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“Advertising is the art of convincing people to spend money they don’t have for something they don’t need.”-WILL ROGERS
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1. COMMERCIALS
Please please please let us know if you will make the castings we send you for. We try to follow up on our messages but sometimes we just run out of time. Often we have suggested you to the casting director and need to send attendance lists. The casting directors get very angry with us if the artists they requested do not pitch up. Remember they have sifted through thousands of pictures and believe that you may just be the PERFECT GUY/GIRL to book the job. If you simply don’t pitch up, it looks bad on us and on you. Also, they may need to recast, and we check through our database to see who we sent to the first round, and if your name is there, we assume you attended and if you didn’t let us know that you couldn’t make it- you may lose out on another chance.
If you cannot make a casting because your car broke down/dog ate your script/you have a meeting with your financial advisor or a meditation session with Sri Rama Lahkme: let us know. We understand that you have other sides to your life and as long as we are all on the same page, we can try and get you another slot or at least tell the casting director that you won’t be there.
If we keep sending you to castings and you never respond or attend- not good. Not great. Not fair. And eventually- Not worth it.
If we give a specific time i.e. 14h10- that is the time allocated to us by the casting director. If the time given is really problematic, we will do our best to change it. Open times are when we give i.e. 3-6pm, and you can go anywhere in between.
“I think every American actor wants to be a movie star. But I never wanted to do stupid movies, I wanted to do films. I vowed I would never do a commercial, nor would I do a soap opera -- both of which I did as soon as I left the [Acting] Company and was starving.”
-KEVIN KLINE
Unlike Oscar Wilde who had nothing to declare but his genius, you have to declare the commercials you have done in the same territory (country/continent). We generally won’t send you to a casting for a product that is competitive with one you have been featured in, but nowadays the client wants to know of EVERY commercial you’ve done!
If you are unsure, or haven’t kept a record of the commercials you have done and in which territory, just ask us and we can email you your commercial CV. Maybe keep it in your bag at all times so you can whip it out when you need to fill in the Artists Declaration Form.
Good new for those who didn't know: 2nd wardrobes are charged at R350 or 10% of the day fee.
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The truth isn't the truth until people believe you, and they can't believe you if they don't know what you're saying, and they can't know what you're saying if they don't listen to you, and they won't listen to you if you're not interesting, and you won't be interesting unless you say things imaginatively, originally, freshly.
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Leo Burnett
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If you have been optioned for a commercial, you are on a short list because your talent and your LOOK may just work therefore you are not to change your appearance in any way while the option stands. That includes shaving any beards/moustaches, cutting/dying hair, getting tattoos or piercings.
If you are on option to a commercial and some private work comes up, phone us and we can give the clients 24 hours to confirm or release you. If you have given a 1st option, the producers assume that if you are chosen, you are completely available.
1st option means YOU ARE COMPLETELY AVAILABLE on those dates. You can't phone 2 days later and say you forgot you had your brothers barmitsva. Keep a diary. If you are unsure, we can give a 2nd option rather.
If it gets to about 3 days before the shootand you haven’t heard from us, give us a call and we can check how those options are looking for you. Often casting directors don’t send us a release list and we may be swamped with other bookings and haven’t checked the options pending.
It's not a field, I think, for people who need to have success every day: if you can't live with a nightly sort of disaster, you should get out. I wouldn't describe myself as lacking in confidence, but I would just say that the ghosts you chase you never catch.
JOHN MALKOVICH
The production is given one free wardrobe. This should last no longer than 2 hours. If you have been at the wardrobe for 2 hours, phone us so that we can warn the production company that we will charge them after 2 hours. The rate is usually R350 or 10% of the day fee depending on the negotiation.
2nd wardrobes are charged for at the same above mentioned fee. If the production Company phones you directly, please call us in case they haven't informed us.
The call on South African commercials is a 10 hour day. Overtime is at 15% of the day fee per hour.
The call on International commercials is an 11 hour day. Overtime is at 10% of the day fee per hour.
Please keep a record of your times, from when you sign in until you sign out. We generally wait for time sheets to check if there is any overtime. If you know you had no overtime, let us know because then we can invoice immediately.
The general rule is that payment of the day fee is 30 days after the end of the month invoiced. Therefore if you shot a commercial on the 2nd April, the payment will only be processed at the end of April and be paid 30 days later. That means the money will only come through end May, beginning June.
Please remember that unless we specify that usage is GUARANTEED, it is never guaranteed. You may get cut out the commercial, or the commercial ends up on the shelf. We have had a case with a car commercial where they cut out all the people.
