Meet and Get to Know Top Agent David Doan

Joining me today is David Doan. David is the Vice President of Young Talent in the Theatrical Department at CESD Talent Agency in NYC. He has been in the industry for over 20 years and been recognized for his work specifically with developing breakout youth talent. When he worked in casting he was  nominated for a 2012 Daytime Emmy Award for Outstanding Casting for an Animated Series or Special for Nick Jr.’s Bubble Guppies.

I have received so many questions about representation and bringing the right people alongside you in your career journey. So I’m thrilled to have David with us today. He is a long time colleague of mine and  one of the most trusted agents in the business. He will answer many of your questions. Questions that people are often left to figure out on their own. By the end of this episode you won’t be left wondering about anything. David, thank you so much for taking time out of your busy schedule to chat with me today.

Denise: David, thank you so much for taking time out of your busy schedule to chat with me today

David: Thank you, Denise. Thank you so much for having me

Denise: First and foremost, people really want to know, what are you looking for in signing talent

David: The answer to that question changes as different time periods go by.

“The main thing that I look for is confidence in young talent. Obviously we want to see a personality. Someone that is comfortable in their skin and not overly nervous. A sense of fearlessness and commitment. And a support system around them.”

David: We want kids that are well rounded. It’s not like we are looking for kids that eat, sleep, and breath only performing. It is a combination and variety of things…So much of it is about personality off the camera and when you aren’t performing. 

Denise: That was a great explanation. I hear that term “it” factor quite a bit. I use it myself. I have to imagine that parents know what that means or maybe all parents think their child has the it factor.

David: I think maybe the latter. I don’t know if everyone can actually tell… I have to believe that every parent believes that their child is special and I think that’s great and you need that kind of support to succeed anywhere in life. 

Denise: Working with younger talent, obviously you are dealing with the parents… I am wondering if you can speak about how the parent can help or how they sometimes might hurt their child’s career.

David: Yes, I can speak on that. You know there’s this whole mommy board world where people get so much disinformation. And sometimes it makes our job difficult when everyone gets alerted when auditions go out… and sometimes we get the calls like “Why didn’t my daughter didn’t get an audition for this?” “Did you submit so and so for this.”  We see the breakdowns, it is in our best interest to procure work for you so  anything that your child is right for, we are pitching and trying to get the appoint because this is a business after all and we want to make money and we want to book your child or we wouldn’t represent them if we didn’t think they were competitive. I guess it’s one of the small annoyances I have when there’s all this misinformation out there, wherever it’s coming from,  that it makes our job a little bit more difficult and makes us not want to deal with you as much. Depends on the parent as well of course. Another that makes our jobs easier is just following instructions. Everything right now is self tape so there’s a lot of instructions…and it just makes our job a lot easier when you follow them.

Denise: There's so much that goes into it all and I'm not sure everyone understands… you’re working so hard on your end and it’s perhaps silently and people don’t always know and they just have to trust if they’re going to sign with you that if you’re doing your job and they have to do their doing their job and that they have a job.

David: That’s exactly right. There has to be a form of trust as a client and an agent and when you sense that there isn’t that trust then it gives you a little bit more of a pause of do i want to work for this person that i constantly have to answer questions about why you’re not getting an appointment for something when it is sometimes as simple as an age range or ethnicity or hair color.

Denise: Have you had a client that was working and doing well and you had to let them know because the parent wasn’t really a team player?

David: You know I would say yes. You know, rarely. I like to think we are able to put out those fires with early warnings or signals. So I would say rarely, but I would say yes, absolutely. And I would have to say my least favorite part of my job as an agent is parting ways with clients, especially young talent that you have worked with for many years, and in some instances their whole life. 

“Having to part ways with a client for whatever reason is never fun or enjoyable. But sometimes it is appropriate to part ways whether it is because the client needs a new set of ears and eyes to see them in a new light…to pitch them in a different way. There’s a plethora of reasons.”

David: But, yeah it is never a fun thing to do. 

Denise: It is a relationship like any and if you want it to be healthy and honest and good and it has to work for both parties and if it’s not working then the two of you together might not be the best fit and the client may be better served by someone else. 

