How to approach famous actor?

seejay1031 said:
Their agent or manager... with an offer.
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Yes and no. Depends on your project and why the actor would or wouldn't want to do it.

If you have some other connection, and can go that way and get to them directly. If it's a low money thing, but you have some hunch or knowledge that they'd love it - like you read somewhere that they always wanted to be in a short film that highlights the plight of snipes for a larger audience where they had to stand on their head in mud and not get paid - and that's the script you have, and you know a way to get the script to them - you might want to go direct. Because the agent might go - Pfft! there's no money here, hence no commission for me, and I'd rather keep Starry McStarster open to do something that will give me a commission, regardless of how passionate he/she is about the plight of snipes.

I have a script for a known actor that lets him do something I know he's frustrated with not being able to do in his career, let's hims showcase another talent that I know he has that he's not known for, let's him showcase the talent that made his career, and let's him work with a close friend. I also have a couple of ways of getting this script to this individual without the agent. So that's the route we'll plan on going.
 
Jack Daniel Stanley said:
If it's a low money thing, but you have some hunch or knowledge that they'd love it ...
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Jack, that is exactly my situation: I am finalizing a documentary about the history of jazz in Washington DC. Script and footage are in place, and I am getting started with editing. I'd love to have a celebrity voice for the narration and wanted to approach an actor who loves jazz. Clint Eastwood (I know, I must be crazy), for example, is a huge fan of jazz, has financed dozens of jazz documentaries, all his non-fiction movies have jazz soundtracks, he sponsors jazz artists and jazz venues, etc. Alternatively, I could approach someone who loves the city and is known to support the arts in the city. Bill Cosby, to give another example, is supporting a number of historic places in DC (like Ben's Chili Bowl) and regularly shows up for fundraisers to keep these places afloat. Some other famous actors/comedians were born in DC and are known to support the city in various ways.

However, I don't know how to get in touch with these actors while bypassing their manager. I am sure that their managers wouldn't even respond to me, let alone forward the script. There must be a "backdoor" to get in touch with them? Maybe send the script to their private address, put it into their mailboxes, etc? The Miller brothers explain in their book "Either you are in or you are in the way" how they got Ed Harris to star in their first (no budget) movie by ambushing him at a film festival! (not that I would do that)

If I'd get a celebrity committed to do the narration I would be able to raise the funds for their salary. Maybe they would even do it for free (or minimum wage), who knows.

Also, what would I give them to get them excited? The script alone or a rough cut of a select scene?

Thanks for your help!
 
"ambushing" at a film festival is better than sticking it in their mailbox because if you do it right it's not ambushing it's networking

find a festival where clints going to be, pay through the nose to get credentialed, go to one of the events that's espressly for the purpose of Clint having to put up with people taking his picture and talking to him - a cocktail party or a barbeque, not an autorgaph signing booth which is the worst for networking. Mention it to him at the cocktail party. Gauge his interest. If you can get him to ask to see it - great. If not ask if you can give him the script or whatever.

Best case scenario you can get into the festival with a script or a short or something so you are there as an emerging professional.

Austin Film Festival has barbeques where their celebrity award winners and other celebs are in attendance. Festival Filmmakers and people who bought really expensive badges get to go. Last year Ron Howard and Mike Hurwitz won awards and you could just walk up to them and chat and get your picture taken. I talked to Shane Black in the lobby about a Zombie project based on a comic book he loved a s a kid.

So if you have nothing to do with the fesival, are at an event where you aren't supposed to be, or stop them in the street - ambush. Have the same conversation at a cocktail party or event where you are both supposed to be at the festival - networking.
 
* disclaimer.
I've never actually done any of my tips. Am about to do the script through friends of friends one.

I guess I did talk to a favorite director about getting on as his assistant for a studio picture after "ambushing" him at two festivals, but then the studio took him off the picture in question.
 
If you are dealing with a manager, avoid saying you have this really cool indie production that X would be great in. And subsequently following with... we're still looking for funding, we'll be shooting soon, and we don't have too much money - but it's awesome! You have to get passed the assistant first. And "I'm an indie producer..." will automatically prompt the assistant to put you on hold while they see if the manager in question is in a meeting (it always turns out that manager is indeed in a meeting, despite the fact they are simply sitting at their desk). When the call is hung up, the assistant tells the other assistants about this indie producer with the best script ever, everyone laughs at the premise and the fact this guy clearly doesn't know what he's doing.