Please do not do your budget with the usage payment in mind.
The production company has 45 days in which to let us know whether you have been featured. Once we have asked if the artist is featured, they have a week to respond. They may ask for a 30 day extension period if the edit has not been finalised. Thereafter they have 3 days in which to let us know. If the commercial is delayed for more than 6 months, we will charge 110% escalation on the fee. The client may chose to pay this immediately, or they may pay a negotiated holding fee after 6 months.
Remember, if all goes to plan, we find out 45 days after the commercial has been shot that you have been featured, and we do the invoice for the usage.
If we take the previous example of a commercial being shot on the 2nd April, the day fee should come through end May/Beginning June. The 45 day waiting period takes us to the 17th May. We do the invoice. That usage will be paid 30 days after the end of the month invoiced. So expect that payment beginning of July. Many times the money comes in sooner than that, but it could take that long.
It is in your best interest not to spend that money (i.e. on your credit card) until it is in your account.
Think of all the times your agent sends out your picture and talks about you when you don't know it. Your agent does not get you work. You get your own work. The times I have not worked have been directly related to my rise and fall as a person. We can only hope our agents will be supportive in our dark moments and help us retain our perspective in our right moments. Notice I say moments. Neither state will last."-- K Callan: Author, The Los Angeles Agent Book, How To Succeed in Show Business; working actress for 30+ years
WHAT IS THE SECRET OF THOSE ACTORS who book the spots? (From BOOK THE JOB by DOUG WARHIT Acting Coach)
1. They create a sense of reality and believability for everything they say and do.
2. They don’t judge themselves, the product, or the copy. They immerse themselves in the given circumstances, no matter how ridiculous they may appear to the outside world.
3. They know that in 30 seconds they have to make every single moment count.
4. If they flub a line or change a word during the audition, they don’t apologise or make a big deal out of it
5. They’re relaxed, believable, playful and likeable.
6. If they need to be excited about the product but they’re not, they imagine something else that does excite them.
7. They know that their non-verbal reactions are at least as important as any dialogue they have.
8. They imagine they’re speaking to someone they care about rather than just a camera lens.
9. They know that doing commercials is a way to gain on-camera experience, exposure, pay the rent, and to work with directors who may also shoot feature films.
10. They know that the slate (saying your name into the camera before reading the copy) is the actor’s mini-commercial where they can show how warm, personable, and genuine they are.
NOTE: Some actors rush through the slate to get to the commercial copy, not realizing that the audition begins with the slate. In fact, when audition tapes are reviewed by the director and the client to decide who to call back, they may only look at the slate before fast forwarding to the next person.
Your look may get you in the door, but it won’t book the spot.
Your slate must create an instant rapport that says you’re happy to be there and ready to play.
More than 50% of all actors’ income comes from commercials. If you don’t want to do commercials, no one will force you. But, be aware of what you’re giving up
2. MOVIES/TV SERIES
Please let us know if you will be attending the auditions and if you are running late.
It’s always a good idea to take a copy of your CV with you to these auditions. Keep your CV in your Bag/Car at all times. Maybe print 5 copies so you don’t have to keep doing it every time.
Here are some tips from MITO SKELLERN – Casting Director:
In terms of feature film casting, I feel there is unfortunately a general lack of actors seeing themselves as “professionals”, and being what I consider “acting ready”. It seems to be an accepted norm that it’s something we do some of the time, more like a hobby... Yes, this is because there is not enough work out there, most of us can’t do it full time. But, little things can help, for example; Actors casting for a feature should always bring and offer 2 CV’s and a headshot as part of their casting process, (they should not see it as doing the casting director a favour, which many seem to do, or just have no idea). Even when specifically requested, I see no more than 60 – 70 per cent of artistes bringing them in, and the really stupid thing is the real pros.... the older, really successful & experienced guys, (who have the most reason to feel they don’t need to)... they bring it every time, asked or not. I get told time and time again that “my agent will email it” and I used to run around, chasing my tail, working out who did and didn’t bring, printing out the missing ones, trying to ensure that I submitted a CV for everyone, now I like to let the “men separate from the boys” as it were, you bring it, I present it, if you cant be bothered about your career, why should I do your job for you. It’s not a difficult thing to have a few photocopies standing by, and that is really what it takes, they don’t have to be fancy and in colour, it’s your business card at a business meeting... Yes, some casting folks wont want it, but bring it, you never know when the director will be sitting there, trying to decide which of two actors to work with...
