June 17, 2025 • 45 mins
In this episode of Take Fountain, talent manager Jess Canty sits down with seasoned publicist Melissa Berger to demystify the world of publicity for actors. What is a publicist, really? When do you need one? And how do they actually help build your career? We cover:
✔️ What a publicist does (and doesn’t do)
✔️ How publicists build buzz for actors, films, and brands
✔️ The difference between PR and marketing
✔️ When in your career to consider hiring a publicist
✔️ How branding and narrative impact casting and visibility
Whether you're new to the industry, looking to hire your first personal publicist or wanting to level up your PR game this episode is for you. #ActorAdvice #Publicist #PRForActors #MelissaBerger #TakeFountain #Branding #EntertainmentIndustry #CastingTips
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hi, I'm Jess Canty.
I am a talent manager here in Los Angeles,
and this is Cake Fountain.
On today's episode, we are very lucky
to have a special guest with us, Melissa Berger,
of Melissa Berger pr
and we're gonna be talking all about publicity.
So let's keep it simple. What is a publicist?
(00:22):
And that's a loaded question. Um, what is a publicist?
Um, I mean, I take that question
and I kind of, when someone asks me what is a publicist,
if I take a new meaning, there's a different ways
that you can describe a publicist.
Everyone that's a company, musician, actor, athlete, um,
even an organization, a film like independent film,
(00:42):
they usually have a publicist on staff
or they hire an outside firm.
And our responsibilities are basically to brand the person,
brand the content, brand, the organization.
And what I mean by brand is, I use the words brand
because I feel like everyone that I work with is a brand.
Mm-hmm. Um, and we create the narrative.
(01:03):
We create the buzz, we create the interviews, the features,
um, the opportunities that come with it,
with every single one of our clients.
So there's a, there's a lot of different things a,
a publicist does, or what is considered a publicist,
but if you wanna be generic,
it's basically when someone has a project
that's about to be released mm-hmm.
Um, we come into the fold
and we just start to create, um, a buzz around
(01:27):
that person, project or thing.
And for actors specifically, how do you go about kind
of creating that buzz?
A as far as an actor goes,
the first things first is do they have projects to promote?
Right. Um, that's the first thing that I ask. Is it a movie?
Is it a a film?
Is it someone that they're doing that's really cool?
Is there a human interest piece to them?
(01:47):
And so that way it creates a storyline that I can actually,
uh, put together and pitch out there to, you know, editors
or bookers or TV producers, um, to try to create,
like I said, the buzz around that person or project.
Um, usually when it comes to an actor,
you wanna start three months before the project comes out
(02:07):
because that's really important.
'cause we work on editorial time.
Definitely don't work on your time.
I wish we worked on our time. Doesn't happen.
So that way it gives us, it gives us more time
to create the brand.
Um, getting the pictures we need, doing the bios,
creating the pitches, talking to certain people.
So, and also like a calendar, it's like knowing
what other things are happening around that time
(02:30):
that their TV series is going to come out,
or their film's gonna come out.
If you have the Met Gala that's releasing that same week,
chances are getting that exposure.
You gotta start way in advance. Right.
To create, you know, that interview
or that piece about them.
This is a question I think I get a lot from actors who are
just starting out with hiring their first publicist.
Because quite often they'll be on a project
(02:52):
and the project will say,
we've got a publicist for the project.
You don't need to hire someone.
The best words ever, we've got it taken care of, of,
so can you talk a little bit about what the difference is
between someone who's the publicist for the project
and a personal publicist that you might bring on?
And then how you,
if you were the personal publicist brought on how you work
(03:12):
with the production and sort of what the value is mm-hmm.
Of bringing on a personal publicist, even when
the production is saying, no, no, no, don't worry about it.
I mean, the first thing that comes to mind is it's free,
you know, but it's kind of like one of those things,
like when I hear that, I'm like, well,
you pay you, you get what you pay for.
Sure. So, and,
and not to be completely grasp about,
(03:34):
it's like very transparent, um, is that it's great
that there is publicists a part of projects, some studios
and productions, there's
publicists everywhere that are in house.
Um, it could be a, a like a music artist,
like the music labels have publicists, right?
But what's their main focus?
Their main focus is actually the project doing really well,
getting butts in the seats,
(03:55):
and then probably the first two main actors
of the entire series or film.
And that's what they're probably
gonna do their own promotion with.
But also those two actors,
more than likely have their own personal publicis as well.
So, um, the responsibilities,
when you get one who's first starting out in the industry
and is like, should I get one, is
that it's not only the energy
(04:16):
and the intention that you're gonna get from an individual
person, but they're really gonna hone in
and focus on who you are as not only an actor,
but your craft and your other outside interests.
Because the way that I work is I like to create
buzz not only about the project that they're on
or their role or their character,
but I also like to compliment it
with the other things that make them numb.
(04:38):
So they like to cook
and I like to reach out to like good housekeeping
or something like that where they can
do like a recipe thing with them.
So when you get your own personal person,
you have your own personal person
and you know that they're gonna work hard
to get you these things that studios
and productions are probably not gonna pick
up a phone to do.
Sure. Because at the end of the day,
(04:59):
you're not their responsibility.
Yeah. That makes sense.
And how do you, so let's say someone does bring you on in
that case, how do you end up working with
that studio publicist mm-hmm.
In that scenario? Well, I, I, I like to think
that they all love to see us coming, um,
because they need probably a lot of help.
Yeah. Um, because they have not only that title,
(05:19):
but they probably have a hundred others
that are part of their branch Sure.
That they have to focus on. So, um, the relationships
that I have and the studio pr people that I know mm-hmm.
Is that they're like,
thank God someone else is coming on board
to help us with this project.
Because whether we like it
or not, if we're getting exposure for our person,
we're still getting exposure for the
actual project as well too.
(05:40):
So they welcome that factor. What is the best time at that?
An actor should start thinking about bringing on a
publicist, assuming they can afford to do it, they're ready,
they're ready to afford that expense and scary.
Right. Yeah. No, I mean, it's,
it's a great place to be in your career.
Yes. Right? Yes. Where that, where you can afford that.
And then how do you determine if you think an actor's ready?
(06:03):
I think that when a person is ready to, you know,
find the interest of a publicist to come onto their team,
obviously they talk to their manager
because that, that's the most important person.
Exactly. The team talk to your manager first, manager first,
um, and then have a conversation.
And at the end of the day, the manager
is more than likely gonna be like, this is a great time
(06:24):
for you to do this because you do wanna take this
opportunity in any project that you do that has feet
and legs, feet and legs, toes too.
Um, that you could create a buzz around yourself
to tap into a, a publicist.
Um, your other question was, uh, when if someone comes
to you and you, you are sort of evaluating Yeah.
(06:47):
That, how do, what are the things that you look for?
Um, I honestly, like when I get referrals or requests
or emails, um,
the first thing I do is I
wanna have a conversation with 'em.
Um, I'm always willing to take meetings,
phone conversations, zoom calls, um,
because I really wanna know what that project's about.
(07:08):
Who's the part of that project? Where's going, um,
when's the release date, when's the air date?
Is it going globally? Like, there's so many factors
that come along with picking up a publicist that
a good publicist is gonna sit there with you and talk to you
and be like, okay, there really is
something I can do for you.
And if there's not, I would hope that they would tell you
that there's not, yeah, I do that,
(07:30):
but I can't speak for anybody else.
This is why we have you here today.
I mean, I mean, as much as it would paying me to be like,
oh my God, I would love to add you to, to my family,
there's just, it's a like,
not a right time and not a right place.
Like, there's projects that you know,
that you can't do anything for and Right.
I would be lying to you
to take your money and it wouldn't be fair.
And, you know, it's all transparency and honesty
(07:52):
because people work hard to, to pay a publicist.
Yeah. So. Absolutely. Yeah. Absolutely.
So on that note, in 2025,
'cause I know a lot of things have changed in
the industry in the last five years.
What constitutes a promotable project for an actor?
So what makes a project promotable
and to get a publicist is there's a handful of things.
(08:13):
It could be the people in involved into the
production, the named actors.
It could be what studio is it coming from,
what streaming services it coming from, um, how many, like,
how many eyeballs do those people have?
And it's really sad to say because we're in 2025,
but it is a question.
And as a manager, I'm sure she hears it from her talent
going, I had to go to a casting
(08:34):
and they asked me how many social media followers I have.
So that's the world that we live in today.
But what constitutes someone for me to work with them,
there's a lot of different factors,
but there's, it just has to have legs underneath it.
There has to be something for me to gravitate to,
to hold onto, to be like, okay, it's coming out on Hulu,
or it's gonna be in the movie theaters worldwide, or,
or this actor with Al Pacinos coming out.
(08:56):
Like, that could be a way for me to do pr the role.
Like, how big is your role?
Like, it, I'm not saying you have to have the biggest role,
but does your role have something I can do with
to make a human interest pitch?
You know, like it's, it's kind of got buzz already, right?
Yeah. So that like, when the actor approaches you,
you may have actually already heard of the project.
(09:17):
Yes. Yeah. Just hearing about it.
'cause it could be under wraps. Sure. You know what I mean?
Um, and just hearing about it when I hear
that there's certain people attached to it, um,
or where it's going, or your role,
I honestly get really excited
'cause I know that I could do something with it.
Yeah. So I just need to feel that. Yeah.
For me to be able to be like,
let's go like, cool on my team.
(09:37):
Very cool. Yeah. What is something that an actor should look
for when they're hiring a publicist For the actor
or the athlete, or the personality
or the musician, whoever it is for them to choose,
like me or my company.
I, I do strongly feel it has to do with energy.
Um, understanding, transparency, honesty, um,
(10:02):
uh, and just like fire, you know what I mean?
Like, you can, I can sit down and do a meeting
and talk business and say, I've done this and I've done that
and I've gotten this and I've gotten that
and I've reed this and I ripped that.
But at the end of the day, it's like, it's all about
how you vibe, right?
It's all about you vibe.
And like, if we both get really good feelings
about each other, then great.
(10:22):
Like, yes. Am I gonna lie to you to say like a lot, some
of these actors who are green,
who are even even the known actors, get into a meeting
with someone like myself.
And I'm a smaller boutique agency,
but I have 14 years underneath my belt, right.
With a retention rate
that is like almost at a hundred percent,
there's something going right about myself and my company.
So does that outweigh the bigger agencies with who they rep?
(10:48):
I would like to think so, but in this
world it doesn't sometimes.
Right? So it's, it's all about them.
It's just all about them and just the,
the chemistry between each.
