The Business of Acting

An agent's perspective on the business of acting ...

2009-09-28T17:20:00.000-07:00

There is no better advice than the advise of a true pro who wants to help those who are on the way up. In academia, we call them "educators"; in the real, post-college world, we call them "mentors"; in the business of acting, we call one of them Sharif Ali.

Sharif is the co-president of the Los Angeles-based talent agency Aimee Entertainment. In our four-part interview on "Inside the Business of Acting," Sharif talks about the nuts and bolts of the business from an agent's perspective. If you're seeking your first agent or feel the need to change your current agent, what Sharif has to say will empower you on that journey.

In short, don't send a head shot or place a phone call to a new or perspective agent without watching these segments first.

Episode #1 premiered two weeks ago; Episode #2 was added today. At just (roughly) 12 minutes each segment, Sharif's advice on "how to" is worth its weight in megabytes.

Happy learning ...

BL

Drawing the line on commissions ...

2009-09-28T11:33:00.000-07:00

It’s a tough economy – and while that’s, unfortunately, nothing new for most actors (especially new-to-the-business actors and recent college grads), it is the landscape in which we work (or want to). An opportunity to actually land an acting job is a great thing for any actor, both economically and emotionally, but the terms under which you get access to these opportunities are worthy of highlighting.

All of this is sparked by an e-mail I received the other day from a young actor who has found herself having a decision to make. New York-based, after a search for an agent, she found a company that was willing to take her on, under certain financial terms. The agency wanted to “charge” the actress not the usual across-the-board 10 percent commission on worked she booked, but, instead, 20 percent on any non-union work she landed.

A little understanding of this part of the landscape is in order.

Commission on union work is regulated by SAG and AFTRA; non-union work is not, which is why this agency (and others) often attempt to get a higher commission rate for non-union work out of their clients. While it is true that, generally speaking, non-union work pays less than union work, for the agent, it takes no more time or energy to do one booking over the other, but it is, indeed, you who show up to do the acting job.

Agent commissions should be no higher than 10 percent, whether it's a union job or not. The desperate actor seeking representation under any terms might accept such a deal, but this isn’t a smart move. If an agent offers you this arrangement, tell him or her what your terms are, take or leave it. If they say "no," seek representation elsewhere. Remember, agents work for actors.

It’s hard enough to earn a living as a “working actor.” While you can’t do it completely on your own, you must be comfortable with the terms you accept from any agent you hire. At the end of the day, you want to take home as much as you can, while still ensuring that those who represent you get what they deserve, what they earn – and no more. As your career builds, so, too, will the commission they are entitled to, in dollars, not percentages.

BL

Legendary Hollywood Columnist Army Archerd Dead at Age 87: A Personal Appreciation

2009-09-08T18:52:00.000-07:00

I was very sadden this afternoon to learn about the death of a true Hollywood icon. Army Archerd covered stars and the business like no other journalist. His access to the movers and shakers of the industry was unprecedented. His power could also not be denied. For over 50 years, his Daily Variety column (in which I'm honored to say that my name has appeared in) was a must-read for everyone in the business of acting and entertainment. From stars to show publicists, from network presidents to network pages, if being in and being a part of the industry mattered to you, Army Archerd was the only true Hollywood columnist who mattered.

Newspapers and magazines will sing his praises in the wake of his death. They can do what they do best. But, none of those reporters knew the Army Archerd I knew.

I was connected with Army over the years in my role as publicist and managers to numerous actors who were always thrilled to see their names in print in his column. Later, I got to know Army and his wife, Selma, well when I was brought on to head up press coverage and publicity for the mega Hollywood event that honored Army for his 40 years with Daily Variety.

It was a star-studded Hollywood event to beat all other star-studded Hollywood events, and, in the process, those honoring Army helped raised over a million dollars that was shared among three of Archerd's pet charities.

For me, the professional highlight was getting a cover story about Army and his legacy in the Wall Street Journal. A personal highlight was getting to know the man socially in a way I hadn't known him before. "Brady," he called me. I liked that.

There comes a time when the curtain sets on an era. This afternoon was a sad reminder that in a new media, online, hi-tech world where what qualifies as "news" is hardly worth mentioning, Army was the best of the best of the old school. Much like Walter Cronkite's respected reputation as a newsman, Army Archerd represented an era of Hollywood journalism that I also mourn the passing of.

Right place, right time? Sometimes ...

2009-08-24T14:00:00.000-07:00

I received an e-mail from Nicole, a young actor, who is looking to get to the next level in the business, having recently graduated from college in the mid-west. She posed two important questions that apply to a lot of other actors, as well.

Nicole wanted to know “How to be in the right places" and "What to do” as she begins her career journey. Her newly acquired agent's advice: "Be patient." I hate that. Indeed, you must be much more than just "patient."

The requirement, from the Business of Acting philosophy, is that you are (or have to learn how to become) pro-active in every way possible. Being in the “right” places requires you to define and discover where those places are. Anywhere you can hone your craft, develop your skills and network with other like-minded people is the target.

If you are a SAG member (or as soon as you become one), you are eligible to participate in the many, varied and wonderful SAG Foundation events and seminars, all for free. If I were you, I’d be at every one I could possibly attend. L.A. Casting regularly offers free seminars for its members. I highly recommend both of these.

I would also look at some “private” groups that might also be beneficial for you to join, such as The Actors Network. I would also (if you don't already do this), make it a point to regularly read at least one of the two trades and Backstage every week. Knowledge is empowerment — and the more you know about the business in which you want to make your living, the better prepared you will be for every opportunity that comes your way.

If you haven’t read The Business of Acting, I think you will find a lot of helpful perspective contained in its chapters. In it, you’ll read that agents work for you. To be told by your agent to “be patient” isn’t good enough. The book teaches you how to take charge of your career and be the leader of your team. You might also find a lot of helpful advice and information on the Business of Acting Blog, accessible through a link on the home page at TheBusinessOfActing.com.

In an effort to be totally self-serving, as well as helpful, I would urge you to check out many of the interviews with working actors and other industry professionals now playing on-demand, for free, on our Web TV series Inside the Business of Acting.