Denise: So what are some of the best ways that actors can get representation? 

David: You know I think the easiest way for me to find talent is through referrals. A lot of the talent we end up meeting are referrals through casting directors and a lot of managers. Referrals through current clients we have… showcases that I attend… as many as I can to see as much different talent as I can from different parts of the country. And I might have opposition to this, but blind email submissions to me, I’ve found a lot of people that way. Not that you should just start emailing everyone out of the blue, but if you have a really good professional email together with a current headshot and a professional looking resume and a link of some work. It doesn't have to be professional, but a self tape or two. And if it is a category we are looking for, I have found lots of talent through blind email submissions…You know having your materials together, and current, and strong, and not trying too hard is either going to capture someone's attention or not. 

Denise: How do people know how to email you? 

David: You know all of our emails at the agency are on our website. The amount of unsolicited emails we get is pretty large but I scroll through and if there is something that catches my eye then I open it and look further.

Denise: Are you interested in signing newbies? 

David: Absolutely, we do sign all levels of experience. Clearly if you are a six year old, we don’t expect you to have a full resume… you know the older you get the more we would like to see on a resume, but we go to college graduating showcases and meet and sign early twenties talent that have no professional experience on their resume. But it’s not a set general rule. Having something for us to see that is current that will make you pop is really what we are looking for. 

Denise: Can you speak about how you feel about your clients being trained and kids in general being trained. 

David: 

“You know I think training is important. I think it helps hone and develop young actors. Whether it’s one on one coaching… or in a class setting… that gives you a place or sanctuary or a place to feel a party of a group. I think that’s why so many young people are attracted to acting in the first place…”

David: The training goes along with starting to understand what this business is about and what it is actually like to be an actor…I think it all starts with training because that’s where you figure it all out and that’s where you figure out if you want to do this for a career…

Denise: I’d love to dive deeper into growing the best relationship with your rep. If a client is lucky enough to be repped, what is the best way to have a long and lasting relationship? Something I hear a lot from parents is they want more done so they think it’s time to add a manager to the team, maybe even without knowing what that is. 

David: Correct, I do hear that a lot. And sometimes parents think adding a manager to the team will get you more opportunities, and sometimes that is true… it depends on who that person is…It should be a team. 

Denise: What if a client comes to you and tells you that it might be time. Is that something you assist with? 

David: Oftentimes, yes. If it is a client we don’t want to lose, we want to make sure that whoever they are adding to their team is someone we can work with or hopefully that we have a previous relationship with, and if not then we want to have that relationship with them prior to entering into this partnership with them.

Denise: Something you said earlier, we were talking about clients not always knowing the work that you are doing. I’m curious, when you are working with clients…how does a client know they are submitted for projects

David: The simple answer is, most of the time they don't know, it has to come down to trusting your representation and trusting that they are trying their hardest to get opportunities for you. I have seen people in the past ask for submission reports and we don’t do that. One, it makes us feel like there is a lack of trust already by asking that question. If you’re not happy with your representation because you feel like they aren’t getting you enough opportunities… then maybe it is time to find other representation…they can certainly ask about specific projects without being too overwhelming about it… but it shouldn't feel like we are defending ourselves every time you are reaching out to us. 

Denise: I am so happy to hear you see that it is a wonderful time to be in the business and that there is lots of opportunities for kids… but it is probably more competitive than ever? 

David: Yeah, I think it definitely is more competitive now that a kid from Texas can compete for a Law and Order episode. They don’t have to be in town. Previously if you weren’t here for the actual live audition, you couldn’t even compete. And if you’re able to be a local higher, it doesn't matter where you are at the moment. 

Denise: The world is changing, it’s always changing, and it’s always going to change. I think for parents to know what was in yesterday might not be in today and it may be different tomorrow. Understanding the market a little bit. I just wonder what your thoughts are on that marketability piece. What is in right now? 