'cause I already have the background in it
and I already have like, the evidence Right.
And the, the paperwork and everything to go with it.
So, because it ends up becoming a very close relationship.
Yeah. Or it can, right.
So like I, you know, I mean, we say this all the time that,
(11:10):
you know, when you're choosing an agent
or a manager, it's kind of the same thing.
Mm-hmm. Right? There's a lot of us
that all do very similar things.
We've all got resumes and great client lists.
And so it really is who believes in you mm-hmm.
And your brand and
what you're putting out in the world the most.
Right. And, and another thing is
who gets along with your team?
(11:31):
Yeah. Because that'ss another important thing,
the relationship you have with your manager especially.
Yeah. Is it a good, is it a good relationship? You know?
Um, and everything in a PR is never guaranteed.
So like it's to be able to have that,
that transparent conversation with your client, um,
all my clients, like, I might have a small, small, like,
medium sized roster, but I, I,
(11:53):
like, I see them all as family.
So it's like, do I know that I'm not gonna, like,
they're not gonna be active all the time.
Of course not. But when they are, they come back
and like, that's our biggest goal
of my company is retention.
'cause I wanna be able to do a really great job,
but I also wanna make them feel like they can always like,
call me if they need anything.
And then also like when there's projects
to be had they come back to me.
(12:14):
Yeah. I love that. It's come up a little bit already,
but social media, oh gosh.
Actors in social media specifically social media, right?
So, you know, is it necessary for actors to
be on social media and self promote from,
from a publicity perspective.
Mm-hmm. And you know, what, how, what are sort of some
(12:35):
of the best examples
of people using social media to their advantage?
And what would be your kind of top three mistakes
that you've seen that people do?
Okay, well, I'm gonna first give you a disclaimer.
I'm not a social media. Sure.
Um, what, what do they call them? Like Yeah, yeah.
I have that part of my company. Yeah.
There's social media manager specifically. Yeah.
So I am not a social media manager,
(12:56):
so I cannot guide you Right.
Like specifically on this.
But what I can do is I, I can give you a little bit
of advice and some information
because I still kind of dabble in the social media world
because like, if we're gonna be doing promotion on projects
or people, I always tell my clients it's considered the
bible of your career in the world of editorial.
(13:20):
Um, I would like to tell you
that social media isn't a big presence for them, but it is.
Sure. Um, they go right
to your page and they look at the numbers.
Um, and they can kind of override
that if you don't have a strong following just based on the
project or who your publicist is and all that stuff.
But they also will go to it,
and it's like me going like, oh, my actor is a chef,
(13:43):
or My actor likes a dog.
Like she owns a dog.
They're gonna go right to that page
to see if that's actually true.
And if you don't have any pictures
or social media on that particular thing,
they're gonna be like, oh, well no,
we don't have to do a feature with you on that.
Interesting. So social media plays a,
it plays an important part to a certain extent,
(14:04):
but I'm very old fashioned with it.
I'm very old fashioned with it.
I still believe in traditional media.
I still believe in pitching great stories, interviews,
and features, which we've become very successful at.
Do I know that social media exists? Absolutely.
Do I know that it's important? Absolutely.
Do I know that you can use it for your projects Absolutely.
(14:25):
And to try to get you like, even, even in fashion. Sure.
It's everywhere. To answer your question,
social media is an important aspect of an actor,
a personality, a project, the mistakes for social media,
that's not for me to say
because I don't like to control that side of my talent.
Mm-hmm. Because they use that as, some
of 'em use it as a form of expression.
(14:46):
Sure. Right. Um, what I will do is try to guide them to say,
Hey, if there's some conflict going on somewhere,
it can be heightened in the news.
Maybe staying away from your opinion on
that particular subject off of social media.
Mm-hmm. You know, like Yeah.
Certain guidance like that,
because social media can ruin a feature interview,
(15:10):
a project a, a role, a deal.
Yeah. We, we guide them a lot on like,
what could be good, what could be bad.
Sometimes some of this talent, like they ask us Yeah.
They're just like, do you think this is okay?
And that's the type of
relationship I like to have with my people.
Sure. Because they can come to me
with like those types of questions.
Yeah. But if they make a decision and click that button
(15:30):
and go, that's their decision to make.
Right. So. Right.
With social media, with brand partnerships,
one important thing that I always tell my clients is, is
that you have to pay attention to what you promote
or put your name behind mm-hmm.
With a brand, because it's a conflict of interest.
If you use your social media, your stories, your IG pages,
(15:52):
your tiktoks, whatever it is,
and you're promoting a brand that's not paying you,
that can ruin other opportunities down the line
with a brand in that demographic.
Sure. So that's another rule that I kind of tell them, like,
you, you're, you're worth money.
Yeah. Don't think people can get you for free. Yeah.
So just be careful on what you post. Similar to that.
(16:14):
But I remember listening to an interview with Samuel Jackson
and he was talking about how when people come up
to him in the street, if they want a selfie with him,
he's more than happy to take a selfie,
but he will not, will not sign,
he won't let people do video.
Oh. Because make he use it. No.
Well, because he gets paid millions of dollars
to be on video.
(16:36):
On video. And so that's that thing of like understanding
what you're worth is and where it is.
Right. Right. He's like, I'm not a print model,
so I'm fine if people take static photos,
but you can't videotape.
Right. And you also have to pay attention to your brand.
Right. Like, it's, it's one of those things that like,
if you want, um, a deal with covergirl, like
why are you gonna do a brand that's gonna pay you $500
(16:58):
to post something?
Like you just took yourself off the market.
And then you have to look at like,
who else has been involved in this brand partnership?
What, what other talent?
So a a lot of brand awareness is really big for, for me
and my company, because we, we think all
of our people are at the highest brand that they can be.
Yeah. Um, and if they're not there yet,
we build them to be at that point.
(17:18):
Yeah. So, yeah.
I mean, good times with the brand partnerships,
it's like, it's a fun time.
It's a whole other world.
And that's why Anthony
and I wanted to do a video on publicity today specifically,
because it really is this separate part
of someone's career
that agents don't really cover no managers.
(17:39):
I cover it in the sense that I know good publicists
and I know how to introduce my clients to them,
and I am copied on the emails.
Yes. Right? Yes. But, but I don't have those connections.
I don't have those relationships with the studios
and the PR people from the projects and things like that.
Nor do I have relationships with all of the outlets.
Well, also, like in studios, um, studios will like,
(18:02):
have brands a part of like their, their company
or projects, whatever it is.
And so they sometimes use it where they're like, oh,
we have this talent coming through,
and of course we're gonna like brand,
and then I'll step in or you step in.
Right. I'm like, no, you're not. Right.
Like, they're not gonna hold up that product.
They're not gonna take a picture,
they're not gonna tag them.
Are they paying them to do this? Right.
(18:22):
And if they're not, then I'm sorry.
Like, we have a conflict of interest.
We have a brand to uphold.
Like, there's a lot of different ways that, that, uh, they,
they kind of maneuver their way through things like that.
Yeah. And, um, and in my company, all I could speak is
for ourselves is that like I'm,
I don't wanna say I'm a**l about that,
but I'm very aware Sure.
Of that type of stuff.
(18:43):
Well, and it's great for a manager
to have someone like you on the team
because you're then paying attention to all of that.
Yeah. So that we can continue paying it, paying attention
to like the 360 degree Right.
View of the career or the bird's eye view of the career.
And then your agent can keep trying to get you the next job.
Right. And the other thing too is I'm gonna call
(19:04):
these guys out, but I love them.
I love the pop. Like back in the day I started when
paparazzi was all in the streets.
Like we loved all the paparazzi. It was funny. Mm-hmm.
Um, but the one I'm gonna call 'em, they're gonna hate me.
It's just don't hate me.
But a little thing that I was always taught when I was like
a little, a little assistant is that, um, the white papers,
you know, the white papers are on the street.
Mm-hmm. And the people are always like,
they come outta a movie, the premiere
(19:25):
and Oh, hey, can you sign?
Can you sign? And it's just like, it's like white paper.
I'm always like, you're not gonna sign that.
Because what a lot of people don't understand is,
even though it doesn't mean anything
to like the bigger actors, they'll take that signature
and they'll print it and they'll put it on a ton of pictures
or merch or whatever it is Wow.
And sell it. Wow. Without you getting the percentage of it.
(19:45):
Yeah. That's so yeah.
That's all little, they're gonna hate me.
All these little things. All these little things with,
with having an expert, another expert on your team.
So when an actor brings on a publicist for the first time,
what kind of things, let's say that they're in, you know,
a big studio movie that's got, you know,
a huge leading actor in it, this is sort
(20:06):
of their first like, really, really big job.
Mm. They have a couple
of scenes across someone like an Al Pacino
or, you know, a Brad Pitt or, or George Clooney,
or, I thought that you were gonna say Richard Ge from soa.
I don't know why that his name came to my head.
His name just concentrate. Richard ge.
Um, so what can someone expect?
They've never had publicity before. Mm-hmm.
(20:28):
You know, what does that three months leading up
to the premiere of that project look like for them in terms
of what they're going to be doing with you?
What it looks like is technically a lot of attention.
Um, you're gonna get brainstorming,
you're gonna get creative with it.
Um, you're gonna get, are your PR pictures done?
Do you have your bio set?
(20:49):
Um, do you have, we had to create your pitch.
I need to know more about you. It's getting to know you,
who you are in the first like month.
And then you literally start to take this,
create this pitch that I create.
And instead of putting on a blast upon like a software
that has all the editors, I reach out to every single one
of my relationships individually that, that fit this talent.
Mm-hmm. And I pitch,
(21:10):
and when I, when I pitch, that means features, interviews,
profiles, um, TV spots.
It could be morning shows or whatever it is.
So it's basically getting to work
and just going and going and going.
And then on top of that, you'll have like your events
that you go to, and then you'll communicate with the studio
or the network to see what kind of like BTS they can do.
(21:32):
Um, what does the premier look like? Where is it at?
Like, does she have a, does he
or she have a budget for a glam?
Is there a car service? How many tickets to the premier go?
Then you go to the premiere
and you walk 'em down the carpet,
make sure everything is great.
There might be a screener, there might be like a press it,
like there's, there's just a lot of things
that go into it in those three months.
Um, and then the project comes out. Mm-hmm.
(21:53):
Um, depending on where the project is
and how long it lasts, let's say it does really well.
It's blows up in theaters
and so close international, they're gonna Yeah.
That goes international. They're gonna extend Yeah.
Their work with you for another couple of months. Love that.