Another book you might find helpful is Acting and How to Be Good At It, by veteran actor and acting coach Basil Hoffman. Basil writes from his many years of experience and serves up some very helpful advice for all young (and older) actors.

Go forth and become empowered. There will be a test on this. :)

Got a question about the business of acting? Post your question here or e-mail me directly at blemack@TheBusinessOfActing.com.

Brad Lemack

The impact of "reputation" in the business of representation ...

2009-08-19T08:29:00.000-07:00

I found myself in an interesting position the other day. A young actor who recently purchased a copy of and read my book contacted me about one of the agents I interviewed for Chapter 4, “The Business of Talent Representation: Navigating the Muddy Waters of Association.”

Without naming names here, this actor was inquiring about some negative word on the street he had come across about this agent and his agency. He wanted to get my take on it.

I told him that I, too, had heard some of the same information. I also told him that it was important to recognize that your reputation is based on both the positive and negative experiences that any given person has had with you. Some people will say glowing, glorious things; others will say just the opposite. Being human, none of us are immune. Me included.

If you are an actor, particularly a young actor, seeking representation, this is worthy of further examination.

Such comments, whether actually true or not, cannot and should not be easily dismissed. This particular agent has attempted to reinvent his company and his image, having left his old agency behind and begun a new venture. I was happy to hear that. However, I remind you that agents (and managers) work for actors. If you accept representation from any agent (or manager), he or she would be working FOR you; not the other way around. You must perform due diligence in this process. If you have concerns over what has been said about him or her and how he or she conducts business, ask the question. If he or she refuses to discuss it, brushes it off or won't otherwise give you an explanation that you're satisfied with, then move on. Clearly, at that point, this person and this agency are not the right place for you.

Too often, too eager actors will sign with anyone who is willing to sign them, regardless of issues of reputation or complete comfort on the actor's part about the association they are about to enter into. Not a smart move at all.

There are a lot of decent agents (and managers) out there. If you have reputation concerns about an agent (or manager) you are interested in signing with and that agent (or manager) cannot adequately address those issues and your concerns, and in the process assure you that he or she is one of the ones worth being in business with, then wait until you find someone who can.

Class dismissed.

A career journey "One Day at a Time" ...

2009-07-22T08:57:00.000-07:00

Fans of the 1970's/1980's hit CBS-TV series One Day at a Time won't want to miss our four-part interview with series star Bonnie Franklin -- and actors at all stages of their careers will want to hear Bonnie talk about her remarkable career journey on our Web TV series Inside the Business of Acting.

From earning a Tony nomination for her critically-acclaimed role in Applause, on Broadway, to landing a television series that ran for an impressive nine years, Bonnie's story and the lessons learned along the way will inspire you.

Episode 1 is now playing on-demand at InsideTheBusinessOfActing.com

BL

How to ease resume stress at the beginning of a career launch ...

2009-07-15T16:36:00.000-07:00

I recently received an e-mail from Dennis, a young actor living in Seattle. He just graduated from college and is preparing to relocate to Los Angeles to start his career journey. I think his question might be very relevant to may of you.

Dennis wrote:

“My acting resume is loaded with credits that I earned in high school and college productions. I read in your book that agents and managers and even casting directors won’t really care about that work. I’m confused and a bit concerned about what to do and what to actually put on my new LA resume.”

I wrote back:

“What’s relevant to list on your resume has more to do with what stage of your career you’re in than any standard that applies to everyone.

At your age, at this place in your career, anything “appropriate” is appropriate — and that includes high school and college productions and community theatre. As you build your career and your resume, new credits will replace the older ones as you begin to run out of room. It’s the natural law of “early credit falloff.

The most important thing a young actor can do is to quickly begin balancing their high school and college performing credits with professional classes, seminars and workshops. You should begin taking classes as soon as possible after your arrival in Los Angeles (or New York). ‘As soon as’ also means as soon as you can reasonably afford to do so. Rent, food and other “survival” and transportation expenses have to be covered first.

You can show a potential agent or manager that you are serious about becoming a viable candidate for success in the business of acting (and maybe even a successful client of theirs) by showing that you are developing your skills and your talent with some good, solid professional training. This will score you a lot of points.

Getting into professional classes will also introduce you to a new community of other actors, most of them a lot like you, just out of college, just starting out, just looking for a smart way to match their potential with a world of opportunities.”

• • •

I am always being asked to recommend classes or an instructor or coach – and that’s a tall order, quite frankly. Like a head shot session, what works to make a photo session a success for both the actor and the photographer has everything to do with the energy and the connection both people bring into he session. That’s a lot like what make a class or a coach effective, as well.

It’s all about personality, style, professionalism and attitude, on both the actor’s part and the teacher’s.

Having said that, I have personally sat in on classes with a few well-respected teachers in Los Angeles and can suggest that they be on your list of people you check out. You’ll find a downloadable, printer-friendly list on the Resources page at TheBusinessOfActing.com.

One of the people I like a lot is Jeremiah Comey. He teaches a great acting for the camera class and I have sent many of my clients to him over the years. You can watch our two-part interview with Jeremiah on our Web TV series “Inside the Business of Acting,” now playing on-demand on the Virtual Channel Network. He offers up some solid advice for all actors, but particularly for young actors.

I hope this helps you, Dennis, and the other couple of you making your ways to Los Angeles this summer, freshly graduated, all pumped up and ready for your career launch.

If you have a business of acting-related question, please post your question (or comment) here on our Blog site or you can e-mail me directly at blemack@TheBusinessOfActing.com.

You can't go it alone ...

2009-07-14T10:54:00.000-07:00

Now playing on our Web TV series Inside The Business Of Acting, our two-part interview with noted Los Angeles-based acting coach and author of the book The Art of Film Acting, Jeremiah Comey.

Good advice served up on-demand! :)

Thanks for checking it out.

BL

Flying solo: The Loh down on how to launch a one-person show, now playing at InsideTheBusinessOfActing.com

2009-06-23T08:05:00.000-07:00

If mounting your own one-person show is something you would like to explore, actress, writer and solo performance artist Sandra Tsing Loh gives you the Loh down on how-to at InsideTheBusinessOfActing.com.