David: What makes you marketable is,,, I don't think there is one thing. Obviously having your materials together is extremely important. Social media I think falls into this question… you have to be very careful with what you put out there… does having an instagram page for the 10 year old make a difference? it definitely does start to make a difference when you get more into the teen world and the young adult world. Not only because people are looking at it, but it gives people a sense of who you are.  As a young actor, sometimes that can work against you..,so you just have to be careful and specific about what you are putting out into the world. Also, making sure that there aren’t any videos on youtube that you don’t want people to access. You have to make sure that you only have stuff that you want out there, out there because everyone is looking and anyone can.  

Denise: David, you have shared so much. I respect you and I think you are one of the best. I appreciate you being my first guest! [David] and I hope that you enjoyed the episode and that it answered some of your questions and perhaps provided some clarity about representation and how to build your team as your grow your career!

How to Get and Keep an Agent or a Manager

So a very common question I am asked by parents and young actors is how do I get an agent or manager. Now, most of the time they aren’t even sure of the roles they play so I’d like to start with that.

WHAT IS AN AGENT?

Basically, a talent agent in New York or California is licensed by the state and their job is to solicit employment for their clients. Kind of like a temp agency if you will. They are franchised by the union and are generally limited to taking a 10% commission on money earned from employment. Agents can have a small or large number of clients. Their job is to get an actor into an audition and secure a job as well as negotiate contracts to get the most money they can for their clients. They normally sign a client to a one year contract. Some states are called “right to work” states and those agents will not have a union affiliation and they can take more than 10% if they desire so you’re going to want to make sure that you are clear about that.

WHAT IS A MANAGER?

A manager sees the big picture while cultivating a career. They develop talent.

Managers counsel, advise and provide career direction and guidance. They generally have fewer clients than an agent, which enables them to give more personalized attention to their clients such as working on your image, making sure you are audition and camera ready, finding classes for you, pitching you to agencies and producers, recommending photographers, and believing in you when nobody else does. They are in it for the long haul. They are INVESTING in your career. Managers take anywhere from a 10 to 20% commission. They are not bound by a union so they can do this. They usually sign a client to a three-year contract. I know that sounds like a lot, but it really takes a long time to develop and cultivate a career.  A benefit to working with a manager is that while a client is signed with them, they can freelance with several agents, and then have access to more auditions. An actor can also have a manager and work exclusively with one agent.

HOW DO I GET AN AGENT OR MANAGER?

Now that you know some differences between an agent or a manager I’m sure you want to know how to get one.

Agents and managers are always there. They’re the next step to moving a career forward but MAKE SURE  your child is ready.

Once you believe your child is ready for the next step, here are some ways to find the right match. It is always best to be seen in action.

1. Agents and managers love to frequent theatrical productions, as they are always on the hunt for new talent. If your child is serious about acting professionally, make sure he is involved in school plays, community theater, camp plays, and even regional theater. Reps are always looking for a child who has potential and they love to visit productions.

2. Industry showcases are the perfect opportunity for young performers to gain industry attention. This is an event in which agents, managers, and casting directors watch actors perform exclusively for them. Actors perform scenes, monologues, songs, commercial copy- whatever they excel in. If a rep responds to the actor, they will arrange a meeting and possibly sign on a new client. Even if your child doesn’t sign with an agent or manager, they might keep their name on file to be seen again in the future.

3. Another great way: workshops and classes. Many acting workshops and classes will culminate with an informal performance for an agent or manager. Now these are generally for educational purposes where your child will practice in audition-like settings. However, if an agent or manager sees promise in a performer, they might ask for their name and set up an interview. I know the classes I hold always culminate, especially at the end of the year, for reps because I think it is one of the great ways for actors to be seen while they’re doing great work.

4. Old-fashioned mailings. Well it actually still exists. Make sure you have a great photo that looks like your child and a résumé which details your child’s experience and training. Get a list of agents and managers who work with young performers. You can do that through CallSheet which is published by Backstage Magazine. And once you get the names you can send a hard copy to them with a short cover letter. Make sure you read how they like to be contacted. If they have an address, you can send a picture and resume. If they list an email, you might be able to send it digitally.

5. Now hopefully your child has an acting or voice teacher or coach. And one of the best ways is for that teacher to refer your child to the rep. I never pass up an opportunity to send one of my students to one of my colleagues when I believe they are ready to work. Since they have been vetted by me, my colleague, the rep, is much more inclined to respond. I have introduced many of my students to both agents and managers and I will tell you they continue to have really wonderful and incredibly successful careers.