I love hearing that. We all have that. Love that.
We love that for the industry too.
We love that for the industry. We want more.
They probably don't like it for their pocket then,
but we like it for the industry.
Um, so that it just continues. Yeah.
(22:14):
So pretty much what happens is if it goes international, um,
or globally mm-hmm.
Um, it, it, it just, that press
and those, the me being there just goes.
So like I, they have to understand too is
that when you have a publicist, like they're, you're kind
of like your right-handed person next to your manager.
Yeah. So they take care of you when it comes to like,
(22:36):
the middleman between the media at the premier
or at an interview or international or at a different state.
Sure. Um, but obviously depending on your role
and where you go, like how you get accommodated for that,
for us to go is through the studio.
Right. And if not, they have to pay for it.
Sadly, we can get to that later.
What are some of the costs, not only the public,
(22:57):
the publicist's fee, but you mentioned like glam
and travel and things like that.
I mean, do I, do you wanna know the number
or do you just want me give you like a range?
I think, I mean, yeah. Okay. We can, I'm trying.
I think it, because we, part of
what we wanna do on this channel is really have people
understand their careers as a business.
(23:18):
Mm-hmm. Right? Mm-hmm. And so we talk a lot. Yeah.
We talk a lot about when you are an actor, you're choosing
to be the CEO of a creative business.
Mm-hmm. And bringing on a publicist,
just like bringing on a manager
or bringing on an agent is an expense that you decide
to invest in mm-hmm.
For your business. And so, like I said,
(23:39):
in this hypothetical scenario, we're talking about,
you know, everyone's determined that it's time
for the person to make this investment, make a move,
but what does that investment look like in this scenario?
They could throw up. I'm just kidding.
Because like, you know, well, yeah.
Because, you know, for the most part at this point,
they haven't actually paid out of pocket
(24:00):
for anyone on their team.
Right. They're paying a percentage percentage,
which is technically outta your pocket.
It is. But I think it feels different.
It feels different because that's, that's an interesting,
I love that you said that because I try to explain that
to a lot of people.
It's like, we're a retainer per month. Right.
Um, but your managers agents take percentages, uh, out
(24:20):
of all the projects you do.
So we just get paid one lump sum a month.
So it kind of evens itself out, but Sure.
It kind of, it just, it just looks different. Yeah, it does.
Yeah. It, it feels more comfortable
to do this way rather than us.
I get it. I get it. Um, so in terms of the price point, uh,
when you hire a publicist, everybody's different.
Um, is the price point a lot more now than it was
(24:42):
be pre-strike?
Absolutely. Mm-hmm. Pre COVID. Absolutely.
Um, so I would be lying to you to tell you that a lot
of PR firms are pretty darn expensive at this at this point.
We like to work with talent on their budgets. Mm-hmm.
Not saying we're devaluing ourselves. Sure.
'cause we do a damn good job at what we do,
and we have the same relationships as these bigger firms do.
(25:03):
We're just a smaller entity, um,
with a big, with a big bite.
So we, we technically like to base ours
per month around, I mean, someone who's green, probably
around the 3,500 mm-hmm.
Mark, maybe a little higher, but around there.
Um, and then it scales up. Sure.
(25:23):
So if it's a known actor has a couple projects,
you're not gonna get that quote.
Right. So, um, I just think it's based on
each firm, each person.
Um, and I like to work with people, so I think it's really,
I, I don't, I don't know if like someone comes to me
and says like, I only have a budget of like $4,000
to do something with for this project.
And I'm like, I really like you,
(25:44):
like I really wanna help you.
I'd be able to like figure out a negotiation with you.
Right. And that's the advantage of owning your own stuff.
Yeah. I know.
But, but like, I don't want this to get out there
to be like, oh my God, like she's so cheap.
But it's like, no, no, no, no.
But it's, it's, um, it, it's, I find
that even though I know I'm valued at the level of a, a firm
(26:06):
that charges a ton more than I do, I, I don't know.
Like, I just like to work with people.
I love to like, make them happy and successful.
And if I could have any hand in that at a, at a rate
that I'm comfortable with mm-hmm.
I'm okay with, then it's, and especially again, it's
for you, it's an investment in them early.
(26:26):
Yeah. And because you're so focused on retention
and people coming back Yes.
You know, that that's sort of, that is kind
of riding the line between the agent manager game.
Right. That's why we agree to work for 10% or 15%
because we're sort of making an investment that all of
that hard work upfront is going to pay off Yeah.
(26:46):
Much later. Yeah. Right.
And, and like, not for whatever,
but I do have clients that pay at a base rate
and I do have clients who pay at a top rate.
Right. So it all just ranges. Sure.
I'm not saying like, I just charge people that base Yeah.
And we're done. Yeah. And what is a top rate,
like in general again?
Oh. And um, like what does that look like, you know, at some
of the bigger firms or, you know, I feel like a lot
(27:08):
of them quote around the 5, 6, 7 mark mm-hmm.
Um, five to seven mark, and that's monthly.
And they prob and five would probably be considered a deal.
It's like you're at a big firm, right.
Um, and that's monthly. Yeah.
So it's usually monthly and I can't
speak on the negotiations.
No, of course. Like if it's three
months, six months, a year.
Sure, sure. Um, but also like a, a, an actor
(27:29):
and a talent is different, uh, a different rate than like,
say an athlete is, or a musician Sure.
Or a film or organization. Everyone's rated differently.
If you're a brand, like, you're probably starting
to base it like $10,000.
Right. So it's, everything is just, it's just different.
Yeah. It just ranges differently. Everything's negotiable.
Everything's negotiable.
Like, we always say everything's negotiable. Yes.
(27:51):
But don't come at me with $1,500 because, well, because,
but then there's the side of it where at some level,
if someone is sort of, if someone is kind of willing
to do, you know, two months of PR for $1,500,
that goes back to that.
You get what you pay for. Do you get what you pay for?
(28:11):
So you touched on this a bit,
but in general, like, do you have a minimum in terms
of the number of months someone has to mm-hmm.
Sign up for? Or are you working kind of, you know,
you said like sometimes you work per project,
and again, this is all moving parts, right?
Moving parts. Yeah. Yeah. I would prefer a three
month agreement.
Like that's the base. Yeah.
Um, then it goes month to month
after that with a third day out, they'll listen.
Like if there's a project that comes out
(28:33):
and that third month, you literally have that whole month
to like finish your work.
And that's it. Like I, I would be,
I would not feel right if I like charged someone a fourth
month and there's nothing to do.
Right. So, but the other thing too is that like,
it can I do stuff in two months?
Sure. One month comes along, I'm like, oh lord,
(28:53):
that is gonna be a challenge.
Two months is a, is a good enough time.
But I just have like, to be honest
and transparent with everyone, how hard it could be
to get something from that.
Right. Because that sort of, in that scenario,
you're probably not gonna get anything print.
Right. The no print print is
like non-existent at this point.
Yeah. Like, I mean, if you get print, congratulations,
(29:15):
um, everything is digital.
Yeah. Um, but you still like, think about it though,
like these, these editors are working
on their time, so Right.
There could be other stuff happening around that,
that they're just like, I have no time to watch a screener.
I have no time to do this. Right.
But also, like TV shows, morning shows they,
they're booking like two or three months out.
Right. So, but I, I don't wanna like, you know,
(29:35):
discourage people into doing that
because I've done a lot of projects with two months before.
Right. And they've, they've gotten stuff
that is pretty darn good.
What are some of the kind of mistakes you see in general
that actors make in terms of publicity?
Whether it's not bringing it on soon enough
or missing opportunities
or, you know, like how do you
(29:56):
I mean, I have a pet peeve.
Okay. It's, it's, it, it's one pet peeve
and I, I don't know who to blame.
I don't know if it's the talent or the team or what. Yeah.
But the, the biggest pet peeve for myself
as a publicist is when I hear
the reaction from a talent, it could be a team member,
(30:17):
it could be the talent that if they're part of a, a,
a series and they're like, oh,
we're just gonna write out the first season
and go without a publicist
and take on their network publicist.
Mm-hmm. And you're an ensemble cast and they wanna do that
because they don't know how well the show's gonna do.
Sure. For a season two. And then they'll come back
(30:37):
and be like, season two though.
But what people don't understand is
that this is your opportunity to compliment you, your craft.
And you as an actor, when you get this first,
you already know there's a first season,
so why are you complimenting it?
So that, that's a pet peeve is when they're guided
to not bring on a publicist in the first season of a show.
(30:59):
Yeah. That makes sense.
Well, and 'cause I would assume that editors
and things are maybe not necessarily going to be
as excited about a second season.
Right. It just depends on how well the show does. Of course.
Um, but also like, when you're part, like,
especially if you're a part of ensemble cast in the first
season, you wanna stand out, right.
(31:19):
Because you also wanna come back for season two. Right.
Yeah, that's true. So like, a lot of, a lot of shows, like,
if you can get exposure mm-hmm.
For them, they're gonna like you so much more. Right.
To your point about kind of standing out,
having a publicist help you stand out in an ensemble cast,
whether it's in a TV season
(31:40):
or potentially some films, I think can work this way.
You know, I've definitely heard of actors
and say things like, oh,
but I don't wanna take, you know,
thunder away from the project.
I don't wanna, almost like,
they don't wanna stand out too much.
And so if the project's a little buzzy, they, I mean, to me
(32:00):
as a manager, you know,
I know these days these opportunities
for publicity are fewer
and further between in the beginning of someone's career.
Mm-hmm. And you know,
but I can only make the suggestion that it's time
to bring on a publicist.
I I totally hear you on your pet peeve in terms
of, it's similar to that.
Right. It's like, oh, I'll just wait till next season,
(32:21):
or it's, uh, it's ridiculous.
Yeah. It's just absolutely ridiculous.
It's, it's an opportunity for yourself. Right.
Nobody else yourself. This is all about you. Yeah.
So I think if you walk into the situation knowing
that you're a little cautious of that,
just walk with grace with it.
Mm-hmm. But all you can do is walk with grace,
(32:42):
advance your career as much as you can,
take this opportunity to shine and be okay with it.
Right. And I assume someone could express if they're,
if they're hesitant about that,
and let's say a manager like me says just
me with the publicist.
Mm-hmm. You know, you don't have
to hire them, but just meet with them.
I assume that they can say like, Hey,
(33:03):
I'm a little worried about overshadowing this, or, you know,
and you can build a pitch with that in mind.
Right. Well, why would someone, like,
why would someone be fearful about overshadowing somebody?
It makes no sense. Yeah.
