How Often Should Actors Send Headshot to Talents Agents & Managers

Paul Russell
Visit Paul @ PaulRussell.net

“How often should an actor send a submission to an agent when seeking representation?” was the question that came flying at me this week during my master class. I got a cartoonish jaw-drop gape from the questioning actor when I replied, “Every other month for 12 months.”

There’s reasoning for repetition:

While visiting a popular talent agency office I perused multitudes of actor mailings trash bound. At this agency an intern opens and filters which actors get an agent’s glance and which actors’ headshots are to be hauled away in a Hefty bag.

While perusing the landfill bound P&Rs I noticed an actor’s mailing that required a once over by the agents. The actor is a regular on an ABC series. His cover letter stated his want to divorce his present representation. His resume was being tossed. I alerted a thankful agent.

Often at agencies, incoming actor inquiries (e-mail & land mail) are filtered by a young assistant or a collegiate intern. The juvenile gatekeepers are told by agents to only save actors, “who look interesting,” or “have good credits.” Trusting entertainment-industry knowledge and esthetics, of a post-adolescent whose knowledge of “looks interesting” and “good credits” is limited to BuzzFeed is a serious flaw in an agency’s assembly line of procuring new clients. It’s a deficiency actors must be aware of and aggressively overcome.

Your resume may have training, projects, directors or other information a talent representative respects while an early 20-something intern or assistant is woefully ignorant of and foolishly questions, “Oskar Eustis? Never heard of him.”

Contact talent representation more than once; preferably every other month for 12 months. If your submission(s) have been misplaced, or overlooked, you’re giving your marketing materials more opportunities to be seen.

Now you may be thinking; But Paul, agents will think I’m being rude, obsessive, compulsive… They’ll hate me. Guess what… if the agent(s) eyed your materials once and trashed you; they weren’t interested in your offering to begin with. So what are a few more mailings to someone who wasn’t previously interested? But you could change that. Also, how do you know the agent even saw your materials?

Plus another reason I advocate re-sending several times is that if you have new project announcements on your resume or heralded in your cover letter (an actor must always, always have a business-formatted cover letter written in the natural voice they speak to friends and family with) there’s something for the recipient to discover about you. You’re working. Which means you’re a valuable asset that an agent can champion.

The Tipping Point, brilliantly explores a study demonstrating the point at which someone stops saying “No” to an inquiry and relents with a “Yes.” You could hit that tipping point with someone with multiple mailings (just don’t do it every week or month). Don’t believe me? Ask my current literary agent how many times I contacted him before he offered me representation: 3 was the magic number.

BookMoreWork_TelseyQuoteSo send. But make sure that what you’re sending is professional, clearly defines you, and doesn’t have a lot of prose bullshit or gimmicks. If so, you’ll be always dumped into the trash. Or worse placed into the Freak File.

This industry is as much about talent, and resilience, as it is about, image, image, and image. Never give up on your marketing. And never let your marketing be less than your best performance.

For more info on finding agents and successful mailings read ACTING: Make It Your Business and/or register to meet and audition for agents in Paul Russell Casting’s master classes.

Never give up.

My Best,
Paul

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Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned nearly thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has spoken at universities including Yale, Temple and the University of the Arts. He is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working ActorFor more information, please visit www.PaulRussell.net.

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Actors – How Not to Fail an Audition

Paul Russell
Visit Paul @ PaulRussell.net

We all make mistakes.

I’ve made plenty (even here openly on this intermesh thing).

After three decades of working with, and for actors, I’m still surprised by the career destroying fuck-ups that some actors will willingly and without-thought-to-consequences do with what little gray matter may pulse within in their cranium.

This week as I was sitting at a talent agency I witnessed a first-rate screw-up by an actor that jeopardized his relationship with a Broadway casting office, director, producer and agent all in one simultaneous, mind-blowing shoot-themselves-in-the-career crash. It also made me never want to work with the actor as well.

For this exercise we’ll tag him as Actor-Withholding-On-Logic; a.k.a. A.W.O.L.

A.W.O.L. dumped his agent, via a weekend e-mail missive, for he felt that his life was quote “boring” and he needed a change (no, that’s not the main mistake for my mussing here, although being bored and leaving your agent because the Prozac dosage is no longer controlling the mood swings could be considered a career careening crash).

As I was chatting in the talent agent’s office a call came from another casting director’s office (one that I once worked at). The casting director, along with a well-known director, choreographer and several producers were sitting curious at a casting session for an upcoming Broadway production. They were left waiting for an actor who had not shown up to his scheduled appointment for a leading role within the production. The M.I.A. actor? A.W.O.L.

A.W.O.L.’s former agent got off the phone with the now irritated casting director and called A.W.O.L. to ask why he had not shown up to the appointment he confirmed to attend. He had gotten the audition appointment via his agent well before trashing said talent rep. A.W.O.L. informed his former champion that he felt he no longer had to attend the audition because he had just left the agency. Excuse me?!?

So here was an unemployed actor who had just dumped his agent while also dumping upon a casting office and a production team for Broadway. Can someone explain to me, especially in this economic climate why such arrogance (and obvious ignorance) exists? Wait, I may have answered my question; arrogance and ignorance are close cousins.

BookMoreWork_TelseyQuoteWhat’s the moral here? No matter what your relationship with your representation, an actor is to keep their commitment to confirmed audition appointments. And not only audition appointments but also commitments to commissions on projects that your representation helped get you seen for and negotiated the contract(s). One of the few pardonable excuses on making a pass on a confirmed audition is passing, literally, as in six feet under or oven-ash time. Even then you’ll need a doctor’s written note.

Be considerate of others. Don’t become known as problematic. The number of people working in this industry is very small. We talk. We share stories. Don’t become a story that you would not want to be a part of.

My best,
Paul

AMIYB_AmazonRead advice from legendary talent agents,
plus Hollywood & Broadway actors in Paul Russell’s Best-Selling Book ACTING: Make It Your Business!

Paul Russell’s career as a casting director, director, acting teacher and former actor has spanned nearly thirty years. He has worked on projects for major film studios, television networks, and Broadway. Paul has taught the business of acting and audition technique at NYU and has spoken at universities including Yale, Temple and the University of the Arts. He writes a column for Back Stage and is the author of ACTING: Make It Your Business – How to Avoid Mistakes and Achieve Success as a Working Actor. For more information, please visit www.PaulRussell.net.

 

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