YOUR RELATIONSHIP WITH YOUR REP

I recently got a call from a parent asking my advice on whether she should call her daughter’s agent about an upcoming audition. I was curious why she was asking me and when I asked her that she said she was afraid to ask the agent because she didn't want him to drop her daughter. Now that’s crazy. Because if she’s afraid to ask the agent, she is probably with the wrong agent. We talked about how to get an agent or manager but if you want to foster a good relationship with them and make sure the relationship lasts, which is no different than dating by the way, you really need to have a good relationship. 

What is a good relationship? Well, one that is open and honest, learning how to communicate. How does one like to be communicated with. Finding that out from the get-go. Be prepared. Right? The child has to be ready, and not be overloaded during the week. Being available for auditions. Not turning auditions down. Always have your phone available, responding to your emails. Bening right on top of it. Be prepared. This is a very fast business. 

Know when to leave your agent or manager alone. They’re not just working for you, they’ve got other clients. And they are also working for you even though you don’t know they are working for you. 

They are trying to get your child work! So know when to leave them alone.

And most of all, be a good team player. If you do your part, they will do their part.

QUESTIONS TO ASK POTENTIAL REPRESENTATION

So now you are lucky enough to take some meetings with agents or managers and you may want to know some good questions to ask when meeting with them. Well, I guess for either one of the questions is how many clients do you have.

1. You want to know if there is a small amount or a large amount?

2. Do they have more than a few of the same type?

3. How often should you communicate with them? How should you communicate with them? By email? Telephone? Just popping by…which I don’t recommend.

4. How often should you update your child’s resumes and photos? Are the contracts negotiable?

5. Can you take a three-year management agreement and negotiate it down to one or two?

6. A great question is if you find work on your own for your child, do they take a commission on that.

7. For a manager, you might want to find out which agencies they work with and when they will be introducing your child to an agent. Will you be looking for agencies on your own or are they going to provide that service?

8. Can you submit your child for a project on your own? 

Regardless of if your child gets an agent or manager right away, they should always be looking for ways to continue growing their career and network by working on their skill set through classes and pursuing other hobbies that make them the unique individual they are. 

Not everyone will have an easy path to finding representation, but don’t give up, they’re going to  be a huge asset to your career.

What Makes a Good Youth Talent Representative

I’ve worked in the youth acting industry for over 30 years as an acting teacher, career consultant, and former talent manager. I know and collaborate with many youth agents and managers, and can shed some light on what makes a good agent or manager for your child. Let’s first start with the differences between the two, the roles they play, and why some are better than others.

A talent agent or agency in New York or California is licensed by the state. They find employment for clients. Most are franchised by the Actors’ Equity Association and the Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) unions, and are affiliated with the Association of Talent Agents (ATA) and/or the National Association of Talent Representatives (NATR). They are usually limited to taking a 10% commission for employment contracts. Some agents prefer an exclusive agreement initially. Others freelance, getting permission to submit a client by calling or emailing.

Just as in many other businesses, agents come in all sizes with different specialties. Large agencies can have several departments including beauty (modeling and print), commercials and voiceover, and “legit,” meaning TV, film, and theater. A smaller boutique agency may be able to provide some of the services a manager provides.

I spoke with David Gilbert, director of young talent at Zuri Agency in NY, who is very selective about who he signs to their theatrical roster. David and his team watch every tape their clients submit, giving notes and adjustments as needed before submitting to casting. They recommend their clients coach whenever possible allowing them to put their best work forward as they see each audition as a chance to be remembered by another casting office.

Another sign of a good agent is one who appreciates managers and can communicate and coordinate with them. Actors with managers can be more appealing to agents, therefore more likely to gain and maintain representation.

While an agent’s focus is to secure employment for an actor, a manager is more focused on growing your career. With fewer clients than agents, they can offer more personalized attention. This doesn’t mean the manager doesn’t get involved in the audition process. Many have good relationships with casting directors themselves and get on the phone to push for their client as well as get feedback after the audition is over.

