take fast and decisive action based on a critique of the talent’s materials.

Of course, for many actors, changing materials costs money. But there are cost cutting measures a clever actor can take.

Getting a friend with a high end digital camera may or may not achieve desired results.
Working with other actors and writing your own webisodes may be your only alternative if you cannot get into lots of productions quickly.

While a non-broadcast production is not the most desired digital video, it it is high quality in all aspects, sound, lighting, content, acting and its focus is on YOU, it is preferable to no reel at all.

A poorly acted reel, however, can have a devastating effect in that once viewed by a CD, it is far more likely that the CD will avoid bringing that talent in to their office at any time.

DEVELOPMENTAL ROSTER REQUIREMENTS FOR MOST AGENTS:

1. Ability to get viable video on ActorsAccess, CastingNetworks, Casting Frontier, NowCasting and the other electronic profile sites within the first month of representation

2. Ability to get great pictures that 'pop' on your profile within the first month of representation.

3. No daily calls from Developmental talent.

4. No requests to submit developmental talent (i.e. talent without great credits) on major guest star or major feature film roles. Talent must achieve smaller roles in recognizable Hollywood productions before this can take place.

5. Trust from talent that they are being submitted.

6. Many agents wont take phone calls about projects in pre-production or on which the CD has not been selected because a developmental talent 'loved the book' and this is their dream role. .

7. Developmental talent must own a quality digital video camera or have access to one in order to record their own auditions when a Casting Director (CD) requests it (or when their agent has been given the permission by a CD for a talent self-submission video.

8. Developmental talent continue to build a reel of independent projects including webisodes, student films etc. High quality pixels, sound, script. Doesnt need to cost money--does need to show your skill.

MOVING FROM ONE REPRESENTATIVE TO ANOTHER:

Sometimes a talent will meet a new Talent Agent after already having worked with previous agents or managers. Here are some of the statements we've heard:

Things Developmental Talent Say:

"I got auditions at least once or twice a week but I didnt get the bookings."

Getting 2 auditions a week without getting bookings could mean many things including:

a. Your agent sent you on auditions for which you may not have had the requisite skill.

b. Your agent may have sent you on auditions by submitting pictures that didnt reflect your actual look and thus you might never get a callback just for that reason alone.

c. Your look and training may have been accurate but your performance in the audition room didnt meet CD expectations.

For this reason you might see the number of auditions with a new agency DROP in frequency, at least until you get better, more accurate pictures/reel/training...OR the new agency may be more selective based on how they perceive your skill level and thus may not send you out on EVERY project that matches your age and look. The talent agency may also be too busy with too many paying castings to get you out on independent non-paying projects. That too could lower your audition rate.

Think about it this way: If your old agent got you out to 40 auditions a year and you booked 1 of them; and now your new agent gets you out to 15 auditions a year and you book 5 of them, who is the better agent?

Or, consider this: if your old agent got you auditions on every webisode, undergrad film school deferred pay project, and your new agent only found auditions for you in pilots, episodics and feature films, who is the better agent?

But, the opposite could also happen. New representation could potentially meet and beat your previous agent's audition stats.

"My previous agent always called me back the same day I called them."

The previous agent might have had too much time on their hands if they were calling you and shmoozing a lot. That might be a sign of poor work habits, not conscientiousness. Successful talent agents spend lots of time getting bookings, negotiating contracts for talent who are WORKING in features, episodics, commercials and print. Talent Agents have to go where the heat is.

WHAT DEVELOPMENTAL TALENT MAY EXPECT FROM A TALENT AGENT:

Representation from an established agency with a reputation for booking talent as series regulars, guest stars, recurring co-stars, starring and supporting actors in features.
Regular submission of talent materials to paying (and sometimes deferred) projects by the Agent, with strong support from assistants.
A deeper commitment when the agency sees evidence of talent progress in creating proper materials, getting proper training, and Casting Directors responding to submits.

The Talent Agent/Developmental Talent relationship, like any relationship, requires clarity and forthrightness. Both parties want to see if it’s a good fit. We find that relationships are best when expectations are (diplomatically)stated up front.

Sincerely,

Ross Grossman

Director

Affinity Artists Agency

Licensed, SAG/AFTRA/AEA/WGA/DGA/AFM

IMDB: http://www.imdb.com/company/co0085304/

IMDBPRO: http://pro.imdb.com/company/co0085304/

WEB: http://www.affinityartistsagency.com

WEB: http://www.affinitytalent.com

FACEBOOK http://www.facebook.com/AffinityArtistsAgency

TWITTER: http://twitter.com/affinityartists

Affinity Artists

Search This Blog

Saturday, November 9, 2013

Affinity Artists Agency actor CAMILLE SANDERS appearing tonight on LIFETIME in Dolly Parton's A COUNTRY CHRISTMAS STORY (with Bryan McKnight)!

Thursday, July 25, 2013

Why SANJAY & CRAIG on Saturday mornings is as good as SpongeBob and Bob's Burgers!

Monday, March 25, 2013

Developmental Talent and the Developing Agent