Next thing is; how often when we are casting the following day and we have dialogue, how many actors will not attend the casting because they do not feel they have enough time to prepare. A working actor is very often given scripts to prepare over night; it is not the weirdest thing to expect an actor to do. Of course more prep is desirable, but the turnover expected these days vary rarely gives us an opportunity to give a decent period for prep. There needs to be more of a “do the best you can with what you have, and just go for it” approach. Artistes are loosing out because they can’t handle the pressure. The reason for this is they are out of practise, so my best best advice is to stay “acting ready” - find a way to keep acting, so when the castings come along, it is not a foreign concept. You need to stay acting if you want to be an Actor, as obvious as it sounds; it’s not easy in SA. In the States cold reads are common, reading from the script also, if you are going to have to do it now and again, for goodness sake, as an actor, learn a little how to do it, it can make or break an unprepared casting. I find in most cases a “moderately skilled” but currently working actor - will do a way way better casting and performance than someone who is out of practise, not working and “brilliant”.
What ever you do, don’t walk into a casting apologising (subconsciously you are already doing your best to convince the casting director, and possibly the director, how bad you are). If you feel you need to say that you have only just seen the script – OK. But commit, if you are going to go, do the best you can, with the time and skills you have. “Some days are diamonds, some days are stones”, believe that it is what you are meant to do, give yourself a break, and go ‘big’ or go home...
That all said, I take my biggest inspiration from you all, it takes a lot to be an actor, to keep at it, to be make yourself vulnerable and exposed and be the artiste you are compelled to be. Keep telling your stories.
2.2 CONFIRMATIONS
If the Production Company has first call on you, you cannot take any other work during this time without us getting permission first. You need to let us know if there is anything you want to do as Film and TV schedules change ALL THE TIME. Prevention is better than cure.
It sounds ridiculous, but we really need to know everything that you book for yourself, whether it’s a doctors appointment /private function/ tickets you have bought to a show, we need to give the production company that has first call as much information as we can to avoid clashes.
We have to give generally 2 days option on either side of your calls in case of schedule changes. If your calls are on the 1, 9 July. The availability dates will be 29 June-3 July and 7-11 July.
3. ACTOR DETAILS
Please send us updated sizes every 3 months. What’s also good is if you visit us, ask us to take your sizes
Please be very clear as to how fluent you are in the languages you speak. If it says you speak French, it means you can audition for a French Film and do a lead role in French.
If you did French at school, that’s a different story.
We also need clarity as to the skills you have provided us with. i.e.
Cyclist: a) Professional – you ride 4 -5 times a week, enter every race and are training for the Tour de France
b) Hobby/Exercise – you ride maybe twice a week
c) You can ride a bicycle
d) You can ride with training wheels
Singing: WE need level of singing ability: Could you be the lead in Cats? Or the lead singer of Iron Maiden? Do you have ongoing lessons or do you only sing in the shower?
Please please don’t tell us you can do something because you are planning on learning that skill.
"Don't make the mistake of thinking that upon signing with an agent, your work is done. The worst thing that happens to talent is they get an agent and then just sit at home waiting for the phone to ring. Never quit training. The benefits of learning your craft will eventually always pay off." -- Joel Kleinman: Baier/Kleinman International Agency, LA
Please keep us updated with performances you do that we didn’t get for you. We would like to add that to your CV but we cannot possibly keep a record of the festival programmes you’ve done.
Also Awards that you have received that we may not have heard about. It is best to email us this information.
3.5 ID’s and Power of Attorney Documents
Please make sure that we have certified copies of your ID’s and copies of your passport. Also that you have signed Power of Attorney Forms and the forms stating that you are an Independent Contractor.
Please let us know when you leave town, even if it is just for 2 days. Murphy’s law is that something comes up for you and we assume you are around, and then we are left with egg on our faces when we have to phone a casting director back and say you are actually out of town.
Please inform Helen or Priscilla if you have a change of address or banking details.
First of all, I choose the great [roles], and if none of these come, I choose the mediocre ones, and if they don't come, I choose the ones that pay the rent.
-MICHAEL CAINE-
Sharon Adams has taken over the Voice department and it would be a very good idea to come in and introduce yourself to her if you haven’t already.
Some artists need to send us updated clips. Some Intro’s still say Phone Steven on our very old numbers.
Please either source your clips or get updated clips recorded.
It would be best to say on your Introduction, please visit our website www.apm.co.za to hear more of my clips.
CRAIG ORMOND at BIG LEAP does Demo’s: (fees: R250 for half an hour in the studio, approximately 3 clips)
GARETH at JUICE : (fees: R300 for as many spots as you like, music behind it if you want and he will email us and put it on a CD too).