A good manager will communicate well, help you find other professionals that can benefit your career like acting coaches and photographers, and more. They also help your child and you manage success when they finally land that one job that catapults them into stardom. A manager takes a 10–20% commission on earnings, and usually offers a three-year contract with a two-year extension. 

Before signing with an agent or talent manager, make sure they share your vision of where your child’s career is headed. You must be comfortable communicating with them while being mindful that they have other clients too. Both agents and managers provide representation and support for young actors. What is most important is having a rep who believes in your child’s talent and ability, fights for them, and helps keep their spirits alive during inevitable slumps while including you as part of the team. After all, you are your child’s best advocate.

4 Questions To Ask An Agent or Manager

I recently produced an industry showcase for unrepresented actors. Twelve very talented performers did what they do best - perform! I am proud to announce that many were contacted for “stage two": The interview.

The interview is the time to personally interact and see if you and the agency or management company are the right fit for each other. It’s kind of like a first date. Sure, you may be nervous. You may be thinking, “If I am just plain old me, will I make enough of an impression?" Your best bet is to be prepared, but also be yourself. Look your best without trying too hard. Relax and have a good time. This is supposed to be fun, remember?

Before the meeting, think about some questions to get the conversation going. In my previous article on assembling your team, I suggested some contractual questions. Here are some more conversation starters to consider.

1. What type do you see me as? 
This is a really important question and one that needs addressing before signing. You may think you can play the leading lady but your potential rep sees you as a character actress. Now is the time to get on the same page. Discuss whether or not you will be sent out on theater as well as television and film auditions. Do you both agree that comedy is your thing? And if it is, will you still be considered for one-hour dramas and film as well? If you are interested in pursuing commercials and voiceovers, find out who within the agency handles that.

2. How many clients do you have and how many are my type? 
Agencies and management companies come in all sizes. Some have a handful of clients; some have hundreds. Find out how many other represented clients are your type and how that might affect you getting submitted for projects.

3. How do you feel about me submitting myself for projects? 
There are many ways these days to find out about projects on your own. There are open calls listed in Backstage and plenty of resources on the Internet. While your potential rep will work hard for you in securing auditions, there may be times when you find something that he or she does not know about it. Ask how they like to handle this. What about student films? Find out if they are open to you pursuing these leads on your own. Remember you are part of the team, and it’s nice to know they are a team player.

4. Do you recommend photographers, acting, voice or dance teachers? 
There are a plethora of photographers and teachers out there. Ask what this potential rep thinks of your current headshot. Who takes their clients’ fabulous pictures? Find out where some of their other clients study acting, voice or dance. It’s always great to get a personal recommendation when you can.

Remember, good teamwork is just as important for an actor as it is for a star basketball player. Doing your research, knowing what questions to ask, and gaining a good understanding of how an agent or manager can represent you will help you choose the very best rep to be a part of YOUR winning team.

An Acting Coach on Becoming Your Child's Manager or Agent

Do you want to join this list of moms? 

• Melanie Johansson

• Teri Shields

• Dina Lohan

• Tish Cyrus

• Kris Jenner

What do they all have in common? They are the mothers of some of Hollywood’s biggest stars and they managed their kids’ careers—at least for a while. Some parents are famous for successfully managing their children’s careers, while others become infamous when their child sues to remove them as their manager.

Before you decide if you will manage your child’s career, it’s important to understand the role of a manager and what it requires. The definition of a talent manager is an individual or company who cultivates and guides the professional career of artists in the entertainment industry. The most important word in this definition is guide. Guiding a career means that you can give professional advice and counseling on many aspects of the entertainment industry including 

• Selecting and presenting an appropriate image

• Choosing headshots

• Tweaking resumés

• Consulting on demo reels

• Reviewing scripts

• Securing feedback after auditions and using that feedback appropriately

• Consulting on appropriate team members

• Working closely with agents on role submission and negotiating contracts

• Making connections with casting directors and producers

Working as a manager is a very demanding role. It requires a deep understanding of the industry, keen organizational skills, marketing savvy, strong communication skills, and the ability to develop relