Dealing with agents

imageonepictures

imageonepictures

Well-known member
Hey,

Anyone here have experience dealing with an actor who has an agent on a nonunion production? I have a young actress whom I'm interested in casting but am unsure if they will deal with me due to my budget level.

Thanks,

Chris
 
All you can do is ask, but if she is SAG, then you need to go that route. The Screen Actor's Guild is hard core when it comes to their members taking non union work. Sometimes it can seriously affect their standing within the organization. Signing up for a SAG low budget agreement is pretty painless. As far as agents go, my experience goes something like this:

No Money + Agent = Dead End.

Raise some cash and then make an offer.
 
John,

She isn't SAG. She is nonunion but yeah no money plus agent usually does mean dead end.

I probably will have to look elsewhere.

Chris
 
You can always send the agent the script...write a cover letter that explains why you think their client is perfect for the story, etc. If the actress isn't SAG, then she's probably not an A-List talent or anything like that...so maybe, if the script is interesting and something that might get the actress noticed, the agent would be willing to work with you on the money issue...no harm in sending it over, just to cost of the stamps...
 
I have a lot of experience on both sides of this so I will give you my perspective.

First off, did the talent (actor) submit for this project based upon a casting notice? If they did, and if the notice stated the project correctly, then you have no problem contacting their agent to convey a booking offer.

Now, if you just found this actor, you can still make an offer through their agent, but don't be surprised if they pass on the offer.

Remember, the agent is an employee of the talent, not the other way around. They are obligated to convey all offers to the talent regardless of any financial gain. A good agent might even suggest that the talent consider a non paying job if it is a good opportunity for them. Do expect that the agent will attempt to gain something of value for their talent (this is their job after all) it could be as little as asking for you to cover just their expenses (transportation, special wardrobe, etc) or if the agent is sharp, they will ask for a back end deal.
 
If the actor is well experienced and very good, there's little reason for the agent to recommend that the actor work on your project. However, if the actor is new and needs experience, I've had agents be very happy that I'd be the "guinea pig" to give their actors a chance to work on a real set and get real experience with no potential for embarrassing the agent.

New actors are always iffy for agents to send out on big jobs. Yes it's how khmuse says, which is that the actor employs the agent, but in cattle-call talent-agent reality it frequently works the other way -- talent agencies get a casting call, and they decide which of their actors they will send out on that job. The actors they send out will directly reflect to the producer as to how good the the talent agent is. If they send out someone who looks good but can't act and has no idea how to conduct themselves on the set, that reflects badly on the agent, who is always angling to get that next "cattle call" casting call.

So -- if it's an experienced actor who's used to getting paid $300 or more per day, you can pretty much count on no assistance from the agent; what's in it for them?

But if it's a new actor we're talking about, and you have a proven reputation that you know what you're doing and can do quality work, and that the actor will benefit from working with you (as well as building their reel) then yes frequently you can get actors for free even when they have an agent.
 
I have been involved in a number of low/no pay situations that had back end loaded deals. In one case, it turned out to be very lucrative for everyone as the project got picked up by a foreign distributor after a number of festival showings, the talent ended up netting several times daily scale for their 6 days on set and of course their agent (and manager) were paid their commissions.

This is a great way to make an offer to someone that is perhaps outside of your budgetary constraints as they look at it as an opportunity and a potential pay off in the end (but as Barry has pointed out, not all agents are far thinking, some are just looking at the current income stream).

Convey to both the talent and the agent (or better yet manager if they have one) that it will be a proper set, legal (permitted) well catered and if this is a minor talent will have the required studio teacher (this is an absolute requirement regardless of time of year, in school or not in many states and failure to follow this rule can result in large and costly penalties).

Make them feel that it will be a good environment and they will get good footage for their reels and you would be more than willing to accommodate any paying jobs or auditions that might arise (this is a big concern of most agents, they don't want their talent booked on a non paying job that would interfere with a paying one).

If you would like to see examples of back end contracts, PM me and I will be happy to provide you with an example or two.
 
Of course, we should point out that we're not talking about fly-by-the-seat-of-your-pants no-budget indie style productions here, with 18-hour workdays or anything like that. All of this depends on conducting yourself and your set just as khmuse described. You've got to give the actor (and their agent) some value if you expect them to work with you on this.
 
yes yes yes to all responses.... every actor wants to work as much as possible(keeping the muscles tuned up pay or no pay as long as the script appeals to them) listen to these two blokes they know what they're talking about! that is why i'm on here(dvxuser) because i'm learning so much, not just in acting but the technical side as well to better my acting skills...yes you may want to use that approach to the agent and actor; she will learn the technical side, as in camera angles best for her, continuety excercises, and so on....
 
I'm here for the same reason I am learning so very much. The info is so valuable more valuable than what I could get out of film school. Real life experiences.

Barry and kmuse have a lot of good stuff to offer especially on this thread. Thanks guys.

Chris
 
Hey,

Just thought I would update you all. I was a success! This agent in particular is very easy to work with. The young actress really likes the script which I think really helps.
 
Good news indeed. Glad that it will work out for you. Agents are not all bad, you just have to understand their motivation.
 
I have a similar expereince recently. I know this is Japan but pretty much same applies. When I casted my script somehow ended in the hands of an agent who sent 3 people to the casting call, all with daytime drama experience 2 pages long, needless to say they were all pretty good. I was a bit confused as its low budget generally speaking but when i made the offer they all accepted as the agent in this case wants to try them out in a feature length movie. Turns out the agent likes my script and is pimping me a little. So, happy about that also. I spoke with the agent not long ago and said I am delaying shooting because of xyz, reply, no problem. Looks like I may even get a screening because of this (just have to deliver the product now).

EDIT: Should add the agent did ask to see a reel.

EDIT 2: What a great forum where you can get people like Barry Green and KHmuse to give advice.... pretty cool I thought... anyway.
 
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Say it like it is Barry! Getting talent that is in demand is always tuff. even if you're one of the biggest filmmakers in the biz, with the biggest budget, it's still sometimes tricky. Case in point, Jack knickolson originally turned down the role in the Departed just because they wanted a fast answer, and he said "You want a fast answer? You want a fast answer? okay I'll give you a fast answer. the answer is NOOOOOOO, how's that for a fast answer?" And we all know who directed that picture. When you're dealing with talent that are in semi demand or less there are always ways to cut a deal, if you got the hutzpah.
 
I decided to work with someone else even those this talent agent will work with me. I cannot afford the incidential costs that they request as she'd only be playing a minor role anyway.
 
I'm going to have to deal with agents soon for casting my DramaFest film. All the actors I want though are non union as far as I know. The ones that are union say so under their headshot, and the ones I picked out don't say anything. I'll be emailing the agency with the request and the script once I get it finalized
 
ravinesedge said:
I'm going to have to deal with agents soon for casting my DramaFest film. All the actors I want though are non union as far as I know. The ones that are union say so under their headshot, and the ones I picked out don't say anything. I'll be emailing the agency with the request and the script once I get it finalized
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if you do come across an actor listed as SAG, it's worth your while to have them clarify their current union status. info on headshots are often out of date. when we casted a feature three months ago, a third of the SAG actors were behind on their dues or had filed for SAG Financial Core, so were hired them as non-union. also, you probably know this but SAGe (e = eligible) means their still non-union.
 
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