Now playing, episode #3, gets into the nuts and bolts and dollars and cents. What Sandra has to say will help get you started -- and there is nothing quite like a work-in-progress personal performance piece to focus, inspire and empower any actor seeking to create both a challenge and an opportunity.

Another time, I'll tell you about my former Emerson College student Christian Johnsen's "Red Sweater" project. Inspiring and therapeutic.

BL

The message is clear as a sizeable SAG majority gives the green light to a new contract …

2009-06-10T06:30:00.000-07:00

It’s a good day in the business of acting today as both union and non-union actors alike – and all other industry professionals – begin to absorb the acceptance of a new two-year SAG contract, which was announced as approved by a stunning 78% of the Screen Actors Guild membership last night.

There is not much need for analysis here. It appears that the overwhelming victory for the new agreement sends a clear message: Stop the infighting, stop the politics and let us, confidently, get back to work.

This new contract has many gains, including its expiration date, which will allow SAG to make nice with AFTRA over the next two years and then work together in carving out a new “new” agreement that will be in the best interest of all union members – and those who will become union members.

Next up, SAG leadership needs to make nice within its own ranks. Too much infighting, too many harsh words, too much “actor vs. actor” … And the winner is … “nobody.” The new contract isn’t perfect, but given the landscape in which the business of acting currently exists, it’s a fine achievement, for now.

Full steam ahead. Let’s all get back to work with some sense of accomplishment. Seventy-eight percent? That’s a strong statement.

Complete details at SAG.org.

BL

Hot tips on how to get your first film industry job now on "Inside the Business of Acting"

2009-06-05T12:17:00.001-07:00

Whether you have just graduated from college or have been in the job market for a while, any information that can help you get a foot in the door and an on-ramp to the career journey you seek is hot, valuable and must-have information. It's even better when it's free.

Actor, writer, producer, director ... whatever your career goals and aspirations are in the business of acting, you must make time to watch our three-part interview with industry executive and entertainment career consultant Karen Kaufman Wilson, now playing on-demand on our Web TV series "Inside the Business of Acting."

Karen offers up some critical advice on how to open doors in Hollywood with a strategy that can't fail to get you moving in the right direction, if you follow the proactive plan of approach talked about in our interview.

Okay, now get moving to the Virtual Channel Network and have a pad of paper and pencil ready!

BL

Caps and gowns at the ready: Class of 2009, line up!

2009-04-25T11:22:00.000-07:00

It’s that time again … cap, gown, post-graduation expectations, student loans lurking. Class of 2009, prepare to launch!

We finished our classes at the Emerson College Los Angeles Center this week, which was proceeded by the Business of Acting class’s industry showcase. It’s a terrific project and I’m thrilled that we are able to make this opportunity available to my students. It’s their final project for the course. We spend the semester studying, discussing and workshopping the issues now impacting the business of acting. We spend the semester exploring the options for creating, launching and maintaining a smart, professional career journey after graduation. We end the semester with a student showcase that the class has being assigned responsibilities from scene selection, theme selection, branding, marketing, reception catering and more, and then, after they get the business of the project done correctly, the joy of performing.

I always tell the class that it doesn’t matter who is in the audience, if anyone. The objective is to learn how to create and pull off a project like this. I hold a safety net under them during this learning process, but after graduation, there will be many times where knowing how to do this well will prove enormously beneficial.

And so it went. An impressive group of both industry and college supporters attended. Sharing food and beverage afterward, connections were made, new relationships were started and the first steps in each student’s transition from student to wanting-to-be-working professional began. It’s an exciting process to participate in; it’s even more exciting (for me, anyway) to observe.

In our last class, we deconstruct the project and the experience. I ask the class to write their individual assessments of how they think they showcase went, from producing to performing; I ask them to discuss what they learned in the process and how they would do things differently next time – because there will always be a next time, for all of us.

Now, with the semester behind us, my students (and senior students everywhere) march towards graduation day, loaded with the excitement, fear, apprehension and possibilities that that day – and more importantly the days after, will bring.

If you fall into this category, I have both a note of congratulations and a note of warning for you: First, brave! You did it! Next, take heed. Emotional fitness during this important time is dependent upon two things: 1) Learning how to manage the expectations others have of you (your parents, for example), and 2) learning how to manage the expectations you have of yourself, in the “what comes next” process.

Relax. Have patience. Prepare for the journey ahead by planning for the journey ahead. Take the time to create a business plan for yourself. There is a chapter in the book to help you with this. You can also read my Back Stage article about this process, which I hope you will find helpful.

Lastly, if you have a minute to check out my Blog from last year at this time, I have a few suggestions about how those who want to gift you can do so in meaningful and significant way that can help jumpstart the funding for the launch of your career journey. It’s a concept I call The Business of Acting Gift Registry. Check it out.

Congratulations Class of 2009! You are about to enter what many define as a “challenged” work environment – and I won’t deny the struggles that so many are having in this tough economy just to make ends meet. But, you are not them.

The truth is that you will never be more employable than you are right now. It may not be the job or position of your dreams (yet), but your youth, your talent, your flexibility and, perhaps most importantly, your potential, will help open doors to the opportunities you seek. Patience along the journey is critical, now more than ever. That goes for you and your family, who want nothing more for you than at least a hundred times what you want for yourself.

Bravo, indeed.

BL

Deal or no deal? At last, SAG members will now have their say on a new contract.

2009-04-20T12:36:00.001-07:00

I have been quiet on this issue for some time now, mostly because I really didn't have anything new to say. Today is different; the news is, actually, positive.

The SAG board yesterday approved by 53 percent the new contract with the studios and the producers -- and that's good news. What will be frustrating to those who have watched from the sidelines these many, many months will be the realization that for as long as it took to come this far, very little has been achieved for SAG members.

Yes, some compensation will come their way for use of products they appear in on the Internet; but residuals for this usage are out. That was a huge issue for embattled SAG president Alan Rosenberg; it's a big deal for SAG members because Rosenberg just said "no" many times during this process because the terms -- and specifically this term - wasn't what he claims he was fighting for.