Like, I'm just being real, like it makes, it makes no sense.
Like you're in an industry where people are fighting
to be the center of attention and everything that they do.
(33:25):
Right. I think there's a ton of actors who are
extroverted introverts, right?
Yeah. So they, they can be extroverted
in a role, but in their own lives.
And so it's really hard for them to go from
playing a character to having
(33:46):
to be themselves like the self-promotion aspect of it.
And they probably don't wanna feel like they're taking
advantage of anyone or anything Yes.
In this project. Yeah. Because they probably had the still
of fear in them somewhere.
Yeah. And, or it's like maybe, you know,
maybe it's a project where the, their role is sort
of getting more buzz than a lead
(34:07):
or something like that, you know what I mean?
And so, I mean, that's all for their work.
I mean, I, I mean they hired 'em to do a job, right? Mm-hmm.
And they're doing it well. So I think
that if there's some form of wall up
or there's hesitant for some reason, you can talk to them
and then create a pitch like you said mm-hmm.
(34:27):
About what makes them feel comfortable. Sure.
So I'm not saying I'm gonna take them
and throw it on the wall to see what sticks.
I'm saying like, let's kind of organize
and structure conversations in the media
that you feel comfortable with
that won't ruffle feathers according to what you said,
because I'm not about like, overriding people how they feel.
Sure. So it's just like, how do I compliment how they feel?
(34:50):
Right. And show them that it's okay to do A, B, C, and D.
Yeah. You know? Yeah. A lot of times you kind
of will look at a career of an actor that is super talented
and you look at another actor that's super talented
and very well known.
And I wonder sometimes if the difference there is the
(35:14):
wrapping their head around the self-promotion.
I mean, do you feel like that's, I mean, that's kind of
what, can you do it if think about the doctors
who are a big now probably did that
at one point in their life too.
Right? Right. So I think it's, it's how you, how you do it.
The industry that we're in is so competitive
and people are just gonna do what they're gonna do.
So that's why I keep saying like,
it's all about the grace you walk with.
There's not as many opportunities, like, you know,
(35:36):
shows are now eight episodes mm-hmm.
Not 24 episodes. Right.
So like, if you're on a buzzy show, your opportunity
for being in the conversation
is not gonna last the entire year.
It's gonna be if it's a bingeable show. Yeah.
Like if they're not releasing it once every, you know,
once every week for eight weeks if it just drops mm-hmm.
(35:59):
Like that compresses that.
And so taking advantage of those scenarios
when you are on those buzzy shows, it could be another year
and a half or two before you have that opportunity again.
Yeah. And they're, and they're gonna also,
like these actors are also gonna get on red carpets,
these questions about how was it like working
with this person?
How was it like working with this person, like nonstop?
(36:21):
So I mean, if they don't like talking about working
with them on the carpet, then I would say to 'em like, then
how are you good with doing a c and d?
Yeah. Then, you know what I mean? Yeah.
So it's kinda like a give or take situation in terms of sort
of what actors need to have ready for a publicist
or if they don't have it ready yet, you know,
how is editorial different than headshot?
(36:43):
PR shots is what we call 'em. They're lifestyle shots.
So it's basically, if you don't have those, we have
to get you set up with one.
And let me tell you, like, there's a lot
of people out here that'll say, like,
it costs a ton of money to do those shots.
It doesn't, it doesn't,
you don't need technically a stylist for that stuff.
You can go into your own closet
and put pieces together to get like three
(37:04):
to five looks that you need.
Uh, a photographer might be the outstanding cost of it.
Try to get a photographer that you work with.
But in LA we all know a photographer
that will probably do it for free anyways.
'cause you're gonna get those pictures placed. Sure.
Um, not saying people should work for free. Right.
I'm just saying like, there's a way around it.
So like that the cost of it is not as expensive
and maybe what you're hearing from other public
(37:26):
and like, again, if you're just starting
to build your portfolio Yeah.
It's like getting that first good set of head shots,
but you do need to do a different shoot.
Yeah. It's about, it's about three to five different looks.
Yeah. Um, it kind of goes light
and then it goes darker, which means, you know,
you can do jeans in the top
and then it goes into like a suit pant of something,
and then it goes into a dress or it goes into heels.
(37:48):
Like, it's like, they're basically like lifestyle shots.
When you think, think of like GQ meets Allure meets
Cosmo meets like deadline.
Mm-hmm. So you have to kinda get these shots
and create these pictures.
Right. That will attract those editors
because like a, a look in GQ is
so different than a look in Vogue.
Right. You know what I mean? Not
saying people are gonna get vogue all the time.
(38:09):
I'm just saying like contrast them. Yeah.
If a studio or a network isn't going to pay
for plus one mm-hmm.
Um, which the talent always chooses who goes with them.
Not saying you choose the publicist,
but, um, a lot of you should take your public,
you should take your publicist, you
should take your publicist.
We get accommodated four by that studio.
So that's why we always say with the managers
(38:29):
and the agents, like just see if they get a plus one.
Um, because that way we're accommodated four
where we gotta travel to.
Uh, the second thing is, um, hair and makeup grooming.
Um, try to get that into the contracts as well.
Whatever you're doing so that they pay for it.
Car service, same thing. Sure.
But if they don't, if they don't,
and I come across this a lot with a lot of my clients
(38:49):
who I've had for over 10 years, is that some
of 'em won't even go to anything unless I'm there.
So if I had to go to New York for a press run with them, um,
and the studio, they're not paying for it.
It's their responsibility to put me up Gotcha.
And get me there. That makes sense.
Nuts and bolts of you show up at a premier,
what are you doing on that red carpet for that client?
(39:09):
How, how is deciding to bring your publicist,
is your plus one a good idea in that scenario?
I mean, I'm not gonna lie to you.
There's, there's times where you don't even need a plus one
take the publicist, they just show up.
Uh, true. Yeah. That's true.
I mean, and then that, that I would argue
bring your agents or manager.
Yes. Because yes, at the
after party, so much business is done.
(39:31):
Business, you're there for business and you want Yeah.
You're there for business. Yeah. And
that's a the other thing too is that like I, some people
that I've worked with actually, they're just like,
you're coming with me because it gets them out
of a bind to invite somebody.
What's gonna happen is I'm gonna, I'm gonna show up early,
gonna make sure all your tickets are squared away.
I'm gonna see who's on the red carpet.
I'm gonna introduce myself to me, introduce myself
(39:52):
to gonna get you part of the group pictures,
gonna get you part of like the roaming photographers.
And then I just slowly take you down the carpet
and I'm standing right next to you
to make sure they don't ask you anything crazy.
But sometimes there can be awkward questions, right.
Like, I have a client that was playing a mom in this project
and was asked, you know, what did you use from your own life
(40:14):
to play this character?
And she doesn't have kids. Oh no. Right.
And so like, there it is, it can be really helpful Right.
To have the publicist sort of, but that, that's actually it.
I'm glad you bring this up because we also prep you Right.
Um, before any interview,
it doesn't even have to be before an event.
Um, if you're gonna do an interview on the phone,
zoom in person, whatever it is, we,
(40:35):
we make sure we prep you.
Um, a lot of people are like,
can we get questions beforehand?
No, they don't do that anymore. Mm-hmm.
Unless you're like Rihanna,
they're not doing that for you no more.
Right. So you have to learn how to, you know,
navigate those questions.
Mm-hmm. Um, and it's also like a comfort level for a lot
of clients of mine that like knowing
that like I am next to them on the carpet.
(40:56):
Yeah. Um, and I'm overhearing what they're asking. Yeah.
Um, they just find it very comforting that I'm there
because I will step in at some point if,
if I know it makes 'em feel really uncomfortable.
But I try not to do that
because my clients are usually prepped for anything
that they Right.
Get asked. Sure. And had to maneuver away from it.
(41:17):
And, and I will say she did have her publicist there.
She had been prepped, and so she was able to kind
of pivot and she probably did a good job.
She did. Yeah. But it's one of those things
where like even something seemingly innocuous
that they would assume that a woman
of a certain age just had kids.
Right. Like and the, the reporter would never Yeah.
It wasn't, they were, they weren't like
trying ly to do something.
Yeah. Yeah. So, and it's always, it's always really cool.
(41:39):
Another little, little thing about a red carpet
and that, it's always
one thing someone taught me when I was like a little one is
that, um, besides the assistance that you grow up with,
they're gonna be owners of their own company
at some point as well.
So the relationships are really strong to keep.
The other thing is too, is the people behind the red rope,
treat them with kindness.
(42:00):
Because even if your person is not a known actor,
they're gonna make them feel so special
if they like your publicist Yeah.
Treat people that they wanna be treated on the carpets,
photographers, interviewers, workers, PAs, whatever it is.
Um, and that's something I was taught early on. Yeah.
And I, I mean, that's true
everywhere in this business, right?
(42:20):
Right. Your reputation precedes you
and people wanna work
with people who they like working with.
And, but I think that's really good to understand that
again, yes, A premier is fun.
It's a celebration, but it is work.
And that red carpet is, you know, you are at work
and there are actors who are really, really good at that.
(42:40):
Yeah. And it's helped their careers immensely.
So anything, anything.
And I think we talked about a lot
and we did talk about a lot de a lot, but anything we missed
or just any sort of general parting advice for, for actors
who are thinking about getting publicity?
I just remember when I was, again,
a little one growing up in this industry, I,
I found myself getting super frustrated when I was like
(43:01):
maybe five, six years in
because I would take a lot of meetings, but I would lose out
because I'm not a massive firm.
Right. So as time grew on and I, and became more established
and I got over that whole thing, it's one of those things
that like give the smaller guys a chance.
(43:21):
That's totally the best advice I can give you. Yeah.
Um, because we come from that world.
Like we come from the big firm world and just
because smaller firms, medium sized firms, boutiques
don't have the roster size of like a big firm,
a majority of us.
That's why choice. Right. So you have all the same contacts.
(43:44):
We same contacts.
It got to a point earlier on in my career
where it does get super frustrating
and I, I really wish sometimes the name
doesn't override the work
goes with anything in the industry.
Right. Give the smaller guys a chance. Yeah.
Because what actors need to realize is
that we come from the world of the big companies.
(44:05):
Sure. Well, and it again, just back to
what we were talking about at the top of picking the person,
and this goes for agents, managers, publicists, lawyers,
picking your team in your acting business of the people
that truly believe that are like you,
believe are gonna go to the map for you.
Mm-hmm. And so having people that really,
truly believe in you actually does supersede
(44:29):
a big name on, in a fancy office in Century City.
