June 3, 2025 • 57 mins
Take 3 Talent Agency's Michele Cavallero shares her expertise on how actors can secure film and television representation. She joins How We Role with host Robert Peterpaul to discuss all the intricacies of signing with an agent and creating a healthy career together.
The episode covers:
• How to be ready to secure representation that works for you.
• The #1 thing she looks for when signing talent.
• Building and maintaining a healthy agent-actor relationship.
Submit your questions for future episodes, and if you enjoyed this conversation, please share it with a friend and leave us a review!
This is - How We Role. Get cast today at castingnetworks.com.
Follow Host, Actor and Producer Robert Peterpaul (Amazon's Sitting in Bars with Cake, The Art of Kindness podcast) on Instagram @robpeterpaul and learn more at robertpeterpaul.com.
Follow Casting Networks on social media for casting news, interviews and more:
Instagram
Threads
Facebook
LinkedIn
YouTube
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
So much in this business you can't control the
things that you can control.
Focus on the other things thatare really out of your hands.
Just try to let them be.
Speaker 2 (00:12):
When it comes to working in entertainment,
there's a lot of hows, and theyall boil down to how we navigate
this wild industry.
While how we follow our dreamsis uncertain, how we roll along
the way is in our hands.
Welcome to how we Roll, apodcast for actors by Casting
Networks.
Hello, fellow actors, it's yourfriend, robert Peterpaul, back
(00:42):
on the mic to answer what Ibelieve has been one of the
biggest questions we've gottenthus far at how we Roll how do I
get an agent, specifically inthe television and film space,
though this chat will spanmediums To crack the code with
me, I didn't look too far.
I tapped in my agent, themagnificent Michelle Cavallaro.
(01:11):
Michelle Cavallaro is the SeniorTheatrical Agent at Take 3
Talent Agency.
A graduate of Emerson College,michelle's journey in the
entertainment realm began onstage as a musical theater
performer and dance instructor.
Prior to Take 3, michellegarnered experience at About
Artists Agency, mccorkle Castingand CESD in New York, dance
(01:37):
Choreography Agency,mcdonald-selsnick Associates in
Los Angeles and Boston Casting.
Her clients can now be seen onscreen in shows like Dexter, law
Order, svu, exokitty, fbi, mostWanted High Potential, ncis,
blue Bloods, sex Lives ofCollege Girls, winston and Long
(02:00):
Bright River, just to name a few.
Her roster also works onBroadway, with shows like the
Outsiders, buena Vista SocialClub, gypsy Boop, the Great
Gatsby and Juliet and Wickedtopping the list.
We are in for a treat, friends.
Michelle is a rare gem of ahuman who has experience on
(02:22):
stage, in casting offices andnow as an agent.
She's like a triple threat ofknowledge.
She also leads with kindnessand I loved mining her brilliant
brain for nuggets of wisdomjust for you.
Speaking of, please share yourburning industry questions with
(02:43):
us as we continue to follow thecreative path.
Also, if you enjoy this episode, it would be so kind of you to
share it with a friend and maybeleave a nice review.
I don't know, no pressure Now.
Here's how we roll with gettingan agent Featuring Take 3
talents, michelle Cavallaro, andI do hope, if you really want
(03:04):
one, that you get an agent afterlistening.
Today, as you know, I hopewe're going to discuss how to
get a TV film agent specifically, though of course, I think a
lot of that will apply togetting an agent in general, as
(03:24):
I know, you kind of run thegamut there, so let's start to
kind of mind your brain forthese insights.
First, I do want listeners toknow that you started out as a
performer yourself.
I'm wondering if you feel likethat kind of gives you a good
perspective as you're nowworking with actors, because I
feel like you kind of are sofriendly and down to earth and
(03:45):
you've walked the walk so youget what we're all trying to do.
Speaker 1 (03:48):
Yes, yes, so absolutely correct.
I was a performer my whole lifegrowing up.
I also love musical theater, soI was a musical theater major
at college.
So being an agent and havingthat performer background is so
helpful because I feel thatemotional component that the
actors are feeling as they'regoing through this whole process
(04:10):
and the industry.
It's so up and down and Iabsolutely have been there and
completely understand how theemotions will flux during it all
and so absolutely I'm sograteful for my time as a
performer because I think itjust adds so much to me now as
an agent.
Speaker 2 (04:27):
Yeah, and you've lived so many lives I loved
learning about you, know how youlived in California and you
were repped, but also work in anagency.
I guess once you kind of madethat transition, although it
sounds like it was a littleslower what did you learn about
the role of an agent thatsurprised you?
Just to kind of set somecontext today, you know what
would you say the role of anagent is that maybe us actors
(04:48):
don't quite understand.
Speaker 1 (04:50):
Sure, sure.
So there's so much behind thescenes that actors and agents,
clients they just don't, theyjust don't see really a lot that
goes on.
There's so much pushing thatagents do behind the scene to
get their talent seen, even ifthere's not auditions coming in
or self-tape requests coming infor the talent.
(05:11):
There's so many pushes, so manyconversations with casting that
happened that talent doesn'teven know is happening.
So the behind the scenes,everything just seeing all of
that in the inner workings.
When I was a performer and whenI was repped, I had no idea
what was going on behind thescenes of it all.
So I just feel like there's somuch happening that talent just
(05:34):
doesn't see on their end.
Speaker 2 (05:35):
Yes, and you mentioned self-tape requests.
I feel like that's a new sortof phrase that's come in over
the years.
It transitioned to self-tapeswhich we didn't know if it was
going to stick, and surprise, itstuck.
And now we see self-taperequest.
Does that usually mean thecasting director reached out
about the talent, or is thatlike you submitted them and then
they reached out, sort of whatis that term?
(05:55):
I know this is getting offtopic here.
No, no, it's a great question.
Speaker 1 (05:58):
I'm happy to clarify so it can mean a couple
different things.
So a lot of the time it's we'resubmitting on breakdowns or
casting directors are sending usbreakdowns asking us for our
top folks that fit the specs.
We then are submitting theiractors access profiles, if they
have a website, if they havefootage, any sort of real
material, anything like that.
Once casting reviews thematerial, they then come back to
(06:20):
us and will request who theywant to see submit a self tape
they then come back to us andwill request who they want to
see submit a self-tape.
So, truly, it is a lot of theagent submitting the talent
first, but agents can submittruly one person like 20 times a
day, and a self-tape requestmay not even come in for that
person, and there could be somany factors that could be the
(06:41):
reason why it doesn't happen,but typically, when a request
comes in, the agent hassubmitted talent.
There's a lot of times, though,that casting is already familiar
with talent and it could befrom past auditions, from past
projects, from classes, and thencasting will reach out directly
requesting a talent to submit.
Speaker 2 (06:58):
I love that.
Speaker 1 (06:59):
Thank you for clarifying that yeah, so it's
really just a mix, truly.
Speaker 2 (07:02):
Yeah, I think we're going to get into even more of
that nitty gritty with you.
But looking at actors startingout, you know what's the biggest
misconception you would saythat actors have about agents.
It's such a big ticket bucketlist item.
Speaker 1 (07:14):
We're like.
Speaker 2 (07:15):
I need an agent right away.
Speaker 1 (07:17):
Okay, so everyone's different, of course, but I feel
like you know it truly is apartnership the actor and the
agent.
It is a partnership goingtowards the same goal really of
securing that actor work.
So I feel like you know therecould be some talent that, once
they get an agent, like maythink okay, I'm just going to
sit back now and let my agentjust send me stuff, but there's
(07:39):
so much work that goes in on theactor side too in this just
like any, like any relationshippartnership.
It truly is a team, so an agent.
We expect our talent to keep upwith the training.
Make sure they have all theupdated materials, current
headshots, their resumes updated, their reel is updated, that
they're also taking classes withworking casting directors,
(08:01):
because we want castingdirectors to see the talent.
So we want them to be in thoseclasses, with those casting
directors that are currentlycasting projects, Some things
that you know.
Maybe actors don't realize ittruly is a partnership and a
teamwork.
It really is just two of usworking together.
Speaker 2 (08:19):
Yeah, that's an excellent way to put it and I
will say you define that.
I've been so fortunate to workwith you and I'm saying this
here because everybody listeningwhen you start to look at an
agent, I think that's exactlywhat you want.
You want a knowledgeable,talented person that's going to
give you that advice but alsonot pressure you, and I've never
felt pressured by you whenwe've had calls of what to
(08:40):
decide.
You sort of are there forsomeone either way and I think
that's really special.
So you do want it to feel likethat partnership and I hope
that's changing a bit in theindustry, because I do feel like
it used to be very much.
The actors had to bow down tothe agent because you know you
guys are doing so much for us.
But I like that even ground.
You know people first.
Speaker 1 (08:59):
Oh, absolutely, and it's like you know.
You shouldn't be afraid toreach out to your agent truly
with questions, with concerns.
I also love open communication,so I always tell my talent if
there's a show, a role, acasting director, a
choreographer that you reallywant to work with, shoot me an
email, Because I'll just keep iton my radar and keep an extra
eye out on it, Because we wantto make sure we're submitting
(09:21):
and pushing talent for projectsthey're excited about.
Yeah, and want to make surewe're submitting and pushing
talent for projects they'reexcited about.
Yeah and want to work so thatopen communication really is
everything.
Speaker 2 (09:28):
That's so special.
Well, I got a list here,Michelle.
Hold on everybody.
No, I'm just kidding.
Oh, okay, Up to shows.
Yeah, I do Email it over.
I have a list of questions foryou?
Speaker 1 (09:37):
Yes, of course.
Speaker 2 (09:37):
I think when we're looking at the, when you're
meeting with actors, what signstell you that an actor is truly
ready to sign?
Because you can meet withsomeone and love them, but maybe
they're not ready for that nextstep?
Speaker 1 (09:49):
Sure, sure, okay.
So there's a couple things.
So I would say, when I meetwith an actor, the first thing
that I really look for is arethey kind and is it someone I
would like to work with?
Our job here on this end it'snot a 9-to-5 job.
It truly is 24 seven.
We're working on so manydifferent time zones, also with
casting directors, so we want towork with someone who we like
(10:12):
to work with and we feel likeour personalities jive there
definitely could be people whoyou know.
Maybe your personalities justdon't mix and you know it might
just be not the best fit.
So personality first is what Iwant to work with this actor.
Do I feel like I can advocatefor them to the best of my
ability?
Then we'll look at trainingbackground.
Are they trained?
(10:33):
Are they continuing classes?
Do we feel like they areexcited, motivated, want it?
We can't want it more than theactor wants it.
So it's like just making surethat they're excited, that they
also have availability.
We completely understand.
You know survival, jobs andeveryone's doing.
You know teaching and you knoweverything else to make money
(10:56):
while auditioning.
We just want to make surethere's flexibility and also
just that open communication andthat we know what's going on.
If there's like book updatesthat someone's not available, we
just want to make sure thatcommunication is constant.
Really.
Speaker 2 (11:10):
Yeah, I love that you all look for people that you
sort of jive with first.
I think that's a great reminder.
Overall in the industry it'salmost like you take all these
classes, you learn a lot of thebusiness end, but at the end of
the day, even when you go in foran audition, it's sort of just
people meeting people and youjust you want to be around good
people.
You know what I mean.
So I think that's so specialthat you think that way.
(11:32):
I guess, if you feel like maybeyou even like the actor, but
they're not necessarily ready,what do you suggest they do to
get ready?
Speaker 1 (11:38):
Sure, we'll always suggest classes just to really
get in the room, gaining moreconfidence, gaining just some
more skills, just depending onwhat we feel like may be lacking
or why we feel they're notready to move forward.
We'll always direct to classesbut also materials, making sure
that they have updated headshots.
Headshots really are thecalling card, especially in this
(12:00):
day and age of self-taping.
Casting is seeing talenteverywhere, so they're getting
inundated with submissions, andso making sure that an updated
headshot that catches casting'seye really is key too.
So, really classes and updatedmaterial.
Speaker 2 (12:18):
What are you seeing as an agent?
I'm curious in regards toheadshots with the trend,
because I feel like headshottrends have changed.
You know they were black andwhite at one point, then there
was like the white border withthe name and now they're sort of
in this, like moody bluishfilter, almost.
Speaker 1 (12:32):
Oh my gosh, when I had, so when I was performing
yes, it was like black and whiteheadshots.
I was, like I went to like aNew York photographer.
I lived in Connecticut.
I was, yeah, so I know werarely see black and white, but
that always does take me back,though, to my days it's very
Sunset Boulevard.
Speaker 2 (12:47):
Maybe it'll come back one day.
You know it always comes backit always comes back Totally.
Speaker 1 (12:51):
We'll see those headshots again.
So I mean, with headshots, wereally we look for.
I mean it's so subjective.
That's the thing too.
You know something that maycatch our eye, someone else may
just not love.
We really like direct photos.
We don't really love, you know,the tilting, the side profile,
the looking over the shoulder,not too like handsy hands on the
(13:19):
face.
We typically like like thehands down, more really of a
standard headshot.
Look Then with photographersthey all have their own style
headshot.
Look Then with photographers,they all have their own style.
So it could be lightingdifferences or we'll always meet
with our talent and talk aboutwardrobe as well.
Wardrobe is so important because, we want to make sure, if
they're investing in headshots,that they'll be headshots we'll
be able to use.
So, we'll always run throughwardrobe options, different
(13:43):
looks, depending on how manylooks they have in their session
as well.
