How to Save Gas While Dropping Off Headshots

Almost every agent and casting director will tell you that they don't want actors personally dropping headshots at their offices. Yet every actors' marketing session or career strategy session I have attended has suggested that mailing headshots alone won't work, you should drop them off in person so that you can see the office and get a little face time with an assistant. What I think this means is that it's okay to drop off headshots in person so long as you don't dress up like the UPS man and lock an agent in the closet until they agree to sign you.

While the thought of going out and seeing more of LA while furthering my career has always seemed laudible, I always found myself at home licking stamps: "sure you could drive to hell and back dropping off headshots, or you could mail them and save a ton of your time and gas."

Well, there's finally an answer to the age of old question: What's the most efficient route between home, the 22 agencies I've decided to target, and my place of work?

The TSP Solver, a great little google maps mashup. TSP is short for "Travelling Sales Person" a title that a lot of actors can identify with. It allows you to enter up to 24 addresses, press a button, and get a turn by turn route between your destinations. The great part is, it selects the most effecient route between those points, saving you both time and money. Another great feature is that you can choose between home->destination (on your way to work), or roundtrip (on your lunch break) routing.

Thanks go to Thrillist.com for the heads up on this useful tool.

Now You See It, Now You Don’t.

"There's no such thing as a sure thing in Hollywood" sounds like a phrase that's been uttered a thousand times before. In fact it probably has. In my previous post I celebrated that I was going to sign with BMG models, it was in my mind a sure thing. I received a call on Monday evening explaining that there had been a miscommunication and that they didn't want me to sign with them for print modeling (curious, "come in on Tuesday to sign your contract" doesn't leave much room for miscommunication). When I heard this, I was visibly disappointed and crestfallen.

The flip side is that the rest of the conversation went something like this "However, our sister agency Avalon Artists is interested in meeting with you about commercial acting representation. You should expect a call from them within the next two weeks." Afraid to dream again I figured this to be a gentle let down.

Lucky for me and what's left of my optimistic heart, I received a call the following day from Avalon Artists. I'm scheduled to go in and meet with one of their agents on April 1. I just hope they aren't fans of April Fool's Day. In essence I traded a so-so sure thing (commercial print agent) for a fantastic not-so-sure thing (potential commercial agent). I'm now pulling together and preparing monologues for this meeting so when I am asked "do you happen to have a monologue prepared" I can actually pull something out of my back pocket and show 'em what I've got.

My timing is off...

I was at a Q&A session with a commercial agent at The Actor's Network tonight. There are definite seasons in a talent agency, and it appears that it's currently Spring - which means they're too busy watching the blooms to try and plant any seeds. In other words, September-November is pretty much the worst time to try and land an agent because they're all working really hard on getting their current clients into pilots or episodic TV.

If agents aren't opening their mail until the end of December - I need to brace myself for a lot of independent submissions to casting agents. This is frustrating because I really thought I had given myself enough lead-time to get an agent before shooting season began in earnest. Moral: submit ASAP if you move down in August, don't wait to get "situated". Better still: move down during June or July.

Oh, and I saw Super Bad tonight with Jon and Prince. It was incredibly funny, but the jokes wouldn't have played nearly so well if it were 1954. For half a second, I thought the swearing was excessive... and then I remembered my students. Nope, the movie is pretty spot on. I'd love to do a project like that.

EDIT: I am ashamed at how many times I just incorrectly used combinations of: their, there, and they're.

Ooh, Ooh, Pick Me, Pick Me.

Being a theatrical agent in Hollywood is like being the prettiest girl at prom - everyone who isn't already spoken for wants to dance with you. I was a pretty big dork in high school (what's changed, right?) and asking anyone to dance was horribly intimidating. Thankfully it looks like the years of swing dancing lessons have paid off, I'm not nearly so afraid to ask agents to represent me.

