actor wants contract

K

keep it moving Jay

Active member
Has anyone ever dealt with this? we haven't closed finances yet, still seeking funds, but now the actor wants a contract in some form but we have slight reservation on the actor delivery. it's not that he's not good it's that he needs voice coaching. his pronunciation of words is really off and takes me out of my story. He's foreign has has an accent but at the moment can't afford a dialect coach.

At first he was brilliant. i found my lead. I offered the lead to him from his past work but now that i finally got him to read through some delicate pivotal scenes,, i'm at 70% with enthusiasm falling south.

Torn on this one, especially since he's now integrated in the funding pot.
 
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Put on your producer hat...

Producers know that there are only two kinds of actors: packaging and casting.
Packaging is a name actor with some recognition around the world. This is someone who used to be a movie or TV star, and people used to enjoy them. Now times are harder, so they will consider a low-budget show. Actors are packaging only if distributors will pay for projects based on their participation. Dean Cain is low-budget packaging. Packaging is crucial for distribution, and the packaging actors have some weight to throw around, because they make the financing happen. You have to make deals with them and make them happy.

Actors who don't mean anything on the marquee are casting. They are just actors, and are replaceable. If they make demands, they get the door. Some casting actors think they are packaging. If you really want to keep them, you have to have The Talk with them. The one where you explain the difference between packaging and casting. The one where you warn them that they will be replaced.

Sometimes they shape up. Sometimes you replace them. Welcome to Show Biz.
 
"If they make demands, they get the door"...

Really? You treat your actors like cattle on your productions? Do you consider actors a dime a dozen?

And if you're production might turn a profit, why isn't the actor (as well as everyone else working) entitled to some of it? Should they just trust you that you'll pay up or get something in writing?
 
Snazzy Flapper said:
"If they make demands, they get the door"...

Really? You treat your actors like cattle on your productions? Do you consider actors a dime a dozen?

And if you're production might turn a profit, why isn't the actor (as well as everyone else working) entitled to some of it? Should they just trust you that you'll pay up or get something in writing?
Click to expand...

Referring to me:)

the issue is not whether an actor will get paid which they will get paid. it's whether the actor could deliver what is in the mind of the director, at least be 90% there so the director could work the 10%.
 
Okay.. here is my take... the actor found the money and he wants a contract stating that he gets the role if the rest of the funding comes in... seems fair to me...
 
uh oh - you are in trouble - if he found money to finishing the financing , how are you going to get around a contract?
he probably wants a pay to play - you are getting cash because of him , he wants to feel secure?
unless he is going to be satisfied stepping aside and just taking a EP/Producer credit - you might have to bow down to a contract if he harps on it too long just to be fair to dude.

Good luck trying to unseat him at this point - if he isnt rocking the role and you cant get him there - and you love this film. Give him the boot and wait - and find more money.

If you dont love this film - but really want it to come to life, give him a contract and work extra hard with him - how could he not appreciate the special attention to make the film the best it can be? hey - he paid for it
 
Snazzy Flapper said:
"If they make demands, they get the door"...

Really? You treat your actors like cattle on your productions? Do you consider actors a dime a dozen?

And if you're production might turn a profit, why isn't the actor (as well as everyone else working) entitled to some of it? Should they just trust you that you'll pay up or get something in writing?
Click to expand...

I think this was aimed at me, because it quotes my post.

No, I don't treat my actors like cattle. I was talking producer to producer.

I treat my actors like gold. Before we start, I negotiate terms with them, and everybody knows what they're getting into.
After that, if a "casting" actor starts making demands, then they get The Talk. If they're still grinding their teeth... yeah, we may have to make a change. It depends how far along we are, and the cost of replacing the actor.

The main point of my post is that "casting" actors don't have the kind of financial leverage that "packaging" actors have. It's easy to forget that, and get scared every time an actor throws a tantrum.

Don't get me wrong, actors are wonderful artists. But we're talking business now, not art. Sometimes you have to go with your second choice in casting to get the show done.



On your other point, always sign everyone to contract. What that contract says is up to you and your lawyer. But always have a signed deal. If you have it on paper, it's always there to remind everyone what was agreed upon. It's funny how things shift in people's minds over the course of a production.
 
Thanks for clarifying, Popcorn. I guess I'm uptight because I see a lot of productions with budgets still try to squeeze free labor out of people with nothing but pizza to get for it.
 
The distinction that PopcornFlix makes is a very clear one for producers (the ones who put up the money and want to make more of it).

The thing is, you can make decisions about the way that you deal with matters without following the model of big productions IF you happen

to fall outside of the "system". To me, who cares if your movies gets financed if the main character is depicted poorly. If your story is really good,

then don't sell it off to the first bag of money that comes along if it means compromising beyond repair. Make the film you want to make

(while you have the chance). Casting is most crucial. Having said that, 70% doesn't sound hopeless. I would just be honest and tell him your concerns.

You might ask him to start working hard, on his own if necessary, to work out the speech problems. Maybe you can find someone capable of helping

him work out the bugs. In the mean time, keep your feelers out for some one who can fill the role and other backers who can fill the pot.

Will you have to deal with a bruised ego? Maybe, but it would be better to see if he is really worth the fight before you go into production. If things go south

after the train starts moving, you may find yourself in situation of counting the time until you can get out. Obviously, that state of mind will harm your production.

A big part of the job is problem solving. Most business models (especially the movie industry) are well below humane, which is one reason why the corporate world

is lifeless and the movie industry is a viper pit. It is very hard to take someone's dignity and keep your own in the process.

Be great while making something great. Hang on with all of your might to your integrity.

Best of Luck.
 
"Don't get me wrong, actors are wonderful artists. But we're talking business now, not art. Sometimes you have to go with your second choice in casting to get the show done."

As a producer, the greatest actor in the world could read for a part and (for example) cause me to need to change my production schedule because of some conflict they had. Unless every person that read was just wretched there would be no way I would cast the actor with the conflict. I would take an actor 60% as good and not have to change the schedule.

It's like the old rule about an actor having a nude scene. If an actor has a nude scene it's the first thing we shoot on the first day they have a call. That way if I have to fire them and replace them because they won't do it or they want more money I haven't already established them in the film (which would require re-shooting).
 
Forgot about this thread... again if the actor found the money... in my book that makes him a producer also... money equals a film... no money equals... no film... just an idea I'm throwing out...
 
how about if the actor is insulting the director by second guessing his creative decisions or companying about why there's no make up artist on test shots?? sorry but your not a-list!
 
No contract. I've grown to have a thick skin but when an actor hesitates to shoot a test because she wants a makeup artist or wants it above no budget , you gotta say to yourself WTF IM THE ONE DISHING CASH FOR THIS TEST, OUT OF POCKET.
 
Is the actress who has found you the money... if she's delivered the money that is one thing... but if it's just well cast me and I can get you the money that is another thing...
 
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