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Submit to your target agents every 6 months…with an update about something NEW you have added to your skill set; bookings/plays/training/new headshots. But only submit IF you have something new to share. Make sure you have On Camera training on your resume. When meeting an agent you may need to audition with a prepared television side, or cold read commercial, industrial or film sides. Secondly, the agent wants to know you understandthe technical demands of working on camera, as well as how to navigate the variety of scripts and genres…so that they can feel confident submitting you for work. Discover additional info globaltalentnetwork.com.
Revamp your materials, and resubmit. If you get minimal or no response after the second round of submissions, shoot new photos, redo your résumé and cover letter, and submit again to your first, then second choices. Client rosters often change, making room for an actor who was of no interest just a few weeks earlier. Looking to get cast? Apply to casting calls on GlobalTalentNetwork. The views expressed in this article are solely that of the individual(s) providing them, and do not necessarily reflect the opinions of GlobalTalentNetwork or its staff.
Additionally, consider buying tickets to theater shows in your town. It can plug you into your local acting community while exposing you to new playwrights, actors, and directors. For auditions, you need to arrive a few minutes early, and with a reel, headshot, and résumé in hand. Reel: Your demo reel will frequently be what gets you in the door. A résumé is great, but if the casting director isn’t familiar with you, for all they know, your credits could be made up. Headshot and résumé: Always, always bring them to an audition. What’s more, make sure your headshot and résumé are stapled together. Don’t squander your chances for a callback because the casting director wasn’t able to determine your experience level after your résumé got separated from your headshot. (And if you don’t know what your headshot should look like, dig into our guide to acting headshots for tips!)
What’s the Difference Between a Talent Agent and a Manager? Both agents and managers are strategic partners in your career and will work on commission. But there are some key differences between the two roles: Managers cannot arrange for casting calls, get you work, or negotiate contracts or deals. Agents can. Managers are not regulated and do not require special licensing or certification, unlike talent agents, nor does he or she need to work for a management company, though some do. A talent or business manager can really be anyone, which is why relatives of talent sometimes assume the role. Unlike agents, managers may have you as their only client, which guarantees a high level of personal attention. They may also stick with you throughout your career, unlike many agents who come and go Typical manager fees may exceed those of an agent; they may run as high as 15 or 20 percent.
Know your character’s objective: Go underneath the dialogue. What do they want from the other characters? What is the character’s purpose in the scene and story? Understand your character’s obstacle: What’s in the way of the character getting what they want? Acting is what happens to you as you try to get your objective met, in spite of the obstacle. Find the love in the scene; even nasty characters should be likable on some level. Find a moment in the scene where the love can show through. Embrace action: Acting means do, not talk. Find your actions and play them! (A wonderful resource is the book “Actions: The Actor’s Thesaurus” by Marina Caldarone and Maggie Lloyd-Williams.)
There will come a time when the person hired to be in the audition scene with you isn’t all you dreamed they’d be. They might sound flat, or may mumble and stumble through their text while you’re giving it your all. However, it should never be enough to throw you off your game. “Like all acting technique, you need to learn to be self-sufficient in the audition, and overcoming issues with a reader is one of the most useful skills you can attain,” says acting coach Paul Barry. “Imagine instead, treating your reader in a casting as the actual character opposite you, regardless of how they perform as an actor. Let’s say you’re auditioning for the role of their lover in a film. The reader is mumbling? Imagine your lover, for whom you hold great affection, is mumbling. The reader stammers and accidentally skips a line, which throws the scene into confusion. Imagine your lover can’t express himself or herself as eloquently as you’d hoped, but you are flattered that they’re trying…. You can turn anything you receive into anything you want. So do it.”
The purpose of the meeting is to give the agent a chance to determine if you can make it as an actor, so be ready to perform for the agent. That means to have a monologue prepared to recite at a moment’s notice and be prepared to do a cold reading from a script that the agent hands you. You should never be afraid to ask questions during your interview. Here are five questions you should ask during your meeting. Who will represent me from your agency? How many clients do you currently represent What kind of actor do you see me? How many other actors do you serve actors that are similar to me? How would you direct my career? What kind of work have you gotten in the last six months for your actors?