The manager invariably asks what's funny. We explain. Manager laughs. The end.

At least that's what it was like when indie producers called to get X actor for Y film when I was working a managers desk. You have to be totally set up to go in order to go to managers and agents. They need a timetable, a time commitment, possible budget. They don't want to forward on a script for something that isn't anywhere close to being real. That's just an immense waste of time. If you are pretty well set to roll and you have your ducks in a line, and you aren't awkward on the phone, you have a much better chance at getting passed the assistant.
 
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Thanks for the tips. Our script is in place, all footage is already in the can, and editing has started. All we need is a "celebrity voice" for the narration of the documentary. The budget for the narration depends on how "famous" the actor is :D
 
That may be easier to get since it is more convenient for the actor to find a recording studio near where they live to record. Convenience and flexibility of schedule can be an advantage (and they like the subject matter of the doc).

Michael
 
lol, I forgot I got Ben Bailey (cash cab, comedy central presents) and Blanchard Ryan (open water). No Clint Eastwoods but hey.

And yes - off Michael's comment - I got Ben for 3 reasons.
1) Liked script.
2) took 4 or 5 hours to shoot him in and out with a V.O. role and 1actual, in person, scene
3) I got a "hot actress"

Regarding three - after sending Ben a couple of emails (I color graded a feature he was in and the director got his OK to give me his email) and getting no response, I contacted him one last time after I cast Blanchard. In talking to her I told her I was trying to get Ben and she said that she was a huge fan and "wanted" to work with him. Ben wants more feature work, Blanchard has played Cannes, etc.

So the next email I sent to Ben, again after 3 emails over two weeks with no response, had the subject heading: HOT ACTRESS WANTS YOU
I told him Blanchard was in and "loved his work".
He read the script (short) and emailed back in 10 minutes with the following:
"I like it. I'm in. - Ben"
 
Giganova said:
Thanks for the tips. Our script is in place, all footage is already in the can, and editing has started. All we need is a "celebrity voice" for the narration of the documentary. The budget for the narration depends on how "famous" the actor is :D
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Then you are in much better shape than I originally thought. Managers (agents) and assistants can seem mean. But all they are looking to do is keep their talent out of trouble. They want to make sure their clients are cast in decent projects. One with people who know what's going on. And a project that is safe. Think of them as over protective parents.

Since your project is good to go and needs the voice - use that to your advantage when you reach out. They'll be more inclined to listen if they know you have your ducks in a row.
 
Why not send a pitch to Eastwood's Production company, Malpasso. Then you are dealing with people representing Eastwood the producer, director, not just actor. As you said he's been involved in Jazz docs in this capacity before. If your project is solid it might be your best bet.

I haven't tried this yet, but I'm thinking actors with production companies are the best bet, If they like the script they can get the money and put it all together.
 
dop16mm said:
Why not send a pitch to Eastwood's Production company, Malpasso. Then you are dealing with people representing Eastwood the producer, director, not just actor. As you said he's been involved in Jazz docs in this capacity before. If your project is solid it might be your best bet.

I haven't tried this yet, but I'm thinking actors with production companies are the best bet, If they like the script they can get the money and put it all together.
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Except about 99% of all production companies don't take unsolicited submissions.
 
I have made connections with lots of celebs through Celebrity Wranglers and even Event Planners. These are the kind of people who are networked beyond anything we can imagine. They know the right people and have the contacts to make a connection, even so called 'back-door' connections.

Better yet, offer some pro-bono work to a charity that a SW or EP is producing. The 'scratch my back, I'll scratch yours' approach can open doors for the help you need.


Jason
 
Andrew McCarrick said:
Except about 99% of all production companies don't take unsolicited submissions.
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Novice screenwriter Nick Schenk wrote by hand the screenplay for what would become "Gran Torino" at his local bar. Schenk got the screenplay in front of executive producers Jenette Kahn and Adam Richman who shopped it to Eastwood as an unsolicited work. I guess that makes Malpaso part of that 1%.
 
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