A couple commercial agencies contacted me through Casting Networks and asked me to send them a Headshot & Resume. I reformatted my resume so it's now oh-so-fancy with 3 columns and blue accents. I also wrote a cover letter to accompany my packet:

Dear [John]:

I am seeking theatrical representation with your agency. I moved to Los Angeles from San Francisco three weeks ago with the goal of making a living as a film and television actor. I’ve been told that you are one of the premiere agents for actors looking to build up their careers, so I was delighted when I received your solicitation through Casting Networks. I earned my SAG card while I was still in the Bay Area, and I’d like to put it to good use!

When I arrived, I hit the ground running. I’m in my fourth week of Richard Seyd’s ongoing acting class. I’m attending workshops and using all the resources available at The Actor’s Network so that I can be intelligently proactive about my career.

I just closed a successful extended-run of Take Me Out. I’m also pleased to say that Phoenix Rising, a full-length film that I played a featured role in, is now touring the festival circuit.

Sincerely,

Donovan Keith

I tried to find an enthusiastic tone that also established my willingness to do the work. My friend Lolly (another recent SF transplant) felt that I might seem a little too fresh off the bus. We'll see how the response goes.

Expense
Theatrical Headshot ($0.95)
Commercial Headshot ($0.95)
See-Through Envelope ($0.75)
2 Resumes on 8x10 paper ($0.50)
Postage ($1.20)
TOTAL ($4.35)

To submit to just the two agents who contacted me, I've got to pay about $9 for materials/shipping. They say it takes money to make money, but I can see this getting expensive really fast.

An Agent's Perspective on Actors

I hate actors. I don't mean any disrespect. But you guys are fucking crazy.

Says an agent* to a room of 30 actors. To which we all laughed and continued to seek his advice - and it was around that time that I realized he was right.

But regardless of this gentleman's perspective on his clients, he was informative. I gleaned these tidbits from his presentation:

• Actors sell to agents, agents sell to casting directors, casting directors sell to producers, and producers sell to networks. There's rejection up and down the chain, don't think that your agent isn't fighting for you just 'cause you aren't getting bookings.
• Never turn down a role: there's a chance it will become recurring or the person you work for can help you down the line.
• His agency tries to keep 2 of each "type" on their roll books.
• Pilots used to make unknowns into knowns, but now that film actors are doing TV that isn't the case so much.
• Some agencies accept drop-offs of resumes, but don't expect to talk to anybody.
• Agents do read cover letters. Make them personal, recommendations are meaningful.
  

A Good Client...

• Stops into the agency once every 3 weeks just to say "Hey!" and check on headshot supplies, etc.
• Keeps headshots & resumes current.
• Stays loyal: there's a lot of poaching in the industry.
• Doesn't harass his/her agent daily.
• Has a relationship of some kind w/ their reps.
• Sleeps with as many celebrities as possible.
• Is proactive about their career.
• Never leaves town
• If you must: Leave between the end of Pilot Season and July 4th.
  

But the main thing I took away from this Q&A is that I don't have a reel and that's going to make finding an agent very difficult. Which means I need to start doing lots of student and indie films to get some footage together.

*Am I better off keeping names hidden? Or do I cite my sources? Keep in mind: I want to get work.

Lost My S.F. Representation

Guh. This doesn't feel good.

I just called my agency in S.F., Tonry Talent, to speak with Mary about my move to LA. When I said my name, Tom told me that he had an audition for me tomorrow.

ME: Which is actually why I called, I've moved to LA.
TOM: Oh, you have?
ME: Yes. But I will be in town periodically and would be interested in any auditions you have while I'm up North. Or if you hear of any projects down in LA.
TOM: We actually only represent talent who live in SF.
ME: Oh.
TOM: Is your new permanent residence in LA?
ME: Yes... So, I'm off your roles then?
TOM: Yes. Best of luck to you.
ME: Thanks.

Which is to say that my one small toe in the door of the film/tv industry is no longer on the threshold. I am now one step further behind than I was before the move.

New mission: Get LA representation ASAP.