Right? Yes. As long as you know that there's a person next
to you that's, you know, a ride or die Yeah.
And believes in you wholeheartedly,
you're set up for success.
I love it. Well, thank you so much
for being here today, sharing that.
Give a hug. Yes. Let's hug. I love it.
Um, that's like all you view.
(44:50):
If you got value out of this episode, give us a, like,
subscribe and we'll see.
Hi, I'm Jess Canty.
I am a talent manager here in Los Angeles,
and this is Cake Fountain.
On today's episode, we are very lucky
to have a special guest with us, Melissa Berger,
of Melissa Berger pr
and we're gonna be talking all about publicity.
So let's keep it simple. What is a publicist?
(00:22):
And that's a loaded question. Um, what is a publicist?
Um, I mean, I take that question
and I kind of, when someone asks me what is a publicist,
if I take a new meaning, there's a different ways
that you can describe a publicist.
Everyone that's a company, musician, actor, athlete, um,
even an organization, a film like independent film,
(00:42):
they usually have a publicist on staff
or they hire an outside firm.
And our responsibilities are basically to brand the person,
brand the content, brand, the organization.
And what I mean by brand is, I use the words brand
because I feel like everyone that I work with is a brand.
Mm-hmm. Um, and we create the narrative.
(01:03):
We create the buzz, we create the interviews, the features,
um, the opportunities that come with it,
with every single one of our clients.
So there's a, there's a lot of different things a,
a publicist does, or what is considered a publicist,
but if you wanna be generic,
it's basically when someone has a project
that's about to be released mm-hmm.
Um, we come into the fold
and we just start to create, um, a buzz around
(01:27):
that person, project or thing.
And for actors specifically, how do you go about kind
of creating that buzz?
A as far as an actor goes,
the first things first is do they have projects to promote?
Right. Um, that's the first thing that I ask. Is it a movie?
Is it a a film?
Is it someone that they're doing that's really cool?
Is there a human interest piece to them?
(01:47):
And so that way it creates a storyline that I can actually,
uh, put together and pitch out there to, you know, editors
or bookers or TV producers, um, to try to create,
like I said, the buzz around that person or project.
Um, usually when it comes to an actor,
you wanna start three months before the project comes out
(02:07):
because that's really important.
'cause we work on editorial time.
Definitely don't work on your time.
I wish we worked on our time. Doesn't happen.
So that way it gives us, it gives us more time
to create the brand.
Um, getting the pictures we need, doing the bios,
creating the pitches, talking to certain people.
So, and also like a calendar, it's like knowing
what other things are happening around that time
(02:30):
that their TV series is going to come out,
or their film's gonna come out.
If you have the Met Gala that's releasing that same week,
chances are getting that exposure.
You gotta start way in advance. Right.
To create, you know, that interview
or that piece about them.
This is a question I think I get a lot from actors who are
just starting out with hiring their first publicist.
Because quite often they'll be on a project
(02:52):
and the project will say,
we've got a publicist for the project.
You don't need to hire someone.
The best words ever, we've got it taken care of, of,
so can you talk a little bit about what the difference is
between someone who's the publicist for the project
and a personal publicist that you might bring on?
And then how you,
if you were the personal publicist brought on how you work
(03:12):
with the production and sort of what the value is mm-hmm.
Of bringing on a personal publicist, even when
the production is saying, no, no, no, don't worry about it.
I mean, the first thing that comes to mind is it's free,
you know, but it's kind of like one of those things,
like when I hear that, I'm like, well,
you pay you, you get what you pay for.
Sure. So, and,
and not to be completely grasp about,
(03:34):
it's like very transparent, um, is that it's great
that there is publicists a part of projects, some studios
and productions, there's
publicists everywhere that are in house.
Um, it could be a, a like a music artist,
like the music labels have publicists, right?
But what's their main focus?
Their main focus is actually the project doing really well,
getting butts in the seats,
(03:55):
and then probably the first two main actors
of the entire series or film.
And that's what they're probably
gonna do their own promotion with.
But also those two actors,
more than likely have their own personal publicis as well.
So, um, the responsibilities,
when you get one who's first starting out in the industry
and is like, should I get one, is
that it's not only the energy
(04:16):
and the intention that you're gonna get from an individual
person, but they're really gonna hone in
and focus on who you are as not only an actor,
but your craft and your other outside interests.
Because the way that I work is I like to create
buzz not only about the project that they're on
or their role or their character,
but I also like to compliment it
with the other things that make them numb.
(04:38):
So they like to cook
and I like to reach out to like good housekeeping
or something like that where they can
do like a recipe thing with them.
So when you get your own personal person,
you have your own personal person
and you know that they're gonna work hard
to get you these things that studios
and productions are probably not gonna pick
up a phone to do.
Sure. Because at the end of the day,
(04:59):
you're not their responsibility.
Yeah. That makes sense.
And how do you, so let's say someone does bring you on in
that case, how do you end up working with
that studio publicist mm-hmm.
In that scenario? Well, I, I, I like to think
that they all love to see us coming, um,
because they need probably a lot of help.
Yeah. Um, because they have not only that title,
(05:19):
but they probably have a hundred others
that are part of their branch Sure.
That they have to focus on. So, um, the relationships
that I have and the studio pr people that I know mm-hmm.
Is that they're like,
thank God someone else is coming on board
to help us with this project.
Because whether we like it
or not, if we're getting exposure for our person,
we're still getting exposure for the
actual project as well too.
(05:40):
So they welcome that factor. What is the best time at that?
An actor should start thinking about bringing on a
publicist, assuming they can afford to do it, they're ready,
they're ready to afford that expense and scary.
Right. Yeah. No, I mean, it's,
it's a great place to be in your career.
Yes. Right? Yes. Where that, where you can afford that.
And then how do you determine if you think an actor's ready?
(06:03):
I think that when a person is ready to, you know,
find the interest of a publicist to come onto their team,
obviously they talk to their manager
because that, that's the most important person.
Exactly. The team talk to your manager first, manager first,
um, and then have a conversation.
And at the end of the day, the manager
is more than likely gonna be like, this is a great time
(06:24):
for you to do this because you do wanna take this
opportunity in any project that you do that has feet
and legs, feet and legs, toes too.
Um, that you could create a buzz around yourself
to tap into a, a publicist.
Um, your other question was, uh, when if someone comes
to you and you, you are sort of evaluating Yeah.
(06:47):
That, how do, what are the things that you look for?
Um, I honestly, like when I get referrals or requests
or emails, um,
the first thing I do is I
wanna have a conversation with 'em.
Um, I'm always willing to take meetings,
phone conversations, zoom calls, um,
because I really wanna know what that project's about.
(07:08):
Who's the part of that project? Where's going, um,
when's the release date, when's the air date?
Is it going globally? Like, there's so many factors
that come along with picking up a publicist that
a good publicist is gonna sit there with you and talk to you
and be like, okay, there really is
something I can do for you.
And if there's not, I would hope that they would tell you
that there's not, yeah, I do that,
(07:30):
but I can't speak for anybody else.
This is why we have you here today.
I mean, I mean, as much as it would paying me to be like,
oh my God, I would love to add you to, to my family,
there's just, it's a like,
not a right time and not a right place.
Like, there's projects that you know,
that you can't do anything for and Right.
I would be lying to you
to take your money and it wouldn't be fair.
And, you know, it's all transparency and honesty
(07:52):
because people work hard to, to pay a publicist.
Yeah. So. Absolutely. Yeah. Absolutely.
So on that note, in 2025,
'cause I know a lot of things have changed in
the industry in the last five years.
What constitutes a promotable project for an actor?
So what makes a project promotable
and to get a publicist is there's a handful of things.
(08:13):
It could be the people in involved into the
production, the named actors.
It could be what studio is it coming from,
what streaming services it coming from, um, how many, like,
how many eyeballs do those people have?
And it's really sad to say because we're in 2025,
but it is a question.
And as a manager, I'm sure she hears it from her talent
going, I had to go to a casting
(08:34):
and they asked me how many social media followers I have.
So that's the world that we live in today.
But what constitutes someone for me to work with them,
there's a lot of different factors,
but there's, it just has to have legs underneath it.
There has to be something for me to gravitate to,
to hold onto, to be like, okay, it's coming out on Hulu,
or it's gonna be in the movie theaters worldwide, or,
or this actor with Al Pacinos coming out.
(08:56):
Like, that could be a way for me to do pr the role.
Like, how big is your role?
Like, it, I'm not saying you have to have the biggest role,
but does your role have something I can do with
to make a human interest pitch?
You know, like it's, it's kind of got buzz already, right?
Yeah. So that like, when the actor approaches you,
you may have actually already heard of the project.
(09:17):
Yes. Yeah. Just hearing about it.
'cause it could be under wraps. Sure. You know what I mean?
Um, and just hearing about it when I hear
that there's certain people attached to it, um,
or where it's going, or your role,
I honestly get really excited
'cause I know that I could do something with it.
Yeah. So I just need to feel that. Yeah.
For me to be able to be like,
let's go like, cool on my team.
(09:37):
Very cool. Yeah. What is something that an actor should look
for when they're hiring a publicist For the actor
or the athlete, or the personality
or the musician, whoever it is for them to choose,
like me or my company.
I, I do strongly feel it has to do with energy.
Um, understanding, transparency, honesty, um,
(10:02):
uh, and just like fire, you know what I mean?
Like, you can, I can sit down and do a meeting
and talk business and say, I've done this and I've done that
and I've gotten this and I've gotten that
and I've reed this and I ripped that.
But at the end of the day, it's like, it's all about
how you vibe, right?
It's all about you vibe.
And like, if we both get really good feelings
about each other, then great.
(10:22):
Like, yes. Am I gonna lie to you to say like a lot, some
of these actors who are green,
who are even even the known actors, get into a meeting
with someone like myself.
And I'm a smaller boutique agency,
but I have 14 years underneath my belt, right.
With a retention rate
that is like almost at a hundred percent,
there's something going right about myself and my company.
So does that outweigh the bigger agencies with who they rep?
(10:48):
I would like to think so, but in this
world it doesn't sometimes.
Right? So it's, it's all about them.
It's just all about them and just the,
the chemistry between each.
'cause I already have the background in it
and I already have like, the evidence Right.
And the, the paperwork and everything to go with it.
So, because it ends up becoming a very close relationship.
Yeah. Or it can, right.
So like I, you know, I mean, we say this all the time that,
(11:10):
you know, when you're choosing an agent
or a manager, it's kind of the same thing.
Mm-hmm. Right? There's a lot of us
that all do very similar things.
We've all got resumes and great client lists.
And so it really is who believes in you mm-hmm.
And your brand and
what you're putting out in the world the most.
Right. And, and another thing is
who gets along with your team?
(11:31):
Yeah. Because that'ss another important thing,
the relationship you have with your manager especially.
Yeah. Is it a good, is it a good relationship? You know?
Um, and everything in a PR is never guaranteed.
So like it's to be able to have that,
that transparent conversation with your client, um,
all my clients, like, I might have a small, small, like,
medium sized roster, but I, I,
(11:53):
like, I see them all as family.
So it's like, do I know that I'm not gonna, like,
they're not gonna be active all the time.
Of course not. But when they are, they come back
and like, that's our biggest goal
of my company is retention.
'cause I wanna be able to do a really great job,
but I also wanna make them feel like they can always like,
call me if they need anything.
And then also like when there's projects
to be had they come back to me.
(12:14):
Yeah. I love that. It's come up a little bit already,
but social media, oh gosh.
Actors in social media specifically social media, right?
So, you know, is it necessary for actors to
be on social media and self promote from,
from a publicity perspective.
Mm-hmm. And you know, what, how, what are sort of some
(12:35):
of the best examples
of people using social media to their advantage?
And what would be your kind of top three mistakes
that you've seen that people do?
Okay, well, I'm gonna first give you a disclaimer.
I'm not a social media. Sure.
Um, what, what do they call them? Like Yeah, yeah.
I have that part of my company. Yeah.
There's social media manager specifically. Yeah.
So I am not a social media manager,
(12:56):
so I cannot guide you Right.
Like specifically on this.
But what I can do is I, I can give you a little bit
of advice and some information
because I still kind of dabble in the social media world
because like, if we're gonna be doing promotion on projects
or people, I always tell my clients it's considered the
bible of your career in the world of editorial.
(13:20):
Um, I would like to tell you
that social media isn't a big presence for them, but it is.
Sure. Um, they go right
to your page and they look at the numbers.
Um, and they can kind of override
that if you don't have a strong following just based on the
project or who your publicist is and all that stuff.
But they also will go to it,
and it's like me going like, oh, my actor is a chef,
(13:43):
or My actor likes a dog.
Like she owns a dog.
They're gonna go right to that page
to see if that's actually true.
And if you don't have any pictures
or social media on that particular thing,
they're gonna be like, oh, well no,
we don't have to do a feature with you on that.
Interesting. So social media plays a,
it plays an important part to a certain extent,
(14:04):
but I'm very old fashioned with it.
I'm very old fashioned with it.
I still believe in traditional media.
I still believe in pitching great stories, interviews,
and features, which we've become very successful at.
Do I know that social media exists? Absolutely.
Do I know that it's important? Absolutely.
Do I know that you can use it for your projects Absolutely.
(14:25):
And to try to get you like, even, even in fashion. Sure.
It's everywhere. To answer your question,
social media is an important aspect of an actor,
a personality, a project, the mistakes for social media,
that's not for me to say
because I don't like to control that side of my talent.
Mm-hmm. Because they use that as, some
of 'em use it as a form of expression.
(14:46):
Sure. Right. Um, what I will do is try to guide them to say,
Hey, if there's some conflict going on somewhere,
it can be heightened in the news.
Maybe staying away from your opinion on
that particular subject off of social media.
Mm-hmm. You know, like Yeah.
Certain guidance like that,
because social media can ruin a feature interview,
(15:10):
a project a, a role, a deal.
Yeah. We, we guide them a lot on like,
what could be good, what could be bad.
Sometimes some of this talent, like they ask us Yeah.
They're just like, do you think this is okay?
And that's the type of
relationship I like to have with my people.
Sure. Because they can come to me
with like those types of questions.
Yeah. But if they make a decision and click that button
(15:30):
and go, that's their decision to make.
Right. So. Right.
With social media, with brand partnerships,
one important thing that I always tell my clients is, is
that you have to pay attention to what you promote
or put your name behind mm-hmm.
With a brand, because it's a conflict of interest.
If you use your social media, your stories, your IG pages,
(15:52):
your tiktoks, whatever it is,
and you're promoting a brand that's not paying you,
that can ruin other opportunities down the line
with a brand in that demographic.
Sure. So that's another rule that I kind of tell them, like,
you, you're, you're worth money.
Yeah. Don't think people can get you for free. Yeah.
So just be careful on what you post. Similar to that.
(16:14):
But I remember listening to an interview with Samuel Jackson
and he was talking about how when people come up
to him in the street, if they want a selfie with him,
he's more than happy to take a selfie,
but he will not, will not sign,
he won't let people do video.
Oh. Because make he use it. No.
Well, because he gets paid millions of dollars
to be on video.
(16:36):
On video. And so that's that thing of like understanding
what you're worth is and where it is.
Right. Right. He's like, I'm not a print model,
so I'm fine if people take static photos,
but you can't videotape.
Right. And you also have to pay attention to your brand.
Right. Like, it's, it's one of those things that like,
if you want, um, a deal with covergirl, like
why are you gonna do a brand that's gonna pay you $500
(16:58):
to post something?
Like you just took yourself off the market.
And then you have to look at like,
who else has been involved in this brand partnership?
What, what other talent?
So a a lot of brand awareness is really big for, for me
and my company, because we, we think all
of our people are at the highest brand that they can be.
Yeah. Um, and if they're not there yet,
we build them to be at that point.
(17:18):
Yeah. So, yeah.
I mean, good times with the brand partnerships,
it's like, it's a fun time.
It's a whole other world.
And that's why Anthony
and I wanted to do a video on publicity today specifically,
because it really is this separate part
of someone's career
that agents don't really cover no managers.
(17:39):
I cover it in the sense that I know good publicists
and I know how to introduce my clients to them,
and I am copied on the emails.
Yes. Right? Yes. But, but I don't have those connections.
I don't have those relationships with the studios
and the PR people from the projects and things like that.
Nor do I have relationships with all of the outlets.
Well, also, like in studios, um, studios will like,
(18:02):
have brands a part of like their, their company
or projects, whatever it is.
And so they sometimes use it where they're like, oh,
we have this talent coming through,
and of course we're gonna like brand,
and then I'll step in or you step in.
Right. I'm like, no, you're not. Right.
Like, they're not gonna hold up that product.
They're not gonna take a picture,
they're not gonna tag them.
Are they paying them to do this? Right.
(18:22):
And if they're not, then I'm sorry.
Like, we have a conflict of interest.
We have a brand to uphold.
Like, there's a lot of different ways that, that, uh, they,
they kind of maneuver their way through things like that.
Yeah. And, um, and in my company, all I could speak is
for ourselves is that like I'm,
I don't wanna say I'm a**l about that,
but I'm very aware Sure.
Of that type of stuff.
(18:43):
Well, and it's great for a manager
to have someone like you on the team
because you're then paying attention to all of that.
Yeah. So that we can continue paying it, paying attention
to like the 360 degree Right.
View of the career or the bird's eye view of the career.
And then your agent can keep trying to get you the next job.
Right. And the other thing too is I'm gonna call
(19:04):
these guys out, but I love them.
I love the pop. Like back in the day I started when
paparazzi was all in the streets.
Like we loved all the paparazzi. It was funny. Mm-hmm.
Um, but the one I'm gonna call 'em, they're gonna hate me.
It's just don't hate me.
But a little thing that I was always taught when I was like
a little, a little assistant is that, um, the white papers,
you know, the white papers are on the street.
Mm-hmm. And the people are always like,
they come outta a movie, the premiere
(19:25):
and Oh, hey, can you sign?
Can you sign? And it's just like, it's like white paper.
I'm always like, you're not gonna sign that.
Because what a lot of people don't understand is,
even though it doesn't mean anything
to like the bigger actors, they'll take that signature
and they'll print it and they'll put it on a ton of pictures
or merch or whatever it is Wow.
And sell it. Wow. Without you getting the percentage of it.
(19:45):
Yeah. That's so yeah.
That's all little, they're gonna hate me.
All these little things. All these little things with,
with having an expert, another expert on your team.
So when an actor brings on a publicist for the first time,
what kind of things, let's say that they're in, you know,
a big studio movie that's got, you know,
a huge leading actor in it, this is sort
(20:06):
of their first like, really, really big job.
Mm. They have a couple
of scenes across someone like an Al Pacino
or, you know, a Brad Pitt or, or George Clooney,
or, I thought that you were gonna say Richard Ge from soa.
I don't know why that his name came to my head.
His name just concentrate. Richard ge.
Um, so what can someone expect?
They've never had publicity before. Mm-hmm.
(20:28):
You know, what does that three months leading up
to the premiere of that project look like for them in terms
of what they're going to be doing with you?
What it looks like is technically a lot of attention.
Um, you're gonna get brainstorming,
you're gonna get creative with it.
Um, you're gonna get, are your PR pictures done?
Do you have your bio set?
(20:49):
Um, do you have, we had to create your pitch.
I need to know more about you. It's getting to know you,
who you are in the first like month.
And then you literally start to take this,
create this pitch that I create.
And instead of putting on a blast upon like a software
that has all the editors, I reach out to every single one
of my relationships individually that, that fit this talent.
Mm-hmm. And I pitch,
(21:10):
and when I, when I pitch, that means features, interviews,
profiles, um, TV spots.
It could be morning shows or whatever it is.
So it's basically getting to work
and just going and going and going.
And then on top of that, you'll have like your events
that you go to, and then you'll communicate with the studio
or the network to see what kind of like BTS they can do.
(21:32):
Um, what does the premier look like? Where is it at?
Like, does she have a, does he
or she have a budget for a glam?
Is there a car service? How many tickets to the premier go?
Then you go to the premiere
and you walk 'em down the carpet,
make sure everything is great.
There might be a screener, there might be like a press it,
like there's, there's just a lot of things
that go into it in those three months.
Um, and then the project comes out. Mm-hmm.
(21:53):
Um, depending on where the project is
and how long it lasts, let's say it does really well.
It's blows up in theaters
and so close international, they're gonna Yeah.
That goes international. They're gonna extend Yeah.
Their work with you for another couple of months. Love that.
I love hearing that. We all have that. Love that.
We love that for the industry too.
We love that for the industry. We want more.
They probably don't like it for their pocket then,
but we like it for the industry.
Um, so that it just continues. Yeah.
(22:14):
So pretty much what happens is if it goes international, um,
or globally mm-hmm.
Um, it, it, it just, that press
and those, the me being there just goes.