A lot has change in the nearly one-year old fight for a new SAG contract: In short, as we're all experiencing first-hand, the economy has put a serious dent in options and opportunity for most people. The landscape just wasn't right to strive for the kinds of financial gains Rosenberg and the union hardliners were fighting for. Not this time around, anyway.

This new agreement would run for two years and looks a lot like the agreement the other talent guilds have settled upon. Who knows what life will be like two years from now? Maybe, just maybe, it will be a better time then to smartly and realistically revisit these issues taking into account the landscape and the economic climate at that time.

The only remaining hurdle is whether or not the majority of SAG members will vote for this new contract or whether it all goes back to the table -- or worse yet -- to a strike authorization vote.

I encourage you to read up on the terms of the proposed new deal at SAG.org. SAG member or not, it's all about the business of acting and it's important to know what is at stake for all actors, both union and non-union alike.

What are your thoughts on the offer? If you are a SAG member, will you vote for it or not -- and why?

Let's start that dialog here.

I'm eager to read your comments.

BL

"Yes, I Can. Yes, I Can!" Uphill movement in the right direction today at SAG.

2009-01-27T09:40:00.000-08:00

So now that Doug Allen has stepped down as executive director of the Screen Actors Guild and head negotiator in the union’s attempt to seek and settle on a new contract, what happens next and what does this mean to the business of acting for both union and non-union actors?

In short, I’m encouraged.

The greatest fallout from what has been the SAG dilemma can be measured in terms of both negative public and internal relations. The infighting at SAG has not played out well in the public arena. Instead of garnering support for the predicament it finds itself in (as the Writers Guild did during the strike), SAG leadership, in fact the entire union, has come off in the public eye as rather unlikable. Then there is the infighting pitting one celebrity name against another in a war of rhetoric and best acting. Next year’s SAG Awards ought to have a category for Biggest Idiot in the War of Words.

Of course all of this has absolutely nothing to do with a new contract that must be secured as soon as possible. As in all campaigns, there comes a time when aiming for a sound bite on the evening news has to end and the real work begin. Even President Obama had a dinner honoring John McCain shortly before the inauguration ceremonies.

My advice: It’s time to start fresh and with a clean slate – and under the new team in place at SAG, under the leadership of David White as interim director, the union and its board have a good starting point and an opportunity to actually get some work done that will benefit both their current and future members.

I’m happy to help SAG spin this in the right direction, when the time comes – and that will be soon. That’s if I’m asked. You see, those of us who represent talent also feel the impact of the stalemate. SAG needs to reassure the industry as a whole that it’s getting it’s act together – and taking it on the road – that is on the road to reasonable discussions, reasonable expectations and a reasonable, new contract that its membership will embrace and the rest of us can support in the journey of getting back to both the fundamentals and to work.

Then there is the curious case of Alan Rosenberg. He’s in a tough spot, personally and professionally. After all, when all is said and done and his term as SAG president has expired, I assume he intends to return to the ranks of “working actor.” If that’s the case, then, indeed, he has some PR strategy to work on, as well.

Full steam ahead …

BL

Want to know what casting directors really think of actors?

2009-01-22T11:35:00.000-08:00

Now playing on “Inside the Business of Acting,” on the Virtual Channel Network, is our four-part interview with the wonderful, Los Angeles-based casting director Michael Donovan. Whether you’re new to the business or looking for a fresh perspective on how the changing landscape has impacted the business of talent casting, what Michael has to say will help, comfort, inspire and empower you. It’s the best 50 minutes you’ll spend in support of your career.

I hope you take the time to watch this – and I hope you’ll share your comments about it with me afterward.

By the way, if you want to really know how to maximize the services of ActorsAccess.com in ways that can help you be both smart and pro-active in both the pursuit and support of your acting career, access our five-part interview with Breakdown Services founder and president Gary Marsh, also available on-demand in the episodes listing section of the “Inside the Business of Acting” Web TV series home page at VirtualChannelNetwork.com.

It's all free.

BL

Another fine mess for SAG

2009-01-19T12:34:00.000-08:00

I have been silent for the last month eagerly anticipating something positive to comment on regarding the internal (and public) bickering with the seemingly endless Screen Actors Guild to-authorize-a-strike or not-to-authorize-a-strike serial melodrama.

Is it just me, or have you had enough of this already?

I know it’s important; I know it’s about what actors deserve. But, I also know that now months into this struggle, it appears that the industry is no closer to a new SAG contract than it was when the issue for the union was focused on their members voting down the new AFTRA contract (which, as we know now, was also unsuccessful).

While it appears unlikely that the SAG leadership will get 75% of their actor members to vote “yes” on a strike authorization (should they still decide to seek it), the bigger picture, which is really the smaller picture, might matter most. That is, aside from seeking a strike authorization, SAG also needs to think about seeking unity from among its membership – and how to get everyone effected back on the same page.

It doesn’t much matter who’s in, who’s out or who’s on first as much as it will matter if the union is ever able regain the respect of all of their actor members they’re supposed to be representing fairly and equally.

Is it just me or is it time for some movement in a positive direction beginning with a fresh look at what makes sense for the people effected and the impact of this long stalemate on the perceived and real health of the business of acting?

The only good news of late is that SAG and AFTRA are actually casually dating again, sitting down together in search of a new commercial contract. Bravo to the SAG powers-that-be that realized the sense of both building this bridge and crossing it. It makes me wonder whether these same people at SAG now wish they did this a lot sooner.

Another fine mess, indeed.

BL

"Yes" or "no" vote for a SAG strike authorization? It's all a matter of self-interest.

2008-12-19T12:32:00.000-08:00

As the year comes to a close, most of the conversations I’m having these days have little to do with holiday plans, but, mostly, have to do with the SAG strike authorization ballots that are going out to union members just after the first of the year. I have been asked, a lot, about whether or not I think there will be a “yes” majority and if I think the chances of the authorization (if gotten) will, indeed, be used to force a work stoppage in the business of acting.

Tough questions; difficult answers to ponder.

This has been a very contentious year for SAG and, as the year ends, the union finds its members more divided than ever over this issue. In the process, SAG has also created an enormous public relations problem for itself, both internally among its members and externally among the general public. It’s a tough climate in which to call for and execute a strike – and receive any public sympathy for the cause.