Speaker 2 (13:47):
Yeah, we had a great episode on headshots here and
one of the things thosephotographers suggest doing is
actually going to the store,buying fresh clothes based off
of what looks you want andkeeping the tags on and then
maybe returning it after ifyou're on a budget, because new
clothes look so much better oncamera they're not faded.
So I think that's a great thingthat you just brought up.
I'm assuming you wouldrecommend having friends and
(14:09):
other people look at theheadshots, because I know every
time I send my headshots to myagent or whoever, the ones
people pick are not the ones Iwould pick.
Speaker 1 (14:17):
I know yes, so, oh my gosh, such a good point.
So, yes, because we're notreally looking for like the
prettiest photo or the bestlooking photo.
We're looking for like a rawphoto, sometimes someone looking
tired or just real.
So, sending your, we always askfor the whole gallery too.
We never love when talentnarrows it down before we
(14:39):
appreciate it, because they'retrying to avoid sending like 500
photos to us.
But we actually like seeing thewhole gallery, because we want
to just see all of the optionsand then we narrow it down.
But, yes, sending it to folksis great, I would say.
When it comes to an actor,though, really sending it to
your agent because they're theones that are going to be
(15:02):
submitting you is like the mostimportant vessel to go through,
because also, sending it to toomany folks gets a lot of
opinions then and a lot of cooksin the kitchen there.
Or folks that you know areseeing you just on like an
everyday thing, but may not besubmitting you for projects.
Speaker 2 (15:18):
Yeah, and we're Italian, we're used to cooks in
the kitchen, but maybe not withthe head chefs.
Speaker 1 (15:21):
I'm 100% Italian, so many cooks 100% Okay.
Speaker 2 (15:23):
Where's your family from?
I don't think I knew this.
Speaker 1 (15:25):
Yeah, we're from northern Italy.
I need to go back to Italy.
I've only gone once.
Oh really yes.
Speaker 2 (15:31):
It's magical.
You got to get back there.
Speaker 1 (15:32):
Yeah, yeah.
No, it was gorgeous when I went.
I need to go back thereEverybody.
Speaker 2 (15:44):
Close your eyes, be on the Amalfi Coast with us.
That's where we are, that'swhat we're getting at.
So, aside from headshots, I'mguessing you want to see a
resume and maybe a cover letterin an initial submission for a
meeting.
You know what else are youlooking for in that package?
What's like your ideal way foran actor to submit to you for
representation?
Speaker 1 (15:57):
Sure.
So yes, absolutely Headshot,absolutely Resume Cover letter I
could go either way with, to behonest, cover letter, giving us
like a glimpse of, like, maybeyour most recent credits or what
you feel your biggest creditsare.
Anything with well-known namesdirectors, actors, theaters,
anything like that just to catchour eye is great.
(16:18):
Email tends to be the bestoption these days.
When I was acting like when Ifirst started off, we would send
it in the mail like in an eightby 10 envelope.
We have an office but there's somany folks who don't have
offices so emails tend to bebest to send it through.
So a headshot resume keepingthe body of the email where,
like your cover letter, would beshort, just short, a couple
(16:42):
sentences, anything that youfeel like might grab our
attention or eye, but nothingtoo long, because we're looking
through emails all day.
So anything too long you alwaysrun into the risk of just
agents not reading the wholeemail because there's just a lot
happening.
Speaker 2 (16:57):
Yeah.
Speaker 1 (16:57):
So headshot resume, if you have a real, if you have
a website link, all of that justso we can see materials.
Speaker 2 (17:05):
Yeah, Are you still seeing a lot of website links?
Because I feel like that's sortof people still have them, but
I don't know if it's asnecessary with social media and
everything.
So what do you recommend there?
Speaker 1 (17:16):
Sure so there's a lot of discourse online with actors
.
Speaker 2 (17:18):
I get a lot of questions about this, yeah.
Speaker 1 (17:19):
No, it really could go either way.
I like websites still.
I find them very helpful.
Just no, you know it reallycould go either way.
I like websites still.
I find them very helpful, justwith all the different links.
There's, like you know, usuallythe About Me dropdown and the
headshots and the resume,contacts, reels, footage.
All of that I still like that.
I mean, you know, actors AccessProfile.
We also use ActivePitch as well, so we have other means to
(17:42):
submitting folks.
But also having the option ofsending a link to a website to
casting directors really ishelpful too.
So nothing that anyone has tolike rush and make a website,
but it doesn't hurt to have awebsite with really strong
materials on it.
Speaker 2 (18:00):
Okay, and same with social media.
Speaker 1 (18:05):
I mean, so much is happening over social media
these days.
We will never require talent toset up an instagram or anything
like that, but if they havesocial media, you know, of
course, putting stuff on thereof how you want to be
represented and how you justwant the world to see you,
because casting directors reallyare looking at it too, and we
always suggest too, if talent istalking about setting up an
(18:25):
account, something like that, ifthey want to do a professional
account and then a personalaccount and have the personal
one be private, that's alsoanother option too.
Speaker 2 (18:34):
Yeah, I was going to ask you about social media.
That's a great way to think ofit, because I know I mean, the
thing about this industry isit's all so subjective and some
people feel one way about it,some people feel the other way,
and to me it's almost like I useit as sort of a digital
business card, but I try andsprinkle in some personal things
.
Speaker 1 (18:51):
Oh, absolutely, because they want to see your
personality.
They want to see what do youlike to do when you're not
acting, you know, do you like to, you know, boat or hike or ride
horses, anything like that?
Yeah, it's great to sprinkle itinto.
Speaker 2 (19:04):
Yeah, I love it.
That sounded like an Old Spicecommercial boating riding horses
.
I can picture that.
Speaker 1 (19:08):
Yeah, of course we're ready.
Speaker 2 (19:10):
So I'm guessing referrals kind of pop through
for you when you get a referralfrom someone, is that always
sort of?
Or you meet someone in a class,is that sort of the best way to
start versus a cold submission?
Speaker 1 (19:21):
Yes, so a cold submission, yes.
So we'll get a lot of referrals.
We'll get a lot of coldsubmissions Through the Take
Three website.
We have like a submissionportal that we're always
checking as well, so we'll get alot of inquiries through that
method too.
But I do love referrals Also.
Workshops, showcases we havecasting directors that will
refer folks to us as well.
(19:42):
But referrals we do love justbecause we know who's referring
them and we can always reach outto them with questions as well.
Speaker 2 (19:49):
Yeah, that's a great point and I guess to that point
too, do you love to see almost alist you sort of mentioned it
of casting directors that thetalent knows and that they've
worked with.
Is that helpful for us to logand send over in the submission?
Speaker 1 (20:00):
So helpful and I'm always so amazed when actors
have these like spreadsheets andthey're on top of like what
audition they went to when theywent on it.
It is amazing to me, soorganized.
So, yes, we find that superhelpful because then when
there's a specific castingdirector casting a project and
we're like, oh, this talent hasworked with this casting
(20:21):
director on this project, we canalways push them and also just
flag that oh, you may rememberthem from this project.
So it's always helpful becausewe love connecting the dots with
that, because relationships andconnections in the industry are
so important.
Speaker 2 (20:35):
Yeah, you know, I always start the year with a
beautiful spreadsheet and thenit kind of falls off the wagon.
But I do, I'm pretty old school, so I have a planner that I
will write down every week theI'm pretty old school so I have
a planner that I will write downevery week the audition that I
went on and I just like doingthat.
Speaker 1 (20:46):
I love that.
No, I love hard copies ofthings to hold.
Speaker 2 (20:49):
Yeah.
Speaker 1 (20:49):
Right.
Speaker 2 (20:50):
Yeah, that said, don't send her a hard copy of
your headshot and resume maybe,because I don't want you to get
inundated.
Speaker 1 (20:58):
You know what we do still get hard copies, but a lot
of it is over email these days,which just it's cheaper for
talent.
Speaker 2 (21:04):
Yeah, but I guess maybe you would stand out if you
sent a hard copy Totally.
If it works, it works.
Speaker 1 (21:09):
Yeah, and it brings me back to my days too, because
I remember doing that.
Speaker 2 (21:12):
Yeah, I remember it too, getting the vanilla
envelopes.
It was so expensive.
Sometimes you would just walkit to the desk, the front desk,
drop it off.
Speaker 1 (21:20):
Oh my God.
Yes, because the stamps Iremember my mom would bring me
to the post office.
We had to get it weighed of.
How much does it cost to mailit?
Yeah, no-transcript, such agood question.
(21:45):
No, it definitely fluctuatesdepending on our needs.
Really, our roster alwayschanges.
It always ebbs and flows.
We have folks who are shootingseries, so they're not really
available.
Others that are on Broadway, sotheir availability is limited.
So things are always really influx and availability shifts in
and out.
So we really do look for folkswho we feel like could be a
(22:09):
great addition to the roster.
We also want to avoid internalconflicts.
So if we have a lot of folksthat would be going out for the
same role.
We want to avoid that becausewe don't want them to bump each
other out coming from the sameagency.
So we also try to stay awayfrom if we have too much of a
certain type or a certain look,anything like that.
(22:30):
We try to just limit that aswell, that makes sense.
Speaker 2 (22:33):
But I guess if you find someone you really like,
they could always follow up withyou, right?
Because then down the linemaybe you'll have that spot for
them.
You never know.
Speaker 1 (22:40):
And of course there's always exceptions, If we feel
like you know, oh, I reallyloved this person, I really
jived with them.
Could this work?
We'll always try to see, butour roster needs because we want
to be able to advocate fortalent most effectively.
So we need to see, you know,are we too heavy in one part of
(23:00):
the roster or not?
But yes, and then talent canalways follow up.
If we meet, we could, and if Ifor some reason can't take them
at that time, I'll always say ifyou're still looking for a rep
in six months, please feel freeand circle back.
Speaker 2 (23:11):
That's so kind.
Speaker 1 (23:12):
I love that Of course , because again the rosters
always change.
Speaker 2 (23:15):
Yeah, you know.
What else always changes is theamount of cat hair floating
around me, because I just movedand there's cat hair everywhere.
Speaker 1 (23:21):
I don't even see it.
Speaker 2 (23:23):
Oh well, now I pointed it out for everybody,
everybody, just to giveeverybody a visual.
We're in Italy, it's raining,cat hair and it's beautiful,
gorgeous.
I've heard so many thoughts onthis, so please help me clarify
it, if you can.
Speaker 1 (23:38):
Is there an optimal time of year for people to reach
out?
Great question, optimal time ofyear?
Okay.
So when it gets busy, busyseasons tend to be a good time
to reach out, so like March,april, but really any time we'll
be looking, we'll be looking.
But I mean, you know, whenthere was SAG strikes, that was,
(24:01):
of course, not an ideal time toreach out because work was so
limited.
So definitely see how theindustry is going in terms of
what is happening when you'rereaching out to folks.
But really I mean any monthjust getting yourself out there
could be beneficial.
And even on the slower monthsthere may be some folks who
aren't sending to agents, so youcould stand out in those months
(24:24):
too.
Speaker 2 (24:25):
That's a great point.
It's so wild because you knowthere used to be a really strict
pilot season and there weresort of regimented times where
everything was happening.
And now too, that's a greatpoint.
It's so wild because you knowthere used to be a really strict
pilot season and there was sortof regimented times where
everything was happening.
And now with self-tapes, it'sall the time.
So I think a lot of actors areconfused.
They're like I don't want toreach out and get lost in the
shuffle when they're alreadyhardcore promoting people during
a pilot season.
So that's very helpful to hear.
Speaker 1 (24:43):
Absolutely.
Speaker 2 (24:44):
Let's say, an actor does reach out and they land a
meeting with you.
What's kind of the best way forthem to prepare for it and
maybe not psych themselves out?
Speaker 1 (24:53):
Sure, okay.
Well, I don't want them to everbe nervous about meeting with
me.
It truly is really aconversation.
How to prepare?
I mean questions I would justask.
I always want to know abouttheir background, what led them
to where they are now and alsotheir goals.
What would be ideal you?
What led them to where they arenow and also their goals?
What would be ideal you know?
What are they aiming for?
Certain types of mediums thatthey're looking to get involved
(25:14):
in?
Just really a conversation andjust talking one-on-one is what
we would do during the meeting.
Most likely I would have seen,of course, the headshot, the
resume, reels, footage.
If I didn't, and if I'm takingthe meeting before I saw footage
or reels, I would then ask tosend me all material footage,
reels, anything like that, butmost of the time I would have
(25:35):
viewed everything before settingup the meeting.
Speaker 2 (25:38):
You're prepared, and they should be prepared in the
sense of well, I guess thisdoesn't happen as much anymore.
Then right, like doing a coldread in a meeting or having them
do a monologue or something.
Speaker 1 (25:46):
Right, right, no, I'm rarely, rarely, I typically
don't ask that or anything.
But I also want them to beprepared to ask me questions,
because, as much as it is likeme meeting them, it's them
meeting me too.
So I want them to ask mequestions to make sure that I
would be the right rep for themtoo.
Yeah, so definitely, it worksboth ways.
Speaker 2 (26:08):
Is there a question to maybe avoid that you get a
lot that you don't love hearing?
I mean, you're so kind that I'msure you just will answer
anything.
Speaker 1 (26:15):
No, I mean, we'll have clients that'll ask just
about my background or someexciting things that I worked on
or projects that we have talentworking on.
Nothing really has been asked.
I could recall that I was like,oh you know, no, I just want
them to feel comfortable and ifit is something that depending
on my answer would affect, ifthey, you know, feel that I'd be
the best rep for them, I wantthem to ask.
(26:37):
And if I don't feel comfortableanswering, I'll always just let
them know.
I don't feel comfortable,anything like that yeah.
Speaker 2 (26:42):
In that case, what's your social security number?
Speaker 1 (26:44):
Exactly.
Speaker 2 (26:45):
I'll just write it right here oh, perfect, okay,
Just throw it out there Afterthe meeting.
You touched on this a bit, butwhat kind of follow-ups do you
like to see?
I know you said maybe reach outin six months, but is there
something you like to see, likea new show they're promoting or
a reel they have?
Speaker 1 (27:01):
So if it is someone who I didn't automatically then
sign, if we're not movingforward, and if I do say reach
back out to me in six months orso, if you're still looking for
a rep reaching out, if there'ssomething happening, if it's a
new show that you booked, ifit's something that you know, a
new update of sorts, if it's youwere in California but now
(27:22):
you're moving to New York orvice versa, anything that you
feel like you know is new, thatmay spark an interest or be like
you know what.
Maybe because I booked this,now they might need me on their
roster to fill this kind of slot.
So yeah, any sort of update,like that is fine.
Speaker 2 (27:41):
Okay, that's great to know.
So unfortunately, I thinkthere's a lot of scams out there
.
What's your advice as far ashow an actor can know if an
agency is legit when they'resubmitting?
You know, I guess if they see afee structure like, what are
the red flags, you would sayAbsolutely so.
Speaker 1 (27:57):
Of course you never want to pay anything up front.
Agents will only get commissionoff of projects that you book.
So anyone that requires youknow a fee up front about
anything, definitely look into.
And also ask friends, askpeople that you've worked with
before for agent recommendations, because truly referrals from
(28:19):
folks that you're takinganything like that and just
making sure that you've done asmuch research as possible and
then meeting with the agents andseeing who do I really fit with
?
Did I like what they said?
Do I feel like they canadvocate for me?
(28:40):
Do we feel like we're on thesame page?
Anything like that I would lookinto.
Speaker 2 (28:46):
Okay, that's really good to know.
So let's say, we're signingwith you.
An actor out there listening issigning with an agent Yay, do
you have advice as far asreviewing contracts, you know,
and sort of like the initialagreements?
Speaker 1 (28:59):
Yeah.
So we'll, of course, send itright to Talent and then they'll
take a look at it If they wouldlike to set up a meeting.
I could walk them through lineto line on that as well.
We always make sure they'recomfortable with the contracts
prior.
We always say if you'd like tohave a lawyer, look at it,
please do.
We want you to be comfortablewith everything because truly, I
(29:21):
mean, you know they areexclusive contracts or,
depending on the agency you'rewith, it could be a freelance
contract.
But you want to make sure youunderstand all of the guidelines
as well with that so definitelyreviewing.
Having someone else take a looktoo could be helpful.
Speaker 2 (29:35):
Yeah, that's very helpful.
You know, as far as firstsigning, I feel like personally,
from what I've experienced andwhat I've heard from other
friends, there can sort of bealmost a little bit of a rush of
getting auditions, becausemaybe not nowadays I do feel
like just getting an auditionnow is a win in this current
climate.
But as far as in normal times,what even is that?
(29:55):
You would get a bunch ofauditions so the agent could
kind of get to know you feelwhat you're sort of is biting
for you, and then do you feellike it maybe even takes a year
or two just to kind of get toknow each other, because I think
a lot of actors see maybe a dipand then feel like they're not
hearing from their agent andthat it does take that time to
really sort of stick around andjust build a relationship.
Speaker 1 (30:15):
Absolutely, absolutely.
Because it'll take a minute forus to really kind of get in the
jive, see exactly what talent'slooking for and also seeing
where casting bites too.
Are they calling talent in forthis, but also are their
headshots attracting casting too?
So that's always something tolook at.
If, if auditions tend to be alittle slower, but if we've been
(30:38):
submitting you like crazy,pushing you, we'll always say
let's revisit the headshots.
We'll say send us the galleryagain.
We won't automatically be likeyou need to take more headshots,
we'll look at the gallery againto.
We won't automatically be likeyou need to take more headshots.
We'll look at the gallery againto see.
You know, maybe we'll switchsomething up on your profiles
because maybe it'll just be alittle refresh and it'll spark
things up.
But with the first year, thetalent side, I mean we never
(30:59):
expect them to book.
Really, it is us getting themout there, it's planting seeds,
it's them taking classes,getting to know casting
directors too.
So really, really it does takea minute to get things kind of
rolling.
But that also leads me back tosaying there's so much behind
the scenes that happens.
So when you sign with an agent,if you're not getting tons of
auditions right off the bat.
(31:20):
There's so much behind thescenes that goes on that just
talent's not aware of too.
That's happening.
Speaker 2 (31:29):
Yeah.
So I guess what do you like tohear from talent then during
that time you know, I knowyou're very open what kind of do
you think makes a strongactor-agent relationship?
Speaker 1 (31:34):
Sure it is.
It's that open communicationreally it is.
I always like to when you knowthey're saying I love this
director, I love a choreographer, I love this type of genre,
anything like that.
It just helps me truly get toknow them even more.
And I also want to hear ifthey're not going to be around
(31:56):
because they're booked out for awedding or a silent retreat,
and also the capacity thatthey're booked out in.
If it's just I have travelplans but I'm bringing myself
tape equipment I could stilltape, I just can't attend
anything in person.
We like to know that.
If it's I'm on a silent retreatand will not receive any emails
, it's a hard book out.
We want to know that because wewant to just avoid pushing
(32:19):
talent to casting for somethingthen that they're not available
before and us not knowing.
Speaker 2 (32:24):
Okay, I need to go on a silent retreat, Probably
preferably in Italy.
Speaker 1 (32:27):
Exactly exactly no.
Okay, I need to go on a silentretreat, probably preferably in
Italy.
Speaker 2 (32:29):
Exactly exactly no, I know right, yeah, yeah, I love
that, I know.
I think that's great to hearbecause I know some actors like
we can be sensitive creaturesand we probably feel like we're
bothering you.
Never, I guess, you cannot overcommunicate enough if you're
being kind about it and helpful.
Speaker 1 (32:48):
Of course, and if something's not time sensitive,
if I'm away from my desk,anything like that I'll always
pin the email and circle backwhen I have then time to give a
lengthy response.
But, we're always checking ouremails, so if there is something
that talent wants to say, Ialways suggest for them to email
me.
And they also have my cellphone number, so if anything
urgent they could text me, theycould call me.
All the relationships aredifferent.
Speaker 2 (33:06):
Call me, beat me if you want to reach me.
Yeah, yeah, yeah, as shy aspossible.
So we mentioned sort of likewhat you like to see from actors
during that time.
In regards to updating theirmaterials.
What would you just say is agood rule of thumb for when they
should reassess their headshots, you know, update their resume.
Is it like a yearly thing, asix month thing?
Speaker 1 (33:26):
Yeah, I mean every couple of months.
We always say you know, take alook at your headshots, take a
look at your resume, just tomake sure everything is up to
date.
If you got a certain haircut orchanged the color of your hair,
any sort of like majordifferences we want to
definitely address with updatedheadshots because we also want
to avoid submitting a headshotto casting and have casting ask
(33:50):
them to submit a self-tape orask them to come in person for
something and then they walk inor submit a tape and look
nothing like the headshot.
So any drastic changes wealways want to address with
updated headshots.
But in terms of resumes, ifthere is something that you just
worked on, get it on thatresume, add it to your Actors
Access profile.
Constantly looking at thosematerials, making sure that they
(34:12):
are current, really is key Forheadshots.
In terms of getting new ones,if nothing like drastically has
changed, I mean every year and ahalf, two years anything that
you feel like maybe you justneed like to freshen it up a bit
, or a new type of headshot,absolutely.
And it also doesn't have to bea headshot with a lot of looks,
a new, updated one.
(34:32):
It could be something withlimited looks.
If you feel like there's acertain type of shot that maybe
we don't have yet, just going infor a quick shoot.
Speaker 2 (34:42):
As far as supplemental shots, are you
seeing a trend of people puttingup really nice photos that
aren't as professional, like afull body photo that maybe they
took on a cell phone?
Are you seeing those work atall, or is it?
Does it have to be aprofessionally shot photo?
So?
Speaker 1 (34:59):
we typically gear for those professionally shot
photos.
There'll be occasional timeswhen we need, like, the full
body in, you know, thecommercial department or print
department.
You'll.
You'll use those full bodies abit more than our department
with the selfies, but havingthose sending those to us, we
definitely will ask for those,sometimes just depending on the
(35:19):
nature of the submission.
But we really do go with theprofessional photos.
Speaker 2 (35:25):
Okay, well, starting out with an agent, what is like
a good rule of thumb for astarter pack for sort of like a
TV film headshot?
Are there like three recommendjust every actor has right off
the bat?
Speaker 1 (35:36):
Sure.
So it's definitely depends onyour age and your type.
You know there's so manyprocedurals out there, like the
lawyers, the detectives so Ialways love like that corporate
shot a blazer, a collared shirt,something that looks like
you're ready to be in any sortof those office settings.
Then also a bit more of like anedgier shot, something that
(35:57):
just has a bit more of like araw look to it.
Also could be helpful somethingmore neutral that we could
submit for anything.
It could be just like a black,plain shirt.
It could be something veryneutral that could work for
several different things isalways great to have on hand.
Then it could be if you'regearing to play younger,
(36:18):
something just looking younger,if you can play eight, if you
could play a younger than 18role, you know, something that
has a bit more of that energytoo.
But really it's.
We always work with our clientson this too, with how many
headshot options that they'llget in their session, and then
we'll say you know what, let'sdo these three and see where we
(36:41):
are then.
Speaker 2 (36:42):
Yeah, I loved hearing you say too, you don't
necessarily have to go and bookanother headshot session.
You can also go back into thatgallery of five or 600 photos
and maybe try and tweak it andsee if one of those would
actually work better instead.
Speaker 1 (36:54):
Absolutely, because when we're sending like the
actor's profile, it's castingseeing like those same headshots
.
So even if it's a greatheadshot, it might just be
getting stale too, because theeyes are just keep seeing it.
So, Just revamping it withputting just another one from
that same shoot up couldabsolutely work.
Speaker 2 (37:12):
That's great to hear.
I would love to know.
We had a few listener questions, oh OK, A lot of the Casting
Network's users.
Actually, most of theirquestions were just how do I get
an agent, and so we're kind ofcovering that in a larger scope
here.
I thought to distill that maybewe could hear from you.
What is, I guess, your dreamclient, if you have one?
(37:32):
I know that's like a big skyquestion.
Speaker 1 (37:40):
Yes, a dream client.
Really, I feel like I've saidthis a couple of times it really
is communication.
Truly, it is Just keeping thatcommunication open us knowing
again if you're not available,anything like that.
And also talent who is alsoputting the work in attending
those classes, getting theirnames out there, trying to get
involved in projects?
That motivation is veryinspiring and, as I mentioned,
(38:04):
it is a team and partnership, soputting in the work on both
sides really is a dream clientthere too.
Speaker 2 (38:11):
Oh, that's beautiful.
I do think a lot of actors.
Sometimes it's like you signwith an agent and you just feel
like a sigh of relief because itis that extra support and that
huge team member but it is thatteam like you're saying.
So you can't really just sitback and relax because you got
to sort of like both be movingforward together.
Another question we got isn'tnecessarily in regards to how to
(38:33):
get an agent, it's kind of theopposite, but I do feel like
it's helpful.
If you have any insight here,which I'm sure you do, I should
say this is from CastingNetwork's user at Amina Anina.
I like that rhyme.
Amina Anina, oh, okay.
Yeah, amina Anina, is it everbad to part ways with an agent
who no longer shares your vision?
(38:53):
What's the best way to handlethat?
Speaker 1 (38:56):
Well, that absolutely makes sense.
So, depending on yourrelationship with the agent,
having a meeting with them, aphone call, a Zoom and just
really expressing how you'refeeling.
Also, if it is something thatyou feel like may work, but
maybe the game plan has tochange or we have to think of a
new strategy a conversation anda meeting just to talk about how
(39:20):
you're feeling absolutely andalso seeing if you're under
contract, seeing the terminationclause of the contract and how
you would be able to be releasedfrom the contract.
Speaker 2 (39:35):
This is like a masterclass in communication.
I feel like communication isyour bag and it's just so
helpful.
It's just communicating likepeople who would have thought
Okay, Michelle, now it's timefor a quick surprise game if
you're down.
Speaker 1 (39:47):
Oh my gosh yes.
Speaker 2 (39:48):
Yay, okay, I'll insert some cheesy music here.
Okay, this is called castingkeywords, and so, basically, I'm
going to throw a word or aphrase at you, something that
has to do with actors, a wordthat you're familiar with.
You'll hear it all the time,and then you just give us the
first piece of advice that popsinto your head.
Speaker 1 (40:06):
Okay.
Speaker 2 (40:07):
Don't overthink it.
Just shout it out and thenwe'll keep it pretty quick, but
some of these might spawn, youknow, a larger conversation.
Okay, are you ready?
I'm ready.
Woo, woo, cuckoo, cuckoo,cuckoo.
I don't even know what thatmeans.
I'm going to start withnetworking.
Speaker 1 (40:20):
The first thing I thought of was casting networks,
I think because of the wordnetworks.
Speaker 2 (40:24):
That makes sense.
Speaker 1 (40:25):
Okay, wait, okay.
So I'm going to continue rightnow, then I can talk more about
it yeah.
Networking so important in theindustry.
Absolutely Get out there.
It's taking classes with thosecasting directors, talking to
folks that you're working withalso in the business.
Speaker 2 (40:39):
I love that.
Okay, what about slating?
Speaker 1 (40:45):
Sure, so many different ways to slate.
Please just follow directionson the self-tape request.
Sometimes casting wants a fullbody slate.
Sometimes they just want, youknow, the three-quarter slate or
just a half slate, anythinglike that.
Make sure you're slating theactual required information name
, location, if there's height,if it's union status, anything
(41:07):
like that.
Just always double check thatyou're submitting that correctly
and also if it's to be in thebeginning of your submission or
if it's to be slated at the end.
Speaker 2 (41:18):
Oh, because that could disrupt the tone, which is
my next word, tone as far asauditions.
Speaker 1 (41:24):
Showcase your personality in the slate.
I would say Tones for auditionsfocus serious and be rehearsed
and be prepared.
Getting an audition, it's trulyalready a win.
And you never know, even if youdon't get the role or the
project, those casting directorsare most likely going to cast
other projects down the line.
So you want to make sure thatyou have great exposure
(41:46):
regardless.
Speaker 2 (41:47):
It must be so cool for you to see that happen in
regards to someone not getting apart, and then, maybe two years
later, they hear from thecasting person that remembered
them.
Does that still?
Speaker 1 (41:54):
happen a lot Because we always hope that that happens
when casting is submittingthings or just auditioning for
anything, that casting justremembers them for projects down
the line.
So it is so rewarding when thathappens.
Speaker 2 (42:12):
Yeah, what a just lovely thing to be remembered in
life.
I just think that's to bethought of.
It's just nice Love Co-starauditions, because they can be a
little tricky, because you justhave one line.
Speaker 1 (42:21):
Sometimes Co-star auditions Very tricky.
Great though to get thosecredits, to get that on-set
experience.
You know, do a couple takes ofthese.
Sometimes they'll have specificinstructions.
If they only want one take,then okay, do one take.
But really if it's just oneline or one word, a couple takes
(42:43):
.
Giving them some options superhelpful, since with the
self-tape request you're not ina room so there's not like that
direct feedback of someoneasking you to immediately
re-tape.
So something with any sort ofshort dialogue or material.
I would say give a couple takes.
So casting just has options.
Speaker 2 (43:00):
Will you tell actors if you like a certain take
better and then just them toedit that out?
Will you tell them to maybe doa new take if you see one that's
pretty close?
Do you do that as an agent?
Speaker 1 (43:08):
Absolutely so.
Now with self tapes, we're partof that process so we're able
to get feedback.
We just always say to talent ifyou are hoping for feedback or
wanting feedback, just send itto us with some buffer room
before the deadline, Because wejust want to avoid asking
casting for an extension.
Speaker 2 (43:27):
Yeah.
Speaker 1 (43:27):
So just giving us some time to review it, to give
feedback, just in case we wantyou to retake.
We want there to be enough timebefore the deadline.
Speaker 2 (43:34):
Yeah, and I also love that you give positive feedback
, which is just so beautiful andfun.
I love watching it.
Speaker 1 (43:38):
Truly, I love watching the tapes.
It's so great because beforethe pandemic it was rare when
you would get a self-taperequest.
So now that they're happeningwe're so much more involved too.
Speaker 2 (43:49):
Okay, well, while we're here, I guess self-tapes,
that's the next phrase.
What's your advice on that ingeneral for actors?
Speaker 1 (43:54):
Have a great setup If you are an actor submitting
those self-tapes have thebackdrop, have proper lighting,
just have the tripod.
Making sure that your setup issecure, your internet connection
secure and also just yourframing is great.
That's going to be so helpfulhaving that professional look.
(44:17):
Also, there's tons of classes,too that are being offered now
that are just assisting withthat self-tape and offering
guidance.
So even taking a couple ofthose just to make sure you have
those basics.
So at least when you'resubmitting you have that
professional approach.
Speaker 2 (44:32):
Yeah, not to plug it here, but we did a great episode
with Erica Hart all aboutself-tapes.
That's a free resource andshe's just fantastic.
Erica's great and you're such agreat advice, so check that out
everybody.
Okay, passing on auditions, socheck that out everybody.
Speaker 1 (44:44):
Okay, passing on auditions.
Sure, Absolutely fine.
On our end.
We always say to talent if therole doesn't resonate with you,
if the project doesn't resonatewith you, if the material does
not resonate with you, anythinglike that, If you're not
available for the dates, theshoot location, anything like
that, we always want to know.
We want to avoid talentsubmitting for something and
(45:05):
then an offer coming in afterthey submit, us having to
decline because they're notinterested, so we would
absolutely rather decline fromthe get-go.
It's rarely that we'll ever.
The only time we'll really goback to talent being like are
you sure you want to pass?
Is if there's a great creativeteam attached.
If there's some sort of likeinsider information that we
(45:25):
could share, that may sway them,but ultimately it's their
decision.
So we completely supportwhichever way they go with the
auditions.
We want to just be able topresent them with opportunities
and then, however they want togo with it, absolutely fine.
Speaker 2 (45:41):
Yeah, and I think a lot of casting is sort of
sometimes even waiting for thatperson to change their mind.
You know they're going to castthe exact opposite, and so
something I've learned from youover the years is to just you
might as well submit, becauseyou're at least meeting that
casting person in the team.
Speaker 1 (45:55):
Absolutely, absolutely.
You're meeting the castingperson in the team.
If it's something like you know, you just are opposed to, the
project will definitely declinebecause you wouldn't do it in
the long run of it.
But, getting just those seedsplanted of casting.
Seeing you really is great.
Speaker 2 (46:11):
Well, speaking of casting, let's say casting
director feedback.
Speaker 1 (46:14):
Yes, sometimes we get it, sometimes we don't.
You know, we ask and sometimesthey may provide it, other times
they are unable to.
So really, that's just.
That's really case by case.
We know that actors really lovethat casting director feedback,
of course, because so much inthis business we don't get
closure with.
And we spend so much time on theaudition and putting so much
(46:37):
out there, and then there'ssometimes that we just never
hear.
So we love the feedback, butit's a bit case to case if we
receive it.
But if we receive it we alwaysshare it with talent.
Speaker 2 (46:46):
Okay, in that same regard, I've actually been
really curious about this overthe years.
Is it weird for an actor to askwhich headshot you submitted
that got them the audition?
Speaker 1 (47:04):
that because they want to know, okay, was it a bit
more of this style or thatstyle?
Because they kind of want toemulate that same look for their
self-tape request or thein-person audition.
So absolutely fine if they askbecause we'd like to have that
variety of headshots on theirprofile, because we customize
the headshots each time wesubmit talent for something, so
we'll change the defaultheadshot depending on the role.
So talent's not sure.
(47:25):
Was it the edgier headshot youused?
for this, or was it the moreneutral shot?
So absolutely asking is totallyfine, and then we'll just send
them a screenshot of the photo.
Speaker 2 (47:33):
Yeah, like, should my hair be a little crispy and
should I be scruffy or should Ishave?
Speaker 1 (47:37):
You know, sometimes it's, that's exactly it.
Yeah, hair curly straight up,down.
Speaker 2 (47:41):
Yeah, yeah, okay that literally straight up down yeah
, yeah, okay, that's awesome toknow.
Submission notes.
Speaker 1 (47:45):
Sometimes there'll be instructions.
Sometimes the casting will askyou to write in the notes the
slating information as well, sothey have it verbally, but then
they also have it in the notesfor their notes.
Absolutely, we always telltalent if they are doing a
direct upload.
We want them to avoid puttingother sort of notes in there
unless it has something to dowith availability, location,
(48:09):
work paper status, anything thatwould make a difference with
them being able to do the job.
But we say try to avoid puttingany sort of other notes in
there besides the importantinformation requested.
Speaker 2 (48:24):
Awesome Live callbacks.
Speaker 1 (48:27):
Exciting.
Speaker 2 (48:28):
Virtual or in person?
Speaker 1 (48:29):
Yeah, Exciting, so okay.
So live callbacks it's veryrare that they're happening in
person these days, so a lot ishappening virtually.
But that's exciting.
Casting will get to see talentthen, at least virtually, and
will be able to feel theirenergy and have a bit more of a
(48:51):
better feel for who they are.
Really exciting because a lotof the times that'll happen
after a self-tape.
So getting that virtualcallback always very exciting.
Sometimes Zooms and other typeof portals.
Speaker 2 (49:03):
Okay, and lastly, I have down here breaking the mold
.
I think what I meant by that ishave you seen people book that
sort of do, if it fits the role,not an avant-garde self-tape,
but just play around with theself-tape medium versus just
standing there and doing itright to the camera.
Speaker 1 (49:18):
Sure.
So absolutely, we'll have somefolks who will absolutely change
it up a bit but still have avery nice quality tape that
doesn't distract, because truly,casting wants to see you,
casting wants to hear you.
So as long as things are beingchanged, but still those are
(49:38):
remaining constant, weabsolutely are fine with it.
A lot of times, talent willalso reach out to us, being like
okay, what are your thoughts onthis?
I know I made some really boldchoices.
Let us know your thoughts,totally open to feedback, and
sometimes we'll be like no, wethink it's great, absolutely,
absolutely.
Sometimes we'll say, well, whydon't we do another take and
we'll submit both.
Speaker 2 (50:05):
Oh, I love that.
Do you have a fun TV filmbooking?
Speaker 1 (50:06):
story you can share.
As far as someone that bookedoff a self tape that maybe made
a bold choice.
Sure, sure, yeah, I mean, Ihave one of my, one of my
clients.
She booked a recurring gueststar on an episodic and doesn't
have much TV and film background.
I submitted her on it becauseshe was just so perfect for the
role, ended up booking it fromher self-tape.
Right after we submitted theself-tape cast and called me and
(50:30):
loved her and was just wowed byher.
How amazing they'd never seenher before, really.
So that was super exciting andthat was about it was only a
couple months into our workingrelationship together, so I had
just started working with her.
I love that.
Speaker 2 (50:48):
I love when people win yeah.
Speaker 1 (50:49):
Very exciting.
Speaker 2 (50:51):
Oh, that's exciting for you too, because you, you're
like the dream maker and you,you know, you spotted that, you
saw that.
Speaker 1 (50:56):
I just knew she was right for it.
Yeah, she was perfect.
Speaker 2 (50:58):
Yeah Well, this time together has been perfect.
I mean, what is perfect?
But I've loved it.
I've enjoyed it.
I think you've given us suchgolden nuggets of wisdom and if
you could just sort of end thisby giving us a gotten and a
given.
So we're always looking for thebest piece of advice you've
gotten in this industry and thenthe best piece that you have
given or have to give to actors.
(51:19):
So we could start with thatgotten.
What is the best piece?
Speaker 1 (51:22):
of advice you've gotten.
Okay, wait.
So let me just think, because Iall right, the best piece, that
I have.
Speaker 2 (51:28):
You can take your time.
Speaker 1 (51:29):
Yeah, so all right, okay.
So I have one, but I kind ofwant to okay.
The first thing is I'm going tomold gotten and given together
and we'll kind of do two, okay.
Speaker 2 (51:40):
I love it.
Speaker 1 (51:41):
So okay, the first thing is only try to control
what you can control.
So much in this business youcan't control.
So the things that you cancontrol, focus on the other
things that are really out ofyour hands.
Just try to let them be.
Speaker 2 (51:58):
Hmm, so I've gotten that advice.
That's life advice, right there.
Speaker 1 (52:01):
I've given that advice, so that's a bit of a
gotten given Okay.
I love that and so okay, andthen another one would be.
Another one would be I mean,that's both.
Speaker 2 (52:11):
You don't have to give another one.
I think that applies to lifetoo.
Speaker 1 (52:14):
I'm gonna write that down gotten and given, there we
go yeah, release control.
Speaker 2 (52:18):
That's so wonderful, I think, even sometimes.
I know friends, I've tried thisbefore.
I don't always do it, but thatwill literally like rip up their
sides or just delete them afterthey do the audition, delete
all their takes because they'rejust like you know, you can't
control what's going to happennext, you just got to move on.
Speaker 1 (52:33):
Even as an agent.
I mean, there's so much stuffthat I want to control and just
can't.
It's like I'll submit talentfor something, I'll push them
for something, and you knowwe'll do all we can.
But then it's like, ok, we'vedone all we can, and now?
It's like we just hope, likecandles, manifest and things.
Speaker 2 (52:52):
But yeah, there is a take three talent booking candle
there was one of those withdifferent scents.
Speaker 1 (52:59):
We have a bunch of different scents.
Speaker 2 (53:00):
What does booking smell like?
Okay?
Speaker 1 (53:02):
it could smell like like fire, like wood.
We also have one that smells abit like like an orange kind of
citrus.
Oh, that makes sense to me sobooking has a variety of smells
because there's so manydifferent products in the book.
Speaker 2 (53:18):
Oh yeah, and when you have like a fire burning within
you, hopefully that keeps yougoing.
Yeah, I love that.
Well, I've loved this timetogether.
Thank you so much, michelle.
I appreciate your generosityand, no, I just think we're so
lucky to have someone like youin this industry that's looking
out for actors and just beingsuch a kind soul.
So thank you so much.
Speaker 1 (53:35):
Thank you so much, robert Pleasure, speaking with
you.
Speaker 2 (53:38):
You're the best.
Speaker 1 (53:39):
You too.
So much in this business you can't control the
things that you can control.
Focus on the other things thatare really out of your hands.
Just try to let them be.
Speaker 2 (00:12):
When it comes to working in entertainment,
there's a lot of hows, and theyall boil down to how we navigate
this wild industry.
While how we follow our dreamsis uncertain, how we roll along
the way is in our hands.
Welcome to how we Roll, apodcast for actors by Casting
Networks.
Hello, fellow actors, it's yourfriend, robert Peterpaul, back
(00:42):
on the mic to answer what Ibelieve has been one of the
biggest questions we've gottenthus far at how we Roll how do I
get an agent, specifically inthe television and film space,
though this chat will spanmediums To crack the code with
me, I didn't look too far.
I tapped in my agent, themagnificent Michelle Cavallaro.
(01:11):
Michelle Cavallaro is the SeniorTheatrical Agent at Take 3
Talent Agency.
A graduate of Emerson College,michelle's journey in the
entertainment realm began onstage as a musical theater
performer and dance instructor.
Prior to Take 3, michellegarnered experience at About
Artists Agency, mccorkle Castingand CESD in New York, dance
(01:37):
Choreography Agency,mcdonald-selsnick Associates in
Los Angeles and Boston Casting.
Her clients can now be seen onscreen in shows like Dexter, law
Order, svu, exokitty, fbi, mostWanted High Potential, ncis,
blue Bloods, sex Lives ofCollege Girls, winston and Long
(02:00):
Bright River, just to name a few.
Her roster also works onBroadway, with shows like the
Outsiders, buena Vista SocialClub, gypsy Boop, the Great
Gatsby and Juliet and Wickedtopping the list.
We are in for a treat, friends.
Michelle is a rare gem of ahuman who has experience on
(02:22):
stage, in casting offices andnow as an agent.
She's like a triple threat ofknowledge.
She also leads with kindnessand I loved mining her brilliant
brain for nuggets of wisdomjust for you.
Speaking of, please share yourburning industry questions with
(02:43):
us as we continue to follow thecreative path.
Also, if you enjoy this episode, it would be so kind of you to
share it with a friend and maybeleave a nice review.
I don't know, no pressure Now.
Here's how we roll with gettingan agent Featuring Take 3
talents, michelle Cavallaro, andI do hope, if you really want
(03:04):
one, that you get an agent afterlistening.
Today, as you know, I hopewe're going to discuss how to
get a TV film agent specifically, though of course, I think a
lot of that will apply togetting an agent in general, as
(03:24):
I know, you kind of run thegamut there, so let's start to
kind of mind your brain forthese insights.
First, I do want listeners toknow that you started out as a
performer yourself.
I'm wondering if you feel likethat kind of gives you a good
perspective as you're nowworking with actors, because I
feel like you kind of are sofriendly and down to earth and
(03:45):
you've walked the walk so youget what we're all trying to do.
Speaker 1 (03:48):
Yes, yes, so absolutely correct.
I was a performer my whole lifegrowing up.
I also love musical theater, soI was a musical theater major
at college.
So being an agent and havingthat performer background is so
helpful because I feel thatemotional component that the
actors are feeling as they'regoing through this whole process
(04:10):
and the industry.
It's so up and down and Iabsolutely have been there and
completely understand how theemotions will flux during it all
and so absolutely I'm sograteful for my time as a
performer because I think itjust adds so much to me now as
an agent.
Speaker 2 (04:27):
Yeah, and you've lived so many lives I loved
learning about you, know how youlived in California and you
were repped, but also work in anagency.
I guess once you kind of madethat transition, although it
sounds like it was a littleslower what did you learn about
the role of an agent thatsurprised you?
Just to kind of set somecontext today, you know what
would you say the role of anagent is that maybe us actors
(04:48):
don't quite understand.
Speaker 1 (04:50):
Sure, sure.
So there's so much behind thescenes that actors and agents,
clients they just don't, theyjust don't see really a lot that
goes on.
There's so much pushing thatagents do behind the scene to
get their talent seen, even ifthere's not auditions coming in
or self-tape requests coming infor the talent.
(05:11):
There's so many pushes, so manyconversations with casting that
happened that talent doesn'teven know is happening.
So the behind the scenes,everything just seeing all of
that in the inner workings.
When I was a performer and whenI was repped, I had no idea
what was going on behind thescenes of it all.
So I just feel like there's somuch happening that talent just
(05:34):
doesn't see on their end.
Speaker 2 (05:35):
Yes, and you mentioned self-tape requests.
I feel like that's a new sortof phrase that's come in over
the years.
It transitioned to self-tapeswhich we didn't know if it was
going to stick, and surprise, itstuck.
And now we see self-taperequest.
Does that usually mean thecasting director reached out
about the talent, or is thatlike you submitted them and then
they reached out, sort of whatis that term?
(05:55):
I know this is getting offtopic here.
No, no, it's a great question.
Speaker 1 (05:58):
I'm happy to clarify so it can mean a couple
different things.
So a lot of the time it's we'resubmitting on breakdowns or
casting directors are sending usbreakdowns asking us for our
top folks that fit the specs.
We then are submitting theiractors access profiles, if they
have a website, if they havefootage, any sort of real
material, anything like that.
Once casting reviews thematerial, they then come back to
(06:20):
us and will request who theywant to see submit a self tape
they then come back to us andwill request who they want to
see submit a self-tape.
So, truly, it is a lot of theagent submitting the talent
first, but agents can submittruly one person like 20 times a
day, and a self-tape requestmay not even come in for that
person, and there could be somany factors that could be the
(06:41):
reason why it doesn't happen,but typically, when a request
comes in, the agent hassubmitted talent.
There's a lot of times, though,that casting is already familiar
with talent and it could befrom past auditions, from past
projects, from classes, and thencasting will reach out directly
requesting a talent to submit.
Speaker 2 (06:58):
I love that.
Speaker 1 (06:59):
Thank you for clarifying that yeah, so it's
really just a mix, truly.
Speaker 2 (07:02):
Yeah, I think we're going to get into even more of
that nitty gritty with you.
But looking at actors startingout, you know what's the biggest
misconception you would saythat actors have about agents.
It's such a big ticket bucketlist item.
Speaker 1 (07:14):
We're like.
Speaker 2 (07:15):
I need an agent right away.
Speaker 1 (07:17):
Okay, so everyone's different, of course, but I feel
like you know it truly is apartnership the actor and the
agent.
It is a partnership goingtowards the same goal really of
securing that actor work.
So I feel like you know therecould be some talent that, once
they get an agent, like maythink okay, I'm just going to
sit back now and let my agentjust send me stuff, but there's
(07:39):
so much work that goes in on theactor side too in this just
like any, like any relationshippartnership.
It truly is a team, so an agent.
We expect our talent to keep upwith the training.
Make sure they have all theupdated materials, current
headshots, their resumes updated, their reel is updated, that
they're also taking classes withworking casting directors,
(08:01):
because we want castingdirectors to see the talent.
So we want them to be in thoseclasses, with those casting
directors that are currentlycasting projects, Some things
that you know.
Maybe actors don't realize ittruly is a partnership and a
teamwork.
It really is just two of usworking together.
Speaker 2 (08:19):
Yeah, that's an excellent way to put it and I
will say you define that.
I've been so fortunate to workwith you and I'm saying this
here because everybody listeningwhen you start to look at an
agent, I think that's exactlywhat you want.
You want a knowledgeable,talented person that's going to
give you that advice but alsonot pressure you, and I've never
felt pressured by you whenwe've had calls of what to
(08:40):
decide.
You sort of are there forsomeone either way and I think
that's really special.
So you do want it to feel likethat partnership and I hope
that's changing a bit in theindustry, because I do feel like
it used to be very much.
The actors had to bow down tothe agent because you know you
guys are doing so much for us.
But I like that even ground.
You know people first.
Speaker 1 (08:59):
Oh, absolutely, and it's like you know.
You shouldn't be afraid toreach out to your agent truly
with questions, with concerns.
I also love open communication,so I always tell my talent if
there's a show, a role, acasting director, a
choreographer that you reallywant to work with, shoot me an
email, Because I'll just keep iton my radar and keep an extra
eye out on it, Because we wantto make sure we're submitting
(09:21):
and pushing talent for projectsthey're excited about.
Yeah, and want to make surewe're submitting and pushing
talent for projects they'reexcited about.
Yeah and want to work so thatopen communication really is
everything.
Speaker 2 (09:28):
That's so special.
Well, I got a list here,Michelle.
Hold on everybody.
No, I'm just kidding.
Oh, okay, Up to shows.
Yeah, I do Email it over.
I have a list of questions foryou?
Speaker 1 (09:37):
Yes, of course.
Speaker 2 (09:37):
I think when we're looking at the, when you're
meeting with actors, what signstell you that an actor is truly
ready to sign?
Because you can meet withsomeone and love them, but maybe
they're not ready for that nextstep?
Speaker 1 (09:49):
Sure, sure, okay.
So there's a couple things.
So I would say, when I meetwith an actor, the first thing
that I really look for is arethey kind and is it someone I
would like to work with?
Our job here on this end it'snot a 9-to-5 job.
It truly is 24 seven.
We're working on so manydifferent time zones, also with
casting directors, so we want towork with someone who we like
(10:12):
to work with and we feel likeour personalities jive there
definitely could be people whoyou know.
Maybe your personalities justdon't mix and you know it might
just be not the best fit.
So personality first is what Iwant to work with this actor.
Do I feel like I can advocatefor them to the best of my
ability?
Then we'll look at trainingbackground.
Are they trained?
(10:33):
Are they continuing classes?
Do we feel like they areexcited, motivated, want it?
We can't want it more than theactor wants it.
So it's like just making surethat they're excited, that they
also have availability.
We completely understand.
You know survival, jobs andeveryone's doing.
You know teaching and you knoweverything else to make money
(10:56):
while auditioning.
We just want to make surethere's flexibility and also
just that open communication andthat we know what's going on.
If there's like book updatesthat someone's not available, we
just want to make sure thatcommunication is constant.
Really.
Speaker 2 (11:10):
Yeah, I love that you all look for people that you
sort of jive with first.
I think that's a great reminder.
Overall in the industry it'salmost like you take all these
classes, you learn a lot of thebusiness end, but at the end of
the day, even when you go in foran audition, it's sort of just
people meeting people and youjust you want to be around good
people.
You know what I mean.
So I think that's so specialthat you think that way.
(11:32):
I guess, if you feel like maybeyou even like the actor, but
they're not necessarily ready,what do you suggest they do to
get ready?
Speaker 1 (11:38):
Sure, we'll always suggest classes just to really
get in the room, gaining moreconfidence, gaining just some
more skills, just depending onwhat we feel like may be lacking
or why we feel they're notready to move forward.
We'll always direct to classesbut also materials, making sure
that they have updated headshots.
Headshots really are thecalling card, especially in this
(12:00):
day and age of self-taping.
Casting is seeing talenteverywhere, so they're getting
inundated with submissions, andso making sure that an updated
headshot that catches casting'seye really is key too.
So, really classes and updatedmaterial.
Speaker 2 (12:18):
What are you seeing as an agent?
I'm curious in regards toheadshots with the trend,
because I feel like headshottrends have changed.
You know they were black andwhite at one point, then there
was like the white border withthe name and now they're sort of
in this, like moody bluishfilter, almost.
Speaker 1 (12:32):
Oh my gosh, when I had, so when I was performing
yes, it was like black and whiteheadshots.
I was, like I went to like aNew York photographer.
I lived in Connecticut.
I was, yeah, so I know werarely see black and white, but
that always does take me back,though, to my days it's very
Sunset Boulevard.
Speaker 2 (12:47):
Maybe it'll come back one day.
You know it always comes backit always comes back Totally.
Speaker 1 (12:51):
We'll see those headshots again.
So I mean, with headshots, wereally we look for.
I mean it's so subjective.
That's the thing too.
You know something that maycatch our eye, someone else may
just not love.
We really like direct photos.
We don't really love, you know,the tilting, the side profile,
the looking over the shoulder,not too like handsy hands on the
(13:19):
face.
We typically like like thehands down, more really of a
standard headshot.
Look Then with photographersthey all have their own style
headshot.
Look Then with photographers,they all have their own style.
So it could be lightingdifferences or we'll always meet
with our talent and talk aboutwardrobe as well.
Wardrobe is so important because, we want to make sure, if
they're investing in headshots,that they'll be headshots we'll
be able to use.
So, we'll always run throughwardrobe options, different
(13:43):
looks, depending on how manylooks they have in their session
as well.
Speaker 2 (13:47):
Yeah, we had a great episode on headshots here and
one of the things thosephotographers suggest doing is
actually going to the store,buying fresh clothes based off
of what looks you want andkeeping the tags on and then
maybe returning it after ifyou're on a budget, because new
clothes look so much better oncamera they're not faded.
So I think that's a great thingthat you just brought up.
I'm assuming you wouldrecommend having friends and
(14:09):
other people look at theheadshots, because I know every
time I send my headshots to myagent or whoever, the ones
people pick are not the ones Iwould pick.
Speaker 1 (14:17):
I know yes, so, oh my gosh, such a good point.
So, yes, because we're notreally looking for like the
prettiest photo or the bestlooking photo.
We're looking for like a rawphoto, sometimes someone looking
tired or just real.
So, sending your, we always askfor the whole gallery too.
We never love when talentnarrows it down before we
(14:39):
appreciate it, because they'retrying to avoid sending like 500
photos to us.
But we actually like seeing thewhole gallery, because we want
to just see all of the optionsand then we narrow it down.
But, yes, sending it to folksis great, I would say.
When it comes to an actor,though, really sending it to
your agent because they're theones that are going to be
(15:02):
submitting you is like the mostimportant vessel to go through,
because also, sending it to toomany folks gets a lot of
opinions then and a lot of cooksin the kitchen there.
Or folks that you know areseeing you just on like an
everyday thing, but may not besubmitting you for projects.
Speaker 2 (15:18):
Yeah, and we're Italian, we're used to cooks in
the kitchen, but maybe not withthe head chefs.
Speaker 1 (15:21):
I'm 100% Italian, so many cooks 100% Okay.
Speaker 2 (15:23):
Where's your family from?
I don't think I knew this.
Speaker 1 (15:25):
Yeah, we're from northern Italy.
I need to go back to Italy.
I've only gone once.
Oh really yes.
Speaker 2 (15:31):
It's magical.
You got to get back there.
Speaker 1 (15:32):
Yeah, yeah.
No, it was gorgeous when I went.
I need to go back thereEverybody.
Speaker 2 (15:44):
Close your eyes, be on the Amalfi Coast with us.
That's where we are, that'swhat we're getting at.
So, aside from headshots, I'mguessing you want to see a
resume and maybe a cover letterin an initial submission for a
meeting.
You know what else are youlooking for in that package?
What's like your ideal way foran actor to submit to you for
representation?
Speaker 1 (15:57):
Sure.
So yes, absolutely Headshot,absolutely Resume Cover letter I
could go either way with, to behonest, cover letter, giving us
like a glimpse of, like, maybeyour most recent credits or what
you feel your biggest creditsare.
Anything with well-known namesdirectors, actors, theaters,
anything like that just to catchour eye is great.
(16:18):
Email tends to be the bestoption these days.
When I was acting like when Ifirst started off, we would send
it in the mail like in an eightby 10 envelope.
We have an office but there's somany folks who don't have
offices so emails tend to bebest to send it through.
So a headshot resume keepingthe body of the email where,
like your cover letter, would beshort, just short, a couple
(16:42):
sentences, anything that youfeel like might grab our
attention or eye, but nothingtoo long, because we're looking
through emails all day.
So anything too long you alwaysrun into the risk of just
agents not reading the wholeemail because there's just a lot
happening.
Speaker 2 (16:57):
Yeah.
Speaker 1 (16:57):
So headshot resume, if you have a real, if you have
a website link, all of that justso we can see materials.
Speaker 2 (17:05):
Yeah, Are you still seeing a lot of website links?
Because I feel like that's sortof people still have them, but
I don't know if it's asnecessary with social media and
everything.
So what do you recommend there?
Speaker 1 (17:16):
Sure so there's a lot of discourse online with actors
.
Speaker 2 (17:18):
I get a lot of questions about this, yeah.
Speaker 1 (17:19):
No, it really could go either way.
I like websites still.
I find them very helpful.
Just no, you know it reallycould go either way.
I like websites still.
I find them very helpful, justwith all the different links.
There's, like you know, usuallythe About Me dropdown and the
headshots and the resume,contacts, reels, footage.
All of that I still like that.
I mean, you know, actors AccessProfile.
We also use ActivePitch as well, so we have other means to
(17:42):
submitting folks.
But also having the option ofsending a link to a website to
casting directors really ishelpful too.
So nothing that anyone has tolike rush and make a website,
but it doesn't hurt to have awebsite with really strong
materials on it.
Speaker 2 (18:00):
Okay, and same with social media.
Speaker 1 (18:05):
I mean, so much is happening over social media
these days.
We will never require talent toset up an instagram or anything
like that, but if they havesocial media, you know, of
course, putting stuff on thereof how you want to be
represented and how you justwant the world to see you,
because casting directors reallyare looking at it too, and we
always suggest too, if talent istalking about setting up an
(18:25):
account, something like that, ifthey want to do a professional
account and then a personalaccount and have the personal
one be private, that's alsoanother option too.
Speaker 2 (18:34):
Yeah, I was going to ask you about social media.
That's a great way to think ofit, because I know I mean, the
thing about this industry isit's all so subjective and some
people feel one way about it,some people feel the other way,
and to me it's almost like I useit as sort of a digital
business card, but I try andsprinkle in some personal things
.
Speaker 1 (18:51):
Oh, absolutely, because they want to see your
personality.
They want to see what do youlike to do when you're not
acting, you know, do you like to, you know, boat or hike or ride
horses, anything like that?
Yeah, it's great to sprinkle itinto.
Speaker 2 (19:04):
Yeah, I love it.
That sounded like an Old Spicecommercial boating riding horses
.
I can picture that.
Speaker 1 (19:08):
Yeah, of course we're ready.
Speaker 2 (19:10):
So I'm guessing referrals kind of pop through
for you when you get a referralfrom someone, is that always
sort of?
Or you meet someone in a class,is that sort of the best way to
start versus a cold submission?
Speaker 1 (19:21):
Yes, so a cold submission, yes.
So we'll get a lot of referrals.
We'll get a lot of coldsubmissions Through the Take
Three website.
We have like a submissionportal that we're always
checking as well, so we'll get alot of inquiries through that
method too.
But I do love referrals Also.
Workshops, showcases we havecasting directors that will
refer folks to us as well.
(19:42):
But referrals we do love justbecause we know who's referring
them and we can always reach outto them with questions as well.
Speaker 2 (19:49):
Yeah, that's a great point and I guess to that point
too, do you love to see almost alist you sort of mentioned it
of casting directors that thetalent knows and that they've
worked with.
Is that helpful for us to logand send over in the submission?
Speaker 1 (20:00):
So helpful and I'm always so amazed when actors
have these like spreadsheets andthey're on top of like what
audition they went to when theywent on it.
It is amazing to me, soorganized.
So, yes, we find that superhelpful because then when
there's a specific castingdirector casting a project and
we're like, oh, this talent hasworked with this casting
(20:21):
director on this project, we canalways push them and also just
flag that oh, you may rememberthem from this project.
So it's always helpful becausewe love connecting the dots with
that, because relationships andconnections in the industry are
so important.
Speaker 2 (20:35):
Yeah, you know, I always start the year with a
beautiful spreadsheet and thenit kind of falls off the wagon.
But I do, I'm pretty old school, so I have a planner that I
will write down every week theI'm pretty old school so I have
a planner that I will write downevery week the audition that I
went on and I just like doingthat.
Speaker 1 (20:46):
I love that.
No, I love hard copies ofthings to hold.
Speaker 2 (20:49):
Yeah.
Speaker 1 (20:49):
Right.
Speaker 2 (20:50):
Yeah, that said, don't send her a hard copy of
your headshot and resume maybe,because I don't want you to get
inundated.
Speaker 1 (20:58):
You know what we do still get hard copies, but a lot
of it is over email these days,which just it's cheaper for
talent.
Speaker 2 (21:04):
Yeah, but I guess maybe you would stand out if you
sent a hard copy Totally.
If it works, it works.
Speaker 1 (21:09):
Yeah, and it brings me back to my days too, because
I remember doing that.
Speaker 2 (21:12):
Yeah, I remember it too, getting the vanilla
envelopes.
It was so expensive.
Sometimes you would just walkit to the desk, the front desk,
drop it off.
Speaker 1 (21:20):
Oh my God.
Yes, because the stamps Iremember my mom would bring me
to the post office.
We had to get it weighed of.
How much does it cost to mailit?
Yeah, no-transcript, such agood question.
(21:45):
No, it definitely fluctuatesdepending on our needs.
Really, our roster alwayschanges.
It always ebbs and flows.
We have folks who are shootingseries, so they're not really
available.
Others that are on Broadway, sotheir availability is limited.
So things are always really influx and availability shifts in
and out.
So we really do look for folkswho we feel like could be a
(22:09):
great addition to the roster.
We also want to avoid internalconflicts.
So if we have a lot of folksthat would be going out for the
same role.
We want to avoid that becausewe don't want them to bump each
other out coming from the sameagency.
So we also try to stay awayfrom if we have too much of a
certain type or a certain look,anything like that.
(22:30):
We try to just limit that aswell, that makes sense.
Speaker 2 (22:33):
But I guess if you find someone you really like,
they could always follow up withyou, right?
Because then down the linemaybe you'll have that spot for
them.
You never know.
Speaker 1 (22:40):
And of course there's always exceptions, If we feel
like you know, oh, I reallyloved this person, I really
jived with them.
Could this work?
We'll always try to see, butour roster needs because we want
to be able to advocate fortalent most effectively.
So we need to see, you know,are we too heavy in one part of
(23:00):
the roster or not?
But yes, and then talent canalways follow up.
If we meet, we could, and if Ifor some reason can't take them
at that time, I'll always say ifyou're still looking for a rep
in six months, please feel freeand circle back.
Speaker 2 (23:11):
That's so kind.
Speaker 1 (23:12):
I love that Of course , because again the rosters
always change.
Speaker 2 (23:15):
Yeah, you know.
What else always changes is theamount of cat hair floating
around me, because I just movedand there's cat hair everywhere.
Speaker 1 (23:21):
I don't even see it.
Speaker 2 (23:23):
Oh well, now I pointed it out for everybody,
everybody, just to giveeverybody a visual.
We're in Italy, it's raining,cat hair and it's beautiful,
gorgeous.
I've heard so many thoughts onthis, so please help me clarify
it, if you can.
Speaker 1 (23:38):
Is there an optimal time of year for people to reach
out?
Great question, optimal time ofyear?
Okay.
So when it gets busy, busyseasons tend to be a good time
to reach out, so like March,april, but really any time we'll
be looking, we'll be looking.
But I mean, you know, whenthere was SAG strikes, that was,
(24:01):
of course, not an ideal time toreach out because work was so
limited.
So definitely see how theindustry is going in terms of
what is happening when you'rereaching out to folks.
But really I mean any monthjust getting yourself out there
could be beneficial.
And even on the slower monthsthere may be some folks who
aren't sending to agents, so youcould stand out in those months
(24:24):
too.
Speaker 2 (24:25):
That's a great point.
It's so wild because you knowthere used to be a really strict
pilot season and there weresort of regimented times where
everything was happening.
And now too, that's a greatpoint.
It's so wild because you knowthere used to be a really strict
pilot season and there was sortof regimented times where
everything was happening.
And now with self-tapes, it'sall the time.
So I think a lot of actors areconfused.
They're like I don't want toreach out and get lost in the
shuffle when they're alreadyhardcore promoting people during
a pilot season.
So that's very helpful to hear.
Speaker 1 (24:43):
Absolutely.
Speaker 2 (24:44):
Let's say, an actor does reach out and they land a
meeting with you.
What's kind of the best way forthem to prepare for it and
maybe not psych themselves out?
Speaker 1 (24:53):
Sure, okay.
Well, I don't want them to everbe nervous about meeting with
me.
It truly is really aconversation.
How to prepare?
I mean questions I would justask.
I always want to know abouttheir background, what led them
to where they are now and alsotheir goals.
What would be ideal you?
What led them to where they arenow and also their goals?
What would be ideal you know?
What are they aiming for?
Certain types of mediums thatthey're looking to get involved
(25:14):
in?
Just really a conversation andjust talking one-on-one is what
we would do during the meeting.
Most likely I would have seen,of course, the headshot, the
resume, reels, footage.
If I didn't, and if I'm takingthe meeting before I saw footage
or reels, I would then ask tosend me all material footage,
reels, anything like that, butmost of the time I would have
(25:35):
viewed everything before settingup the meeting.
Speaker 2 (25:38):
You're prepared, and they should be prepared in the
sense of well, I guess thisdoesn't happen as much anymore.
Then right, like doing a coldread in a meeting or having them
do a monologue or something.
Speaker 1 (25:46):
Right, right, no, I'm rarely, rarely, I typically
don't ask that or anything.
But I also want them to beprepared to ask me questions,
because, as much as it is likeme meeting them, it's them
meeting me too.
So I want them to ask mequestions to make sure that I
would be the right rep for themtoo.
Yeah, so definitely, it worksboth ways.
Speaker 2 (26:08):
Is there a question to maybe avoid that you get a
lot that you don't love hearing?
I mean, you're so kind that I'msure you just will answer
anything.
Speaker 1 (26:15):
No, I mean, we'll have clients that'll ask just
about my background or someexciting things that I worked on
or projects that we have talentworking on.
Nothing really has been asked.
I could recall that I was like,oh you know, no, I just want
them to feel comfortable and ifit is something that depending
on my answer would affect, ifthey, you know, feel that I'd be
the best rep for them, I wantthem to ask.
(26:37):
And if I don't feel comfortableanswering, I'll always just let
them know.
I don't feel comfortable,anything like that yeah.
Speaker 2 (26:42):
In that case, what's your social security number?
Speaker 1 (26:44):
Exactly.
Speaker 2 (26:45):
I'll just write it right here oh, perfect, okay,
Just throw it out there Afterthe meeting.
You touched on this a bit, butwhat kind of follow-ups do you
like to see?
I know you said maybe reach outin six months, but is there
something you like to see, likea new show they're promoting or
a reel they have?
Speaker 1 (27:01):
So if it is someone who I didn't automatically then
sign, if we're not movingforward, and if I do say reach
back out to me in six months orso, if you're still looking for
a rep reaching out, if there'ssomething happening, if it's a
new show that you booked, ifit's something that you know, a
new update of sorts, if it's youwere in California but now
(27:22):
you're moving to New York orvice versa, anything that you
feel like you know is new, thatmay spark an interest or be like
you know what.
Maybe because I booked this,now they might need me on their
roster to fill this kind of slot.
So yeah, any sort of update,like that is fine.
Speaker 2 (27:41):
Okay, that's great to know.
So unfortunately, I thinkthere's a lot of scams out there
.
What's your advice as far ashow an actor can know if an
agency is legit when they'resubmitting?
You know, I guess if they see afee structure like, what are
the red flags, you would sayAbsolutely so.
Speaker 1 (27:57):
Of course you never want to pay anything up front.
Agents will only get commissionoff of projects that you book.
So anyone that requires youknow a fee up front about
anything, definitely look into.
And also ask friends, askpeople that you've worked with
before for agent recommendations, because truly referrals from
(28:19):
folks that you're takinganything like that and just
making sure that you've done asmuch research as possible and
then meeting with the agents andseeing who do I really fit with
?
Did I like what they said?
Do I feel like they canadvocate for me?
(28:40):
Do we feel like we're on thesame page?
Anything like that I would lookinto.
Speaker 2 (28:46):
Okay, that's really good to know.
So let's say, we're signingwith you.
An actor out there listening issigning with an agent Yay, do
you have advice as far asreviewing contracts, you know,
and sort of like the initialagreements?
Speaker 1 (28:59):
Yeah.
So we'll, of course, send itright to Talent and then they'll
take a look at it If they wouldlike to set up a meeting.
I could walk them through lineto line on that as well.
We always make sure they'recomfortable with the contracts
prior.
We always say if you'd like tohave a lawyer, look at it,
please do.
We want you to be comfortablewith everything because truly, I
(29:21):
mean, you know they areexclusive contracts or,
depending on the agency you'rewith, it could be a freelance
contract.
But you want to make sure youunderstand all of the guidelines
as well with that so definitelyreviewing.
Having someone else take a looktoo could be helpful.
Speaker 2 (29:35):
Yeah, that's very helpful.
You know, as far as firstsigning, I feel like personally,
from what I've experienced andwhat I've heard from other
friends, there can sort of bealmost a little bit of a rush of
getting auditions, becausemaybe not nowadays I do feel
like just getting an auditionnow is a win in this current
climate.
But as far as in normal times,what even is that?
(29:55):
You would get a bunch ofauditions so the agent could
kind of get to know you feelwhat you're sort of is biting
for you, and then do you feellike it maybe even takes a year
or two just to kind of get toknow each other, because I think
a lot of actors see maybe a dipand then feel like they're not
hearing from their agent andthat it does take that time to
really sort of stick around andjust build a relationship.
Speaker 1 (30:15):
Absolutely, absolutely.
Because it'll take a minute forus to really kind of get in the
jive, see exactly what talent'slooking for and also seeing
where casting bites too.
Are they calling talent in forthis, but also are their
headshots attracting casting too?
So that's always something tolook at.
If, if auditions tend to be alittle slower, but if we've been
(30:38):
submitting you like crazy,pushing you, we'll always say
let's revisit the headshots.
We'll say send us the galleryagain.
We won't automatically be likeyou need to take more headshots,
we'll look at the gallery againto.
We won't automatically be likeyou need to take more headshots.
We'll look at the gallery againto see.
You know, maybe we'll switchsomething up on your profiles
because maybe it'll just be alittle refresh and it'll spark
things up.
But with the first year, thetalent side, I mean we never
(30:59):
expect them to book.
Really, it is us getting themout there, it's planting seeds,
it's them taking classes,getting to know casting
directors too.
So really, really it does takea minute to get things kind of
rolling.
But that also leads me back tosaying there's so much behind
the scenes that happens.
So when you sign with an agent,if you're not getting tons of
auditions right off the bat.
(31:20):
There's so much behind thescenes that goes on that just
talent's not aware of too.
That's happening.
Speaker 2 (31:29):
Yeah.
So I guess what do you like tohear from talent then during
that time you know, I knowyou're very open what kind of do
you think makes a strongactor-agent relationship?
Speaker 1 (31:34):
Sure it is.
It's that open communicationreally it is.
I always like to when you knowthey're saying I love this
director, I love a choreographer, I love this type of genre,
anything like that.
It just helps me truly get toknow them even more.
And I also want to hear ifthey're not going to be around
(31:56):
because they're booked out for awedding or a silent retreat,
and also the capacity thatthey're booked out in.
If it's just I have travelplans but I'm bringing myself
tape equipment I could stilltape, I just can't attend
anything in person.
We like to know that.
If it's I'm on a silent retreatand will not receive any emails
, it's a hard book out.
We want to know that because wewant to just avoid pushing
(32:19):
talent to casting for somethingthen that they're not available
before and us not knowing.
Speaker 2 (32:24):
Okay, I need to go on a silent retreat, Probably
preferably in Italy.
Speaker 1 (32:27):
Exactly exactly no.
Okay, I need to go on a silentretreat, probably preferably in
Italy.
Speaker 2 (32:29):
Exactly exactly no, I know right, yeah, yeah, I love
that, I know.
I think that's great to hearbecause I know some actors like
we can be sensitive creaturesand we probably feel like we're
bothering you.
Never, I guess, you cannot overcommunicate enough if you're
being kind about it and helpful.
Speaker 1 (32:48):
Of course, and if something's not time sensitive,
if I'm away from my desk,anything like that I'll always
pin the email and circle backwhen I have then time to give a
lengthy response.
But, we're always checking ouremails, so if there is something
that talent wants to say, Ialways suggest for them to email
me.
And they also have my cellphone number, so if anything
urgent they could text me, theycould call me.
All the relationships aredifferent.
Speaker 2 (33:06):
Call me, beat me if you want to reach me.
Yeah, yeah, yeah, as shy aspossible.
So we mentioned sort of likewhat you like to see from actors
during that time.
In regards to updating theirmaterials.
What would you just say is agood rule of thumb for when they
should reassess their headshots, you know, update their resume.
Is it like a yearly thing, asix month thing?
Speaker 1 (33:26):
Yeah, I mean every couple of months.
We always say you know, take alook at your headshots, take a
look at your resume, just tomake sure everything is up to
date.
If you got a certain haircut orchanged the color of your hair,
any sort of like majordifferences we want to
definitely address with updatedheadshots because we also want
to avoid submitting a headshotto casting and have casting ask
(33:50):
them to submit a self-tape orask them to come in person for
something and then they walk inor submit a tape and look
nothing like the headshot.
So any drastic changes wealways want to address with
updated headshots.
But in terms of resumes, ifthere is something that you just
worked on, get it on thatresume, add it to your Actors
Access profile.
Constantly looking at thosematerials, making sure that they
(34:12):
are current, really is key Forheadshots.
In terms of getting new ones,if nothing like drastically has
changed, I mean every year and ahalf, two years anything that
you feel like maybe you justneed like to freshen it up a bit
, or a new type of headshot,absolutely.
And it also doesn't have to bea headshot with a lot of looks,
a new, updated one.
(34:32):
It could be something withlimited looks.
If you feel like there's acertain type of shot that maybe
we don't have yet, just going infor a quick shoot.
Speaker 2 (34:42):
As far as supplemental shots, are you
seeing a trend of people puttingup really nice photos that
aren't as professional, like afull body photo that maybe they
took on a cell phone?
Are you seeing those work atall, or is it?
Does it have to be aprofessionally shot photo?
So?
Speaker 1 (34:59):
we typically gear for those professionally shot
photos.
There'll be occasional timeswhen we need, like, the full
body in, you know, thecommercial department or print
department.
You'll.
You'll use those full bodies abit more than our department
with the selfies, but havingthose sending those to us, we
definitely will ask for those,sometimes just depending on the
(35:19):
nature of the submission.
But we really do go with theprofessional photos.
Speaker 2 (35:25):
Okay, well, starting out with an agent, what is like
a good rule of thumb for astarter pack for sort of like a
TV film headshot?
Are there like three recommendjust every actor has right off
the bat?
Speaker 1 (35:36):
Sure.
So it's definitely depends onyour age and your type.
You know there's so manyprocedurals out there, like the
lawyers, the detectives so Ialways love like that corporate
shot a blazer, a collared shirt,something that looks like
you're ready to be in any sortof those office settings.
Then also a bit more of like anedgier shot, something that
(35:57):
just has a bit more of like araw look to it.
Also could be helpful somethingmore neutral that we could
submit for anything.
It could be just like a black,plain shirt.
It could be something veryneutral that could work for
several different things isalways great to have on hand.
Then it could be if you'regearing to play younger,
(36:18):
something just looking younger,if you can play eight, if you
could play a younger than 18role, you know, something that
has a bit more of that energytoo.
But really it's.
We always work with our clientson this too, with how many
headshot options that they'llget in their session, and then
we'll say you know what, let'sdo these three and see where we
(36:41):
are then.
Speaker 2 (36:42):
Yeah, I loved hearing you say too, you don't
necessarily have to go and bookanother headshot session.
You can also go back into thatgallery of five or 600 photos
and maybe try and tweak it andsee if one of those would
actually work better instead.
Speaker 1 (36:54):
Absolutely, because when we're sending like the
actor's profile, it's castingseeing like those same headshots
.
So even if it's a greatheadshot, it might just be
getting stale too, because theeyes are just keep seeing it.
So, Just revamping it withputting just another one from
that same shoot up couldabsolutely work.
Speaker 2 (37:12):
That's great to hear.
I would love to know.
We had a few listener questions, oh OK, A lot of the Casting
Network's users.
Actually, most of theirquestions were just how do I get
an agent, and so we're kind ofcovering that in a larger scope
here.
I thought to distill that maybewe could hear from you.
What is, I guess, your dreamclient, if you have one?
(37:32):
I know that's like a big skyquestion.
Speaker 1 (37:40):
Yes, a dream client.
Really, I feel like I've saidthis a couple of times it really
is communication.
Truly, it is Just keeping thatcommunication open us knowing
again if you're not available,anything like that.
And also talent who is alsoputting the work in attending
those classes, getting theirnames out there, trying to get
involved in projects?
That motivation is veryinspiring and, as I mentioned,
(38:04):
it is a team and partnership, soputting in the work on both
sides really is a dream clientthere too.
Speaker 2 (38:11):
Oh, that's beautiful.
I do think a lot of actors.
Sometimes it's like you signwith an agent and you just feel
like a sigh of relief because itis that extra support and that
huge team member but it is thatteam like you're saying.
So you can't really just sitback and relax because you got
to sort of like both be movingforward together.
Another question we got isn'tnecessarily in regards to how to
(38:33):
get an agent, it's kind of theopposite, but I do feel like
it's helpful.
If you have any insight here,which I'm sure you do, I should
say this is from CastingNetwork's user at Amina Anina.
I like that rhyme.
Amina Anina, oh, okay.
Yeah, amina Anina, is it everbad to part ways with an agent
who no longer shares your vision?
(38:53):
What's the best way to handlethat?
Speaker 1 (38:56):
Well, that absolutely makes sense.
So, depending on yourrelationship with the agent,
having a meeting with them, aphone call, a Zoom and just
really expressing how you'refeeling.
Also, if it is something thatyou feel like may work, but
maybe the game plan has tochange or we have to think of a
new strategy a conversation anda meeting just to talk about how
(39:20):
you're feeling absolutely andalso seeing if you're under
contract, seeing the terminationclause of the contract and how
you would be able to be releasedfrom the contract.
Speaker 2 (39:35):
This is like a masterclass in communication.
I feel like communication isyour bag and it's just so
helpful.
It's just communicating likepeople who would have thought
Okay, Michelle, now it's timefor a quick surprise game if
you're down.
Speaker 1 (39:47):
Oh my gosh yes.
Speaker 2 (39:48):
Yay, okay, I'll insert some cheesy music here.
Okay, this is called castingkeywords, and so, basically, I'm
going to throw a word or aphrase at you, something that
has to do with actors, a wordthat you're familiar with.
You'll hear it all the time,and then you just give us the
first piece of advice that popsinto your head.
Speaker 1 (40:06):
Okay.
Speaker 2 (40:07):
Don't overthink it.
Just shout it out and thenwe'll keep it pretty quick, but
some of these might spawn, youknow, a larger conversation.
Okay, are you ready?
I'm ready.
Woo, woo, cuckoo, cuckoo,cuckoo.
I don't even know what thatmeans.
I'm going to start withnetworking.
Speaker 1 (40:20):
The first thing I thought of was casting networks,
I think because of the wordnetworks.
Speaker 2 (40:24):
That makes sense.
Speaker 1 (40:25):
Okay, wait, okay.
So I'm going to continue rightnow, then I can talk more about
it yeah.
Networking so important in theindustry.
Absolutely Get out there.
It's taking classes with thosecasting directors, talking to
folks that you're working withalso in the business.
Speaker 2 (40:39):
I love that.
Okay, what about slating?
Speaker 1 (40:45):
Sure, so many different ways to slate.
Please just follow directionson the self-tape request.
Sometimes casting wants a fullbody slate.
Sometimes they just want, youknow, the three-quarter slate or
just a half slate, anythinglike that.
Make sure you're slating theactual required information name
, location, if there's height,if it's union status, anything
(41:07):
like that.
Just always double check thatyou're submitting that correctly
and also if it's to be in thebeginning of your submission or
if it's to be slated at the end.
Speaker 2 (41:18):
Oh, because that could disrupt the tone, which is
my next word, tone as far asauditions.
Speaker 1 (41:24):
Showcase your personality in the slate.
I would say Tones for auditionsfocus serious and be rehearsed
and be prepared.
Getting an audition, it's trulyalready a win.
And you never know, even if youdon't get the role or the
project, those casting directorsare most likely going to cast
other projects down the line.
So you want to make sure thatyou have great exposure
(41:46):
regardless.
Speaker 2 (41:47):
It must be so cool for you to see that happen in
regards to someone not getting apart, and then, maybe two years
later, they hear from thecasting person that remembered
them.
Does that still?
Speaker 1 (41:54):
happen a lot Because we always hope that that happens
when casting is submittingthings or just auditioning for
anything, that casting justremembers them for projects down
the line.
So it is so rewarding when thathappens.
Speaker 2 (42:12):
Yeah, what a just lovely thing to be remembered in
life.
I just think that's to bethought of.
It's just nice Love Co-starauditions, because they can be a
little tricky, because you justhave one line.
Speaker 1 (42:21):
Sometimes Co-star auditions Very tricky.
Great though to get thosecredits, to get that on-set
experience.
You know, do a couple takes ofthese.
Sometimes they'll have specificinstructions.
If they only want one take,then okay, do one take.
But really if it's just oneline or one word, a couple takes
(42:43):
.
Giving them some options superhelpful, since with the
self-tape request you're not ina room so there's not like that
direct feedback of someoneasking you to immediately
re-tape.
So something with any sort ofshort dialogue or material.
I would say give a couple takes.
So casting just has options.
Speaker 2 (43:00):
Will you tell actors if you like a certain take
better and then just them toedit that out?
Will you tell them to maybe doa new take if you see one that's
pretty close?
Do you do that as an agent?
Speaker 1 (43:08):
Absolutely so.
Now with self tapes, we're partof that process so we're able
to get feedback.
We just always say to talent ifyou are hoping for feedback or
wanting feedback, just send itto us with some buffer room
before the deadline, Because wejust want to avoid asking
casting for an extension.
Speaker 2 (43:27):
Yeah.
Speaker 1 (43:27):
So just giving us some time to review it, to give
feedback, just in case we wantyou to retake.
We want there to be enough timebefore the deadline.
Speaker 2 (43:34):
Yeah, and I also love that you give positive feedback
, which is just so beautiful andfun.
I love watching it.
Speaker 1 (43:38):
Truly, I love watching the tapes.
It's so great because beforethe pandemic it was rare when
you would get a self-taperequest.
So now that they're happeningwe're so much more involved too.
Speaker 2 (43:49):
Okay, well, while we're here, I guess self-tapes,
that's the next phrase.
What's your advice on that ingeneral for actors?
Speaker 1 (43:54):
Have a great setup If you are an actor submitting
those self-tapes have thebackdrop, have proper lighting,
just have the tripod.
Making sure that your setup issecure, your internet connection
secure and also just yourframing is great.
That's going to be so helpfulhaving that professional look.
(44:17):
Also, there's tons of classes,too that are being offered now
that are just assisting withthat self-tape and offering
guidance.
So even taking a couple ofthose just to make sure you have
those basics.
So at least when you'resubmitting you have that
professional approach.
Speaker 2 (44:32):
Yeah, not to plug it here, but we did a great episode
with Erica Hart all aboutself-tapes.
That's a free resource andshe's just fantastic.
Erica's great and you're such agreat advice, so check that out
everybody.
Okay, passing on auditions, socheck that out everybody.
Speaker 1 (44:44):
Okay, passing on auditions.
Sure, Absolutely fine.
On our end.
We always say to talent if therole doesn't resonate with you,
if the project doesn't resonatewith you, if the material does
not resonate with you, anythinglike that, If you're not
available for the dates, theshoot location, anything like
that, we always want to know.
We want to avoid talentsubmitting for something and
(45:05):
then an offer coming in afterthey submit, us having to
decline because they're notinterested, so we would
absolutely rather decline fromthe get-go.
It's rarely that we'll ever.
The only time we'll really goback to talent being like are
you sure you want to pass?
Is if there's a great creativeteam attached.
If there's some sort of likeinsider information that we
(45:25):
could share, that may sway them,but ultimately it's their
decision.
So we completely supportwhichever way they go with the
auditions.
We want to just be able topresent them with opportunities
and then, however they want togo with it, absolutely fine.
Speaker 2 (45:41):
Yeah, and I think a lot of casting is sort of
sometimes even waiting for thatperson to change their mind.
You know they're going to castthe exact opposite, and so
something I've learned from youover the years is to just you
might as well submit, becauseyou're at least meeting that
casting person in the team.
Speaker 1 (45:55):
Absolutely, absolutely.
You're meeting the castingperson in the team.
If it's something like you know, you just are opposed to, the
project will definitely declinebecause you wouldn't do it in
the long run of it.
But, getting just those seedsplanted of casting.
Seeing you really is great.
Speaker 2 (46:11):
Well, speaking of casting, let's say casting
director feedback.
Speaker 1 (46:14):
Yes, sometimes we get it, sometimes we don't.
You know, we ask and sometimesthey may provide it, other times
they are unable to.
So really, that's just.
That's really case by case.
We know that actors really lovethat casting director feedback,
of course, because so much inthis business we don't get
closure with.
And we spend so much time on theaudition and putting so much
(46:37):
out there, and then there'ssometimes that we just never
hear.
So we love the feedback, butit's a bit case to case if we
receive it.
But if we receive it we alwaysshare it with talent.
Speaker 2 (46:46):
Okay, in that same regard, I've actually been
really curious about this overthe years.
Is it weird for an actor to askwhich headshot you submitted
that got them the audition?
Speaker 1 (47:04):
that because they want to know, okay, was it a bit
more of this style or thatstyle?
Because they kind of want toemulate that same look for their
self-tape request or thein-person audition.
So absolutely fine if they askbecause we'd like to have that
variety of headshots on theirprofile, because we customize
the headshots each time wesubmit talent for something, so
we'll change the defaultheadshot depending on the role.
So talent's not sure.
(47:25):
Was it the edgier headshot youused?
for this, or was it the moreneutral shot?
So absolutely asking is totallyfine, and then we'll just send
them a screenshot of the photo.
Speaker 2 (47:33):
Yeah, like, should my hair be a little crispy and
should I be scruffy or should Ishave?
Speaker 1 (47:37):
You know, sometimes it's, that's exactly it.
Yeah, hair curly straight up,down.
Speaker 2 (47:41):
Yeah, yeah, okay that literally straight up down yeah
, yeah, okay, that's awesome toknow.
Submission notes.
Speaker 1 (47:45):
Sometimes there'll be instructions.
Sometimes the casting will askyou to write in the notes the
slating information as well, sothey have it verbally, but then
they also have it in the notesfor their notes.
Absolutely, we always telltalent if they are doing a
direct upload.
We want them to avoid puttingother sort of notes in there
unless it has something to dowith availability, location,
(48:09):
work paper status, anything thatwould make a difference with
them being able to do the job.
But we say try to avoid puttingany sort of other notes in
there besides the importantinformation requested.
Speaker 2 (48:24):
Awesome Live callbacks.
Speaker 1 (48:27):
Exciting.
Speaker 2 (48:28):
Virtual or in person?
Speaker 1 (48:29):
Yeah, Exciting, so okay.
So live callbacks it's veryrare that they're happening in
person these days, so a lot ishappening virtually.
But that's exciting.
Casting will get to see talentthen, at least virtually, and
will be able to feel theirenergy and have a bit more of a
(48:51):
better feel for who they are.
Really exciting because a lotof the times that'll happen
after a self-tape.
So getting that virtualcallback always very exciting.
Sometimes Zooms and other typeof portals.
Speaker 2 (49:03):
Okay, and lastly, I have down here breaking the mold
.
I think what I meant by that ishave you seen people book that
sort of do, if it fits the role,not an avant-garde self-tape,
but just play around with theself-tape medium versus just
standing there and doing itright to the camera.
Speaker 1 (49:18):
Sure.
So absolutely, we'll have somefolks who will absolutely change
it up a bit but still have avery nice quality tape that
doesn't distract, because truly,casting wants to see you,
casting wants to hear you.
So as long as things are beingchanged, but still those are
(49:38):
remaining constant, weabsolutely are fine with it.
A lot of times, talent willalso reach out to us, being like
okay, what are your thoughts onthis?
I know I made some really boldchoices.
Let us know your thoughts,totally open to feedback, and
sometimes we'll be like no, wethink it's great, absolutely,
absolutely.
Sometimes we'll say, well, whydon't we do another take and
we'll submit both.
Speaker 2 (50:05):
Oh, I love that.
Do you have a fun TV filmbooking?
Speaker 1 (50:06):
story you can share.
As far as someone that bookedoff a self tape that maybe made
a bold choice.
Sure, sure, yeah, I mean, Ihave one of my, one of my
clients.
She booked a recurring gueststar on an episodic and doesn't
have much TV and film background.
I submitted her on it becauseshe was just so perfect for the
role, ended up booking it fromher self-tape.
Right after we submitted theself-tape cast and called me and
(50:30):
loved her and was just wowed byher.
How amazing they'd never seenher before, really.
So that was super exciting andthat was about it was only a
couple months into our workingrelationship together, so I had
just started working with her.
I love that.
Speaker 2 (50:48):
I love when people win yeah.
Speaker 1 (50:49):
Very exciting.
Speaker 2 (50:51):
Oh, that's exciting for you too, because you, you're
like the dream maker and you,you know, you spotted that, you
saw that.
Speaker 1 (50:56):
I just knew she was right for it.
Yeah, she was perfect.
Speaker 2 (50:58):
Yeah Well, this time together has been perfect.
I mean, what is perfect?
But I've loved it.
I've enjoyed it.
I think you've given us suchgolden nuggets of wisdom and if
you could just sort of end thisby giving us a gotten and a
given.
So we're always looking for thebest piece of advice you've
gotten in this industry and thenthe best piece that you have
given or have to give to actors.
(51:19):
So we could start with thatgotten.
What is the best piece?
Speaker 1 (51:22):
of advice you've gotten.
Okay, wait.
So let me just think, because Iall right, the best piece, that
I have.
Speaker 2 (51:28):
You can take your time.
Speaker 1 (51:29):
Yeah, so all right, okay.
So I have one, but I kind ofwant to okay.
The first thing is I'm going tomold gotten and given together
and we'll kind of do two, okay.
Speaker 2 (51:40):
I love it.
Speaker 1 (51:41):
So okay, the first thing is only try to control
what you can control.
So much in this business youcan't control.
So the things that you cancontrol, focus on the other
things that are really out ofyour hands.
Just try to let them be.
Speaker 2 (51:58):
Hmm, so I've gotten that advice.
That's life advice, right there.
Speaker 1 (52:01):
I've given that advice, so that's a bit of a
gotten given Okay.
I love that and so okay, andthen another one would be.
Another one would be I mean,that's both.
Speaker 2 (52:11):
You don't have to give another one.
I think that applies to lifetoo.
Speaker 1 (52:14):
I'm gonna write that down gotten and given, there we
go yeah, release control.
Speaker 2 (52:18):
That's so wonderful, I think, even sometimes.
I know friends, I've tried thisbefore.
I don't always do it, but thatwill literally like rip up their
sides or just delete them afterthey do the audition, delete
all their takes because they'rejust like you know, you can't
control what's going to happennext, you just got to move on.
Speaker 1 (52:33):
Even as an agent.
I mean, there's so much stuffthat I want to control and just
can't.
It's like I'll submit talentfor something, I'll push them
for something, and you knowwe'll do all we can.
But then it's like, ok, we'vedone all we can, and now?
It's like we just hope, likecandles, manifest and things.
Speaker 2 (52:52):
But yeah, there is a take three talent booking candle
there was one of those withdifferent scents.
Speaker 1 (52:59):
We have a bunch of different scents.
Speaker 2 (53:00):
What does booking smell like?
Okay?
Speaker 1 (53:02):
it could smell like like fire, like wood.
We also have one that smells abit like like an orange kind of
citrus.
Oh, that makes sense to me sobooking has a variety of smells
because there's so manydifferent products in the book.
Speaker 2 (53:18):
Oh yeah, and when you have like a fire burning within
you, hopefully that keeps yougoing.
Yeah, I love that.
Well, I've loved this timetogether.
Thank you so much, michelle.
I appreciate your generosityand, no, I just think we're so
lucky to have someone like youin this industry that's looking
out for actors and just beingsuch a kind soul.
So thank you so much.
Speaker 1 (53:35):
Thank you so much, robert Pleasure, speaking with
you.
Speaker 2 (53:38):
You're the best.
Speaker 1 (53:39):
You too.
Popular Podcasts
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy And Charlamagne Tha God!
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.