So like I, they have to understand too is
that when you have a publicist, like they're, you're kind
of like your right-handed person next to your manager.
Yeah. So they take care of you when it comes to like,
(22:36):
the middleman between the media at the premier
or at an interview or international or at a different state.
Sure. Um, but obviously depending on your role
and where you go, like how you get accommodated for that,
for us to go is through the studio.
Right. And if not, they have to pay for it.
Sadly, we can get to that later.
What are some of the costs, not only the public,
(22:57):
the publicist's fee, but you mentioned like glam
and travel and things like that.
I mean, do I, do you wanna know the number
or do you just want me give you like a range?
I think, I mean, yeah. Okay. We can, I'm trying.
I think it, because we, part of
what we wanna do on this channel is really have people
understand their careers as a business.
(23:18):
Mm-hmm. Right? Mm-hmm. And so we talk a lot. Yeah.
We talk a lot about when you are an actor, you're choosing
to be the CEO of a creative business.
Mm-hmm. And bringing on a publicist,
just like bringing on a manager
or bringing on an agent is an expense that you decide
to invest in mm-hmm.
For your business. And so, like I said,
(23:39):
in this hypothetical scenario, we're talking about,
you know, everyone's determined that it's time
for the person to make this investment, make a move,
but what does that investment look like in this scenario?
They could throw up. I'm just kidding.
Because like, you know, well, yeah.
Because, you know, for the most part at this point,
they haven't actually paid out of pocket
(24:00):
for anyone on their team.
Right. They're paying a percentage percentage,
which is technically outta your pocket.
It is. But I think it feels different.
It feels different because that's, that's an interesting,
I love that you said that because I try to explain that
to a lot of people.
It's like, we're a retainer per month. Right.
Um, but your managers agents take percentages, uh, out
(24:20):
of all the projects you do.
So we just get paid one lump sum a month.
So it kind of evens itself out, but Sure.
It kind of, it just, it just looks different. Yeah, it does.
Yeah. It, it feels more comfortable
to do this way rather than us.
I get it. I get it. Um, so in terms of the price point, uh,
when you hire a publicist, everybody's different.
Um, is the price point a lot more now than it was
(24:42):
be pre-strike?
Absolutely. Mm-hmm. Pre COVID. Absolutely.
Um, so I would be lying to you to tell you that a lot
of PR firms are pretty darn expensive at this at this point.
We like to work with talent on their budgets. Mm-hmm.
Not saying we're devaluing ourselves. Sure.
'cause we do a damn good job at what we do,
and we have the same relationships as these bigger firms do.
(25:03):
We're just a smaller entity, um,
with a big, with a big bite.
So we, we technically like to base ours
per month around, I mean, someone who's green, probably
around the 3,500 mm-hmm.
Mark, maybe a little higher, but around there.
Um, and then it scales up. Sure.
(25:23):
So if it's a known actor has a couple projects,
you're not gonna get that quote.
Right. So, um, I just think it's based on
each firm, each person.
Um, and I like to work with people, so I think it's really,
I, I don't, I don't know if like someone comes to me
and says like, I only have a budget of like $4,000
to do something with for this project.
And I'm like, I really like you,
(25:44):
like I really wanna help you.
I'd be able to like figure out a negotiation with you.
Right. And that's the advantage of owning your own stuff.
Yeah. I know.
But, but like, I don't want this to get out there
to be like, oh my God, like she's so cheap.
But it's like, no, no, no, no.
But it's, it's, um, it, it's, I find
that even though I know I'm valued at the level of a, a firm
(26:06):
that charges a ton more than I do, I, I don't know.
Like, I just like to work with people.
I love to like, make them happy and successful.
And if I could have any hand in that at a, at a rate
that I'm comfortable with mm-hmm.
I'm okay with, then it's, and especially again, it's
for you, it's an investment in them early.
(26:26):
Yeah. And because you're so focused on retention
and people coming back Yes.
You know, that that's sort of, that is kind
of riding the line between the agent manager game.
Right. That's why we agree to work for 10% or 15%
because we're sort of making an investment that all of
that hard work upfront is going to pay off Yeah.
(26:46):
Much later. Yeah. Right.
And, and like, not for whatever,
but I do have clients that pay at a base rate
and I do have clients who pay at a top rate.
Right. So it all just ranges. Sure.
I'm not saying like, I just charge people that base Yeah.
And we're done. Yeah. And what is a top rate,
like in general again?
Oh. And um, like what does that look like, you know, at some
of the bigger firms or, you know, I feel like a lot
(27:08):
of them quote around the 5, 6, 7 mark mm-hmm.
Um, five to seven mark, and that's monthly.
And they prob and five would probably be considered a deal.
It's like you're at a big firm, right.
Um, and that's monthly. Yeah.
So it's usually monthly and I can't
speak on the negotiations.
No, of course. Like if it's three
months, six months, a year.
Sure, sure. Um, but also like a, a, an actor
(27:29):
and a talent is different, uh, a different rate than like,
say an athlete is, or a musician Sure.
Or a film or organization. Everyone's rated differently.
If you're a brand, like, you're probably starting
to base it like $10,000.
Right. So it's, everything is just, it's just different.
Yeah. It just ranges differently. Everything's negotiable.
Everything's negotiable.
Like, we always say everything's negotiable. Yes.
(27:51):
But don't come at me with $1,500 because, well, because,
but then there's the side of it where at some level,
if someone is sort of, if someone is kind of willing
to do, you know, two months of PR for $1,500,
that goes back to that.
You get what you pay for. Do you get what you pay for?
(28:11):
So you touched on this a bit,
but in general, like, do you have a minimum in terms
of the number of months someone has to mm-hmm.
Sign up for? Or are you working kind of, you know,
you said like sometimes you work per project,
and again, this is all moving parts, right?
Moving parts. Yeah. Yeah. I would prefer a three
month agreement.
Like that's the base. Yeah.
Um, then it goes month to month
after that with a third day out, they'll listen.
Like if there's a project that comes out
(28:33):
and that third month, you literally have that whole month
to like finish your work.
And that's it. Like I, I would be,
I would not feel right if I like charged someone a fourth
month and there's nothing to do.
Right. So, but the other thing too is that like,
it can I do stuff in two months?
Sure. One month comes along, I'm like, oh lord,
(28:53):
that is gonna be a challenge.
Two months is a, is a good enough time.
But I just have like, to be honest
and transparent with everyone, how hard it could be
to get something from that.
Right. Because that sort of, in that scenario,
you're probably not gonna get anything print.
Right. The no print print is
like non-existent at this point.
Yeah. Like, I mean, if you get print, congratulations,
(29:15):
um, everything is digital.
Yeah. Um, but you still like, think about it though,
like these, these editors are working
on their time, so Right.
There could be other stuff happening around that,
that they're just like, I have no time to watch a screener.
I have no time to do this. Right.
But also, like TV shows, morning shows they,
they're booking like two or three months out.
Right. So, but I, I don't wanna like, you know,
(29:35):
discourage people into doing that
because I've done a lot of projects with two months before.
Right. And they've, they've gotten stuff
that is pretty darn good.
What are some of the kind of mistakes you see in general
that actors make in terms of publicity?
Whether it's not bringing it on soon enough
or missing opportunities
or, you know, like how do you
(29:56):
I mean, I have a pet peeve.
Okay. It's, it's, it, it's one pet peeve
and I, I don't know who to blame.
I don't know if it's the talent or the team or what. Yeah.
But the, the biggest pet peeve for myself
as a publicist is when I hear
the reaction from a talent, it could be a team member,
(30:17):
it could be the talent that if they're part of a, a,
a series and they're like, oh,
we're just gonna write out the first season
and go without a publicist
and take on their network publicist.
Mm-hmm. And you're an ensemble cast and they wanna do that
because they don't know how well the show's gonna do.
Sure. For a season two. And then they'll come back
(30:37):
and be like, season two though.
But what people don't understand is
that this is your opportunity to compliment you, your craft.
And you as an actor, when you get this first,
you already know there's a first season,
so why are you complimenting it?
So that, that's a pet peeve is when they're guided
to not bring on a publicist in the first season of a show.
(30:59):
Yeah. That makes sense.
Well, and 'cause I would assume that editors
and things are maybe not necessarily going to be
as excited about a second season.
Right. It just depends on how well the show does. Of course.
Um, but also like, when you're part, like,
especially if you're a part of ensemble cast in the first
season, you wanna stand out, right.
(31:19):
Because you also wanna come back for season two. Right.
Yeah, that's true. So like, a lot of, a lot of shows, like,
if you can get exposure mm-hmm.
For them, they're gonna like you so much more. Right.
To your point about kind of standing out,
having a publicist help you stand out in an ensemble cast,
whether it's in a TV season
(31:40):
or potentially some films, I think can work this way.
You know, I've definitely heard of actors
and say things like, oh,
but I don't wanna take, you know,
thunder away from the project.
I don't wanna, almost like,
they don't wanna stand out too much.
And so if the project's a little buzzy, they, I mean, to me
(32:00):
as a manager, you know,
I know these days these opportunities
for publicity are fewer
and further between in the beginning of someone's career.
Mm-hmm. And you know,
but I can only make the suggestion that it's time
to bring on a publicist.
I I totally hear you on your pet peeve in terms
of, it's similar to that.
Right. It's like, oh, I'll just wait till next season,
(32:21):
or it's, uh, it's ridiculous.
Yeah. It's just absolutely ridiculous.
It's, it's an opportunity for yourself. Right.
Nobody else yourself. This is all about you. Yeah.
So I think if you walk into the situation knowing
that you're a little cautious of that,
just walk with grace with it.
Mm-hmm. But all you can do is walk with grace,
(32:42):
advance your career as much as you can,
take this opportunity to shine and be okay with it.
Right. And I assume someone could express if they're,
if they're hesitant about that,
and let's say a manager like me says just
me with the publicist.
Mm-hmm. You know, you don't have
to hire them, but just meet with them.
I assume that they can say like, Hey,
(33:03):
I'm a little worried about overshadowing this, or, you know,
and you can build a pitch with that in mind.
Right. Well, why would someone, like,
why would someone be fearful about overshadowing somebody?
It makes no sense. Yeah.
Like, I'm just being real, like it makes, it makes no sense.
Like you're in an industry where people are fighting
to be the center of attention and everything that they do.
(33:25):
Right. I think there's a ton of actors who are
extroverted introverts, right?
Yeah. So they, they can be extroverted
in a role, but in their own lives.