Call us for their numbers.
Please clarify the languages you speak. You need to READ scripts in those languages.
You have to be registered in order to work. Without a tax number we can not find work for you. We need tax numbers please.
It would be advisable to do efiling, as the IRP5’s are linked to your tax reference number and therefore you would not have to wait to have them in hand. If there are more than the allocated space allows on your return, you would then have to add the missing ones in manually on your form
IRP5’s should be available in June sometime, but it also takes time for all the production companies to send in theirs as well so could be later. An IRP5 is issued by the production Company who has taken the 25% tax off your payment.
If the Production Company is not registered to take off PAYE, they need to issue you with an IT3. You MUST then try and save the tax portion of your payment as you may need to pay in that tax if you earned more than R54 200 over the year 2009-2010. From the 2010-2011 tax year it will be R57 000.
Helen will inform you when payments are maid and PAYE hasn’t been taken off.
You also must keep a logbook for your travel expenses. You can download one from the SARS website. You need to be very clear about your travel. You can keep a record of when you go to castings/rehearsals/ shoots/voice over’s etc. Check the SARS website. www.sars.gov.za and read up on this.
Or ask your accountant about it! Athol Rowan does Artists Tax. Call Niki for his number.
Here are some interesting quotes I found from other agents:
I take this business very personally. I'm not selling Cadillac’s. I'm selling human beings. I'm selling artists' souls. I'm looking for brilliant actors that I think can break - who either have hopes of breaking or who come very close to breaking. An actor must respect my effort, and if he doesn't think I take care of him on that level, then he needs to leave me." -- Scott Manners: Stone Manners Talent Agency, LA
"Show business doesn't owe anybody anything. Acting is about what you get to give, not what you try to get. To be an actor is to be educated. I'm still growing every day. I know how much I have to learn. I don't think being an artist is easy. You have to earn things in life. Be creative, consistent, and disciplined. Educate yourself, become friends with yourself, don't expect anything and give everything!" -- Larry Moss: Veteran LA acting coach (thanked by Helen Hunt in her Oscar,
"It is not okay to bad-mouth the agent to others in the business. If you've got a gripe, take it up with the agent. Don't say you want to leave your agent because you're not working. There may be reasons for this that has nothing to do with your agent. You may be traveling into a new age category and have not yet finished the journey. You might be getting stale and need to study. You might be having personal problems that are reflected in your work. Your type may not be in. If something is bothering you, you owe it to yourself and your agent to talk before you get resentful." -- K Callan: Author, The Los Angeles Agent Book, How To Succeed in Show Business; working actress for 30+ years
"Be respectful and don't put your agent on the defensive. We all know the stereotypes about agents... they lie, that's their job. But most agents are hard working, professional regular people who (like you) want to make it in show business. They too, want to be respected for their work and go to the Oscars and Emmys. And they, like you, are willing to put up with the toughest, most heartbreaking business in the world because they are mavericks who love the adventure and can't think of a single thing that interests them more." -- K Callan: Author, The Los Angeles Agent Book, How To Succeed in Show Business; working actress for 30+ years
"We are a positive, happy, healthy, productive, and busy environment with open doors to those who have hopes and dreams for all that is good and creative. We love people who want to help others and themselves accomplish their hopes and dreams. We expect people to leave complaints and negativity at the door, as they seek constructive and positive ways to communicate, share, appreciate, improve, learn, and grow. Our goal is to make things happen... to finish what we start; to learn and grow for the good of all concerned; to smile for the good fortune of being around loving, caring, mutually concerned, nurturing, and creative people. If you have negative thoughts, convert them into positive ones. Be constructive. Replace the consequences of being in a funk, or belittling yourself and others, with doing something nice for yourself or another. Listen to what other people have to say. A conversation works best when people listen with respect toward each other. If being negative feels good to you, we do not want to take that away from you. But we do not have the time to undo the effect of being infected with contagious, negative, self-destructive, and complaining thoughts. Smiles and appreciation motivate us to accomplish more than we ever imagined. Consider yourself home - in a nice, well adjusted, fun, fruitful place!" -- The West Coast Performers Personal Managers Directory
And a big thank you to the artists on our books. We believe that we do have the cream of the crop and we are immensely proud of our artists. Thank you for all your hard work. Thank you for preparing some auditions at such short notice. Thank you for trying your best to book the job. Thanks for responding. Thanks for keeping the agency going. We are truly and utterly privileged to have you guys and girls with us.
Regards
APM
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