In an era where the future of hard copy newspapers is in jeopardy, the Los Angeles Times has proven itself a valuable tool in this discussion. On December 16th, the paper published an opinion piece by actor and former SAG president Melissa Gilbert that has stirred much controversy. An opinion piece published today by LA Times columnist Patrick Goldstein puts much of it in perspective. They are both well worth reading. Regardless of where you stand on the strike authorization issue, these two columns do a good job of discussing the landscape in which this is all occurring.

You can read Melissa Gilbert’s article here.
You can read Patrick Goldstein’s article here.

Today I wrote an update on the Web site to chapter 8 in my book, The Business of Acting, about the union crisis we now find ourselves in. I hope you will read it.

As I wrote there, when the book was first published in 2002, the prominent union issue at that time was whether or not SAG and AFTRA would, could or should merge into one union to serve all actors.

The opinions on that issue were loud and strong. But, nothing seems to top the rhetoric over this current dilemma now facing the business of acting. It’s not just about the strike authorization vote SAG is seeking in an attempt to move along (and resolve) stalled contract negotiations with producers; it’s also about the core strategy the union leadership has opted to take in this bumpy journey.

A merger would have been a piece of cake compared to this one.

Clearly, this issue has gotten lots of people talking, not just union members, but the general public, as well.

In a conversation with a prominent working actor (who is a SAG member) the other day, I asked how concerned he was about the impact a work stoppage would have on other people and other businesses, many connected to acting (like talent agencies, management companies, and publicists and PR firms), but many not (like dry cleaners, coffee shops and restaurants). Most everyone is feeling the pinch from the recession we’re in; many simply couldn’t survive the financial damage a strike would do to them and their businesses.

This actor’s reply: “Fuck ‘em,” he said, “Let that be on the heads of the producers.”

My response: “Well what if the collateral damage includes your agent or your manager having to close their business? Doesn’t that matter to you?”

Again, the actor replied: “Fuck ‘em.”

Hmm. When last I looked, no one who has achieved any level of success was ever able to do it on their own. Given that agents and managers spent a tremendous amount of time and money representing their clients and given that most submissions don’t result in obtaining an audition for a client (or any commission income from a job that a client might be lucky enough to get), my unspoken response was, “Well who the fuck are you? Where is the respect and decency towards the people who are consistently pro-active in the interests of your career every day? Where is the appreciation for the amount of work they do for you that generates them nothing in dollars and cents? When you met with these people for the first time about working together, were you arrogant enough to both seek their assistance and let them know that you would toss them to the wolves if you had the chance to do so?”

“Fuck you,” I wanted to say out loud. But, I didn’t.

Instead, this exchange made me think about self-interest. Where do we draw the line, in both life and career choices? How much are we willing to risk?

Indeed, at the end of this day, the big question for those who will be given the responsibility of making this strike or not-to-strike authorization decision is “How much are you willing to risk?” and, when it’s all over and done with, either way, “How and where do you pick up the pieces that are left and reconstruct a working career in whatever the new landscape is?”

I admit, I’m a little pissed off from having had this conversation and wondering, really, how do we all financially survive should a strike really happen – and how do we all pick up the pieces, either way, and rebuild in a very uneasy environment.

Ah, the grinch.

BL

To (SAG) strike or not to (SAG) strike? Much more than a matter a dollars and cents.

2008-11-23T14:57:00.000-08:00

Does it make sense for SAG actors to vote for a strike authorization? It all depends on who you ask.

The SAG actors I have been discussing this issue with as recently as today all say, “No.” Given the economy, given the times, given the current landscape and given that the producer’s have made it clear that SAG negotiators will not come away with anything more than the AFTRA deal now in place with that union’s members, it seems clear that we might very well be headed for a no-win situation very quickly.

Richard Verrier’s coverage in today’s Los Angeles Times presents an important overview on where things stand and what’s at stake. I urge you to read it.

It’s mostly about the Internet. SAG’s intent is to squeeze out whatever it can for its membership from “new” media, almost at any cost. But is this worth striking over now?

Seventy-five percent of SAG members will have to say “yes” to a strike authorization before the march to a work stoppage can officially begin. But, will 75 percent of the SAG membership be willing to endure the additional hardship the inability to work will cause them?

It’s tough enough just to get an audition for a job in this business when the industry is operating at “normal”; take away any opportunity to work for not only (SAG) actors, but the tens of thousands of people in related and connected industries who will feel the big pinch of a strike, as well, and you have to question the sanity of such a move at this time.

Does anyone ever win from a strike? Can any member of the Writers Guild actually claim to be better off financially right now because of their walk out? Admittedly, arguably, there may be a few folks who can answer “yes” to that today, but for the majority, the stress from bills that went unpaid and opportunities that are still being felt. Will they feel any differently a year from now?

What’s an actor to do?

Tough question. If you’re a SAG actor, what will you do? What can you afford to do? What are you willing to risk? How much risk can you tolerate?

Should a SAG strike occur, those actors who are also members of AFTRA will be expected to honor the strike and not accept AFTRA-contracted work: AFTRA members who are not (also) in SAG, will have a choice to make: will they be asked to or expected to honor the SAG walk-out? What official position will the leadership of AFTRA take?

Indeed these are tough times in the business of acting. I know I want my clients to work and I know they want to work. How exactly are we all expected to survive what could be a long strike – and how much discomfort (or worse) are we willing to tolerate? Finally, how much might all of us stand to gain? Could we ever really make up the losses we would all suffer from another long strike and, even if we could, would those gains really be worth the toll of the stress, strain, and the (lifestyle and financial) compromises that it would take from all of us on the road to that or any victory?

I expec that there will be lots of phone calling between lots of agents and managers and their clients tomorrow.

How about you? If you're a SAG actor, will you vote for a strike authorization? If you’re an AFTRA or non-union actor, what would you do?

Post your comments here or e-mail me directly at blemack@TheBusinessOfActing.com. I look forward to hearing from you.

BL

A note of appreciation in tribute to talent agent Barry Rick (1945 – 2008)

2008-11-13T11:19:00.000-08:00

My friend Barry Rick died recently. He was a remarkable talent agent, with a skill for representing actors in a way that we rarely see in this business any more. As founder and president of the Los Angeles-based commercial talent agency BRick Entertainment, Barry, in a short period of time, managed to carve out a respected niche for his “boutique” agency that he launched in 2003.

We held a memorial tribute for Barry last Tuesday night, at the Lillian Theatre, in Los Angeles. Nearly 100 current clients, friends and industry colleagues were on hand to celebrate his life and his contributions. I was honored to have been asked to emcee the evening. I was also happy to meet Barry’s son, Tom Popp and Tom’s wife, Felicia, who flew in from Washington, D.C. to share in the tribute.

In what was an upbeat, respectful, sometimes tearful gathering. Memories were shared, stories were told, and one thing became very clear early on: Barry was much more than just an agent; he was a mentor, he was a surrogate parent, he was an innovator in how he walked through the business of acting (and in life).

I’ll miss him, as will Tom, Felicia, and Barry’s sister, Elizabeth, and his mother Sally. So, too will he be missed by those who joined in our tribute and those whose lives he touched, but who were unable to attend.

A scholarship fund has been established in Barry’s name to provide an honorarium to students from Emerson College, in Boston, who intern at BRick Entertainment during their semester in Los Angeles at the school’s acclaimed L.A. Center. Barry was a staunch support of this program. Many students who have interned at BRick under his mentorship have gone on to either work at the agency or be represented by the agency after graduation.

I encourage you to make whatever size donation you can in Barry’s name. Checks should be made payable to Emerson College, noting “Barry Rick Scholarship” in the memo line of your check.

Contributions should be sent to:
Ms. Amy Meyers
Emerson College
120 Boylston Street, 7th Floor
Boston, Massachusetts 02116-4624

Barry wanted his agency to survive and thrive after he was gone. Last summer, he named another remarkable person, Kenny Suarez, to succeed him at the helm of the agency he worked so hard to build.

Sometimes the business of acting shows its true colors; not industry life as it’s portrayed on “Entourage,” but industry life as it’s lived by most of the people who have chosen it as their livelihood. We lost a great guy, but the family of actors he created as his client roster, and the community of industry professionals he interacted with, are forever impacted by how he did what he did.

Bravo, Barry. Bravo.

BL

Union membership: Prestige by assocation? Hardly.

2008-10-09T07:56:00.000-07:00

I was happy to hear back from Michael, an actor who first wrote me several weeks ago in response to my Blog comments on the latest episode in the ongoing industry drama that has become, as I call it, “the AFTRA SAG dilemma."

Michael and I corresponded about the consequences of union actors filing for Financial Core Status. I posed several questions back to him in my response (which you can read in the Blog entry).

Michael wrote me again with some key questions that I wanted to share with you, along with my response to him.

Michael wrote:

"I joined AFTRA thinking it would make it easier for me to get into SAG, get more legit auditions, and make me more noticeable to agents when blindly submitting (or from seminars, etc.). But now I see little to no opportunities for union as of now, and I still want to do student films, indie projects, etc. I mean, as you said, there's no real way they would know unless I am a recognizable face (in which case, I'll probably be doing union projects anyway). Thanks for the heads up. So, it is still ok to do non-union work as of now, right? Also, any advice on getting an agent and/or into SAG so I can get more legit auditions?"

I responded:

"Your reasons for joining AFTRA are/were honorable —as they are for so many others who join thinking (or expecting) the same thing. It’s a tough call, really. A couple of years ago, when it looked like AFTRA and SAG might actually merge, lots of actors who couldn’t (yet) qualify to join SAG raced to join AFTRA thinking that when the (expected) merger happened, they would automatically become members of the “new” union that covered all forms of the (acting) business. Alas, that wasn’t to be the case. When the vote was taken, it wasn’t meant to be (yet). Ultimately, given this new landscape, a merger might not only be inevitable, but be the only way both unions can move ahead and survive (and thrive). As soon as they both stop playing politics and leave their egos at the door, we might see them both actually start being in the business, again, of truly representing the best interests of all true career actors.

I can’t tell you that it’s (still) okay for you to do non-union work; the union rules are the union rules. But, having said that, I think you will be unscathed from the experience, should you choose to return to it.

Lastly, there are many agents (and managers) in this new landscape who do, indeed, represent non-SAG talent. No one was born with a SAG card. SAG cards, like careers, have to be earned. Good agents (and managers) recognize that they can develop good actors into great clients and let them earn their union status on the way, when it’s the right time/right place."

I hope that this perspective is helpful to any of you in a similar situation to Michael’s.

Always ask questions; always seek as much advice as you can. Then, weigh your options and make the choice or choices that make sense for you. Often times, circumstances dictate direction. You're in this business for a career, not just a job. Always consider your options from a "bigger picture" perspective, as well as for the short-term -- and always proceed as a smart, informed actor.

Got a comment or question? You can post here or e-mail me at blemack@TheBusinessOfActing.com.

BL

"Working Actor" Hal Linden: So much more than "2 down"

2008-09-29T11:52:00.000-07:00

I spotted Hal Linden’s name in yesterday’s Los Angeles Times Sunday Calendar crossword puzzle. The clue read, "'Barney Miller' star Hal.” It’s always nice to get 2 down. It makes the rest of the puzzle so much easier.

There could have been another clue to arrive at the same answer: “Working actor Hal.” While Linden is widely known by audiences for his television series work, many forget that he has a long and respectable career in theatre, including a Tony Award.

Hal is the guest we chose to launch our new Web TV series “Inside the Business of Acting” with because he represents the philosophy of our new series on the Virtual Channel Network in every way possible.

“Inside the Business of Acting” features one-on-one conversations with working, successful actors talking about their career journeys, turning pointing and lessons learned along the way. Like the book The Business of Acting, this exclusive VCN series is designed to empower young actors and others in the journeys of their own careers.

Linden’s history is full of pro-activity, even before we knew what the word really meant. His longevity, his career success, is rooted in his ability to stay focused, to remain flexible, to always be level-headed and to always be prepared.