And so it's really hard for them to go from
playing a character to having
(33:46):
to be themselves like the self-promotion aspect of it.
And they probably don't wanna feel like they're taking
advantage of anyone or anything Yes.
In this project. Yeah. Because they probably had the still
of fear in them somewhere.
Yeah. And, or it's like maybe, you know,
maybe it's a project where the, their role is sort
of getting more buzz than a lead
(34:07):
or something like that, you know what I mean?
And so, I mean, that's all for their work.
I mean, I, I mean they hired 'em to do a job, right? Mm-hmm.
And they're doing it well. So I think
that if there's some form of wall up
or there's hesitant for some reason, you can talk to them
and then create a pitch like you said mm-hmm.
(34:27):
About what makes them feel comfortable. Sure.
So I'm not saying I'm gonna take them
and throw it on the wall to see what sticks.
I'm saying like, let's kind of organize
and structure conversations in the media
that you feel comfortable with
that won't ruffle feathers according to what you said,
because I'm not about like, overriding people how they feel.
Sure. So it's just like, how do I compliment how they feel?
(34:50):
Right. And show them that it's okay to do A, B, C, and D.
Yeah. You know? Yeah. A lot of times you kind
of will look at a career of an actor that is super talented
and you look at another actor that's super talented
and very well known.
And I wonder sometimes if the difference there is the
(35:14):
wrapping their head around the self-promotion.
I mean, do you feel like that's, I mean, that's kind of
what, can you do it if think about the doctors
who are a big now probably did that
at one point in their life too.
Right? Right. So I think it's, it's how you, how you do it.
The industry that we're in is so competitive
and people are just gonna do what they're gonna do.
So that's why I keep saying like,
it's all about the grace you walk with.
There's not as many opportunities, like, you know,
(35:36):
shows are now eight episodes mm-hmm.
Not 24 episodes. Right.
So like, if you're on a buzzy show, your opportunity
for being in the conversation
is not gonna last the entire year.
It's gonna be if it's a bingeable show. Yeah.
Like if they're not releasing it once every, you know,
once every week for eight weeks if it just drops mm-hmm.
(35:59):
Like that compresses that.
And so taking advantage of those scenarios
when you are on those buzzy shows, it could be another year
and a half or two before you have that opportunity again.
Yeah. And they're, and they're gonna also,
like these actors are also gonna get on red carpets,
these questions about how was it like working
with this person?
How was it like working with this person, like nonstop?
(36:21):
So I mean, if they don't like talking about working
with them on the carpet, then I would say to 'em like, then
how are you good with doing a c and d?
Yeah. Then, you know what I mean? Yeah.
So it's kinda like a give or take situation in terms of sort
of what actors need to have ready for a publicist
or if they don't have it ready yet, you know,
how is editorial different than headshot?
(36:43):
PR shots is what we call 'em. They're lifestyle shots.
So it's basically, if you don't have those, we have
to get you set up with one.
And let me tell you, like, there's a lot
of people out here that'll say, like,
it costs a ton of money to do those shots.
It doesn't, it doesn't,
you don't need technically a stylist for that stuff.
You can go into your own closet
and put pieces together to get like three
(37:04):
to five looks that you need.
Uh, a photographer might be the outstanding cost of it.
Try to get a photographer that you work with.
But in LA we all know a photographer
that will probably do it for free anyways.
'cause you're gonna get those pictures placed. Sure.
Um, not saying people should work for free. Right.
I'm just saying like, there's a way around it.
So like that the cost of it is not as expensive
and maybe what you're hearing from other public
(37:26):
and like, again, if you're just starting
to build your portfolio Yeah.
It's like getting that first good set of head shots,
but you do need to do a different shoot.
Yeah. It's about, it's about three to five different looks.
Yeah. Um, it kind of goes light
and then it goes darker, which means, you know,
you can do jeans in the top
and then it goes into like a suit pant of something,
and then it goes into a dress or it goes into heels.
(37:48):
Like, it's like, they're basically like lifestyle shots.
When you think, think of like GQ meets Allure meets
Cosmo meets like deadline.
Mm-hmm. So you have to kinda get these shots
and create these pictures.
Right. That will attract those editors
because like a, a look in GQ is
so different than a look in Vogue.
Right. You know what I mean? Not
saying people are gonna get vogue all the time.
(38:09):
I'm just saying like contrast them. Yeah.
If a studio or a network isn't going to pay
for plus one mm-hmm.
Um, which the talent always chooses who goes with them.
Not saying you choose the publicist,
but, um, a lot of you should take your public,
you should take your publicist, you
should take your publicist.
We get accommodated four by that studio.
So that's why we always say with the managers
(38:29):
and the agents, like just see if they get a plus one.
Um, because that way we're accommodated four
where we gotta travel to.
Uh, the second thing is, um, hair and makeup grooming.
Um, try to get that into the contracts as well.
Whatever you're doing so that they pay for it.
Car service, same thing. Sure.
But if they don't, if they don't,
and I come across this a lot with a lot of my clients
(38:49):
who I've had for over 10 years, is that some
of 'em won't even go to anything unless I'm there.
So if I had to go to New York for a press run with them, um,
and the studio, they're not paying for it.
It's their responsibility to put me up Gotcha.
And get me there. That makes sense.
Nuts and bolts of you show up at a premier,
what are you doing on that red carpet for that client?
(39:09):
How, how is deciding to bring your publicist,
is your plus one a good idea in that scenario?
I mean, I'm not gonna lie to you.
There's, there's times where you don't even need a plus one
take the publicist, they just show up.
Uh, true. Yeah. That's true.
I mean, and then that, that I would argue
bring your agents or manager.
Yes. Because yes, at the
after party, so much business is done.
(39:31):
Business, you're there for business and you want Yeah.
You're there for business. Yeah. And
that's a the other thing too is that like I, some people
that I've worked with actually, they're just like,
you're coming with me because it gets them out
of a bind to invite somebody.
What's gonna happen is I'm gonna, I'm gonna show up early,
gonna make sure all your tickets are squared away.
I'm gonna see who's on the red carpet.
I'm gonna introduce myself to me, introduce myself
(39:52):
to gonna get you part of the group pictures,
gonna get you part of like the roaming photographers.
And then I just slowly take you down the carpet
and I'm standing right next to you
to make sure they don't ask you anything crazy.
But sometimes there can be awkward questions, right.
Like, I have a client that was playing a mom in this project
and was asked, you know, what did you use from your own life
(40:14):
to play this character?
And she doesn't have kids. Oh no. Right.
And so like, there it is, it can be really helpful Right.
To have the publicist sort of, but that, that's actually it.
I'm glad you bring this up because we also prep you Right.
Um, before any interview,
it doesn't even have to be before an event.
Um, if you're gonna do an interview on the phone,
zoom in person, whatever it is, we,
(40:35):
we make sure we prep you.
Um, a lot of people are like,
can we get questions beforehand?
No, they don't do that anymore. Mm-hmm.
Unless you're like Rihanna,
they're not doing that for you no more.
Right. So you have to learn how to, you know,
navigate those questions.
Mm-hmm. Um, and it's also like a comfort level for a lot
of clients of mine that like knowing
that like I am next to them on the carpet.
(40:56):
Yeah. Um, and I'm overhearing what they're asking. Yeah.
Um, they just find it very comforting that I'm there
because I will step in at some point if,
if I know it makes 'em feel really uncomfortable.
But I try not to do that
because my clients are usually prepped for anything
that they Right.
Get asked. Sure. And had to maneuver away from it.
(41:17):
And, and I will say she did have her publicist there.
She had been prepped, and so she was able to kind
of pivot and she probably did a good job.
She did. Yeah. But it's one of those things
where like even something seemingly innocuous
that they would assume that a woman
of a certain age just had kids.
Right. Like and the, the reporter would never Yeah.
It wasn't, they were, they weren't like
trying ly to do something.
Yeah. Yeah. So, and it's always, it's always really cool.
(41:39):
Another little, little thing about a red carpet
and that, it's always
one thing someone taught me when I was like a little one is
that, um, besides the assistance that you grow up with,
they're gonna be owners of their own company
at some point as well.
So the relationships are really strong to keep.
The other thing is too, is the people behind the red rope,
treat them with kindness.
(42:00):
Because even if your person is not a known actor,
they're gonna make them feel so special
if they like your publicist Yeah.
Treat people that they wanna be treated on the carpets,
photographers, interviewers, workers, PAs, whatever it is.
Um, and that's something I was taught early on. Yeah.
And I, I mean, that's true
everywhere in this business, right?
(42:20):
Right. Your reputation precedes you
and people wanna work
with people who they like working with.
And, but I think that's really good to understand that
again, yes, A premier is fun.
It's a celebration, but it is work.
And that red carpet is, you know, you are at work
and there are actors who are really, really good at that.
(42:40):
Yeah. And it's helped their careers immensely.
So anything, anything.
And I think we talked about a lot
and we did talk about a lot de a lot, but anything we missed
or just any sort of general parting advice for, for actors
who are thinking about getting publicity?
I just remember when I was, again,
a little one growing up in this industry, I,
I found myself getting super frustrated when I was like
(43:01):
maybe five, six years in
because I would take a lot of meetings, but I would lose out
because I'm not a massive firm.
Right. So as time grew on and I, and became more established
and I got over that whole thing, it's one of those things
that like give the smaller guys a chance.
(43:21):
That's totally the best advice I can give you. Yeah.
Um, because we come from that world.
Like we come from the big firm world and just
because smaller firms, medium sized firms, boutiques
don't have the roster size of like a big firm,
a majority of us.
That's why choice. Right. So you have all the same contacts.
(43:44):
We same contacts.
It got to a point earlier on in my career
where it does get super frustrating
and I, I really wish sometimes the name
doesn't override the work
goes with anything in the industry.
Right. Give the smaller guys a chance. Yeah.
Because what actors need to realize is
that we come from the world of the big companies.
(44:05):
Sure. Well, and it again, just back to
what we were talking about at the top of picking the person,
and this goes for agents, managers, publicists, lawyers,
picking your team in your acting business of the people
that truly believe that are like you,
believe are gonna go to the map for you.
Mm-hmm. And so having people that really,
truly believe in you actually does supersede
(44:29):
a big name on, in a fancy office in Century City.
Right? Yes. As long as you know that there's a person next
to you that's, you know, a ride or die Yeah.
And believes in you wholeheartedly,
you're set up for success.
I love it. Well, thank you so much
for being here today, sharing that.
Give a hug. Yes. Let's hug. I love it.
Um, that's like all you view.
(44:50):
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