In our four-part interview, Hal talks about his roots and his struggles; he also talks about the valuable lessons he learned all along his journey that still matter today. He also reveals some fascinating behind-the-scenes tales about the TV series that made him a household name and the role that “Barney Miller” played in opening the doors to the opportunities that have followed.

Part one with Hal Linden is now playing on-demand. It’s entertaining, it’s informative, and, in it’s own way, it’s empowering conversation to absorb with lessons and a perspective that might prove very helpful to your own career plan and perspective.

As Hal says, “It’s all about the journey.” Amen to that.

Please feel free to post your comments about the interview here or send me an e-mail at blemack@TheBusinessOfActing.com.

BL

You can't be a little pregnant; either you are or you're not. It's kind of that way with union status.

2008-09-20T18:38:00.001-07:00

I just received an e-mail from an actor who posed a series of important questions about exactly what it means to be a member of one of the actor unions, in this case, specifically AFTRA, and, specifically, what kinds of work he could and could not accept. He didn't say, but I take it that his membership is fairly new. He didn't say why he joined AFTRA at this particular time, but his concerns are valid and some perspective is needed that I hope will be helpful to him -- and to you.

Indeed, as the old American Express commercial said, "Membership has its priviledges." In this case, however, membership also comes at a price and with some significant drawbacks, especially for a young or new-to-the-business actor.

Michael wrote:

"I recently paid to join AFTRA. What projects can I work on if they are not AFTRA? Can I work on a SAG project (I'm not SAG)? Can I work on student films? Can I work in non-union theatre or Internet projects? If I do, how will AFTRA know? If I do, and AFTRA finds out, what happens to me? What the heck can I act in as an AFTRA actor (and no other unions)?"

I responded:

"The 'official' rule is that once you are a union member, you are prohibited from doing any work that is non-union, whether it is for a project that could have been sanctioned by your union (for example, a non-union television show that could have been under AFTRA’s jurisdiction had the production company opted to go union) or sanctioned by a 'sister' union, in this case SAG or even AEA (Equity) -- and, as the rule is written, that includes student films.

Of course, everything is open to some interpretation and in this changing landscape, a lot of options are up for grabs. There are two ways in which you can work in a non-union project if you are a union member: 1) File for financial core status, which is your right, which, essentially, puts your union membership on hold and allows you the opportunity to do non-union work. You don’t pay union dues during this time, but, also, the non-union work you do doesn’t count or apply towards (union) pension and health contributions. Also, SAG, in particular, is getting tough on any union member who opts for financial core and later wants back in. Often times, they want you to explain yourself and 'earn' back your union status; other times, nothing happens.

Of course, while it is your right under the law, SAG discourages this because your semi-annual dues are based on a percentage of what union work you do. The more money earned from non-union work, the less money SAG (or AFTRA) can expect from you for dues payments. It’s really, like most things, all rooted in economics and not always in the best interest of the actor.

2) Many actors who hang on to their union cards and union status will often do non-union work, but under a name other than their own. As long as the credit (and the pay check) aren’t traceable back you to, odds of being “found out” are slim to none. However the more successful (read: more recognizable) you become, the less valid this option becomes.

SAG has a special contract agreement for student filmmakers, in their desire to get young filmmakers used to the idea of making union-sanction films. It costs them (the students) very little for the agreement from SAG, which then allows union actors to work in these productions with either a waived (or deferred) fee or a very small stipend.

The truth is that neither SAG or AFTRA can keep on top of the business they ought to be watching, so you’re pretty safe doing student films, whether “sanctioned” by a union or not.

The penalties for a union actor who gets caught doing a non-union job can vary from (usually) a slap on the wrist to hefty fines, depending on who you are and what the circumstances are. For example, during the last commercial actors strike, Tiger Woods appeared in a commercial that was shot non-union. While a great golfer, he’s also a SAG member because of the many commercial endorsements he does. He claimed he didn’t know he couldn’t do the project SAG caught him on.

SAG both slapped him on the wrist and fined him a ton of money (primarily to make an example of him and because they know he had the money to pay the fine). I always urge young and/or new-to-the-business actors to delay joining one (or any) of the unions for as long as possible.

The goal is to build your resume. In the early stages, it shouldn’t matter whether the work is union or non-union. Experience is the goal. Having said that, you’ve already taken the plunge and the way to proceed is always with caution and always having explored and considered all of your options first, before saying 'yes' to anything."

I hope this is helpful to Michael who already has -- and to anyone else who is contemplating the leap to union membership. I'm a big believer in not joining any union until you have to.

A client of mine was just in this situation. Long an AEA member, he found himself up for a SAG-sanctioned job last week that required his joining the union if he was to be hired. Together, we weighed the benefits and the potential losses his joining SAG at this time would bring -- and together we decided that the opportunity in front of him (and the great, new resume credit that he would earn) was too great a boost not to take the leap. So, he did -- and with good reason.

That's the bottom line, really. If it makes sense, if the financial investment seems worth it, then take that leap of faith and of membership and continue your career journey as a union actor. If not, hold off. Most career actors will have to join one, if not all of the unions, eventually. It's all a matter of time and timing.

Are you a union actor? What were the circumstances under which you signed up? Share your story with us by posting here or by sending me an e-mail to blemack@TheBusinessOfActing.com.

BL

"Inside the Business of Acting" Coming to the Virtual Channel Network on Monday, September 22!

2008-09-01T13:07:00.000-07:00

Admittedly, this is more an an ad than it is a Blog. But, I think it's worth it!

Based on the popularity of The Business of Acting book, we will be taking to the World Wide Web with a new television series for actors to be seen exclusively on the Virtual Channel Network.

Inside the Business of Acting, which I am thrilled to be hosting, will feature one-on-one interviews with successful, working actors and other industry professionals talking about their career journeys, turning points and lessons learned along the way. Like the book, the television series is designed to empower you on your own career journey. We have a terrific line up of guests, including at least one Tony and two Emmy Award winners.

We're hoping that you'll find it entertaining, informative and helpful, regardless of what stage you are currently at in your career. Whether new to the business or looking for a new perspective on the career you have been having, we think Inside the Business of Acting will be worth your time.

While you're at the Virtual Channel Network (which is a service of Breakdown Services, Ltd., the people who also bring you ActorsAccess.com), make sure to check out the wide variety of other programs being offered up for actors, artists and any one else seeking a career (or to advance a current career) in the business of acting.

I hope, too, that you will share your comments about the new series with us here. It all premieres on September 22, 2008 on the Virtual Channel Network - and once each program segment is launched, it will always be available for viewing - and reviewing on-demand.

Please join us!

Brad Lemack

Neither rain, nor sleet …

2008-09-01T12:08:00.000-07:00

The postal service motto “Neither rain nor sleet nor dark of night …”, about always getting your mail delivered (no matter what), applies, from my vantage point, to the first week of September of any year, although this year is, admittedly, special. Neither presidential campaign politics nor weather disaster will stand in the way of the annual back-to-school brigade that happens this week at colleges and universities across the country. Whether first year student or final year senior status, the new academic year is usually, always, filled with anticipation, hope and a bit of anxiety about the school terms ahead. But you forge ahead anyway.

While I can’t directly help with the angst I refer to, if you’re heading off to (or back to) your studies in acting, theatre, performing arts or related field, I can offer up a subjective perspective that I hope will be helpful.

You can never undervalue the importance of a solid academic base. But, at the same time, the focus of academia is, obviously, education, not (always) how that education applies to the real world.

If you’re a student, as you return to class, so do I. About to begin the fall semester of The Business of Acting class at the Emerson College Los Angeles Center, I am about to face the challenge of taking well-taught and well-trained students beyond the safety and comfort of the arena and the environment they have grown comfortable in.

The challenge is in not discounting their academic training, but in teaching them how to apply that experience to the real world, as they begin to consider their transitions from students of the performing arts to careers as professional, working actors.

In a business where the best trained, most talent, highest qualified candidate will not get the jobs based only on those credentials, it is critical to explore how what you know and how your passion for the career you seek can turn you into a pro-active business person who will approach the launching of a career in stealth-like and strategic ways.

My students and I will explore all of the options available to them that they already know about – and then they’ll get exposed to a sizable collection of new ideas and new approaches that they weren’t aware of before. Yes, they must be talented. But, they must also be highly skilled and then learn how to apply those skills to the bigger picture of the career journeys they will soon embark upon.

This applies to you, as well.

So, just because you’re not in my class, doesn’t mean you can’t be my student. Here is what you must do:

Be inquisitive! Ask questions in your classes about how the material you are asked to study applies to the real world in which you want to live in and act. Respectfully challenge your teachers, your professors, your fellow students and yourself. It’s important to learn not just theory, but application and perspective.

In the end, it is the personal perspective you arrive at that will be the most beneficial to you. But, perspectives, like people, like careers, are works-in-progress. You must leave room for change and adaptation as you grow and as you are exposed to newer ideas and opportunities. You must be a smart actor. But first (and always), you must be a smart student.

My comments won’t (necessarily) get you an A in any class. But, I can guarantee that if you start thinking outside the “box” now and if you begin contemplating how you can apply what are learning in class (and in performance training) to what happens beginning the day after graduation, you will be better able to plan for, execute and maneuver all of the twists and turns of the incredible journey that will soon follow. "Smart student" doesn't necessarily mean great grades. But striving to achieve greatness begins at home, is expected in school and is a requirement throughout life. At least that's my philosophy. Long after teachers are grading you on your performance, we need to grade ourselves on how well we are doing all along our journeys of life (and career).

To the incoming class of 2012, congratulations on departing on your four-year transition from young adult to young professional. To those of you with your graduation in sight, relax. The spring is many months off. Don’t rush this last year. Embrace it for all you can. And for those of you in between, be mentors to those new arrivals (remember how daunting your first year at school felt at first?) – and challenge yourselves as often as you can beyond just the requirements of any class or course you take. An “A” is nice, but planning for and thinking about how what you have learned and your experience at school relates, in terms of the bigger picture of your lives and careers, will get you much more.

Oh, to be a student again … I envy you.

Brad Lemack

RerunIt.com celebrating "classic" television celebrities and American pop culture launches

2008-08-14T08:03:00.001-07:00

I'm a big pop culture fan. Being a member of the first generation raised on and by television, I was forever influenced by Lucy and Ricky Ricardo, the shot at a free bicycle on Art Linkletter's "House Party" and the frustration over why I couldn't just move in with "The Brady Bunch." I got caught up in the adventures of the stranded castaways on "Gilligan's Island" (when it was a first-run show!) and longed to travel to unknown places if only I could step into "The Time Tunnel."

I'm not old; I'm experienced. And experience (and a career in the business of acting) has taught me a tremendous appreciation for the people who brought escapism into my life during my formative (and not so formative) years. I know I'm not alone.

I was fortunate enough to be given the opportunity, and an outlet, starting when I was just 15 years old, to meet and interview so many of the people and personalities I had become in awe of. Moe Howard of "The Three Stooges," June Lockhart from "Lassie" and "Lost in Space," Desi Arnaz, Margaret Hamilton (the Wicked Witch of the West in "The Wizard of Oz"), and so many others.

Having recently unearthed this massive archive of audio and video tapes, I have discovered a history that I wasn't aware of previously. In their own words, actors, authors, personalities and others who have helped shape and define American pop culture, talk about their work. I became in awe all over again.

The result of the passion this project has unearthed in me can be seen on the new Web destination we have just launched at RerunIt.com.

At the site, you can view clips from hundreds of hours of these interviews that date back to the 1970's. You can also have an opportunity to purchase DVDs, CDs and books associated with every guest featured on the site to begin or to enhance your own personal collection.

Please check the new site out. There is also an Audience Page where you can share memories of your favorite shows, favorite actors and favorite moments from television that was meaningful to you.

It's about the business of acting from another perspective.

We got to where we are today because of the hurdles faced, challenges met and achievements earned by those who came before us and laid the ground work for what we watch and what influences our lives today. We've come a long way since black & white TV in the 1950's. But without the pioneering spirit of this amazing group of people, YouTube and all of the other media sources that provide us "entertainment content" today couldn't exist.

RerunIt.com is my way of saying, "Thank you" to that generation of media pioneers.

I hope you'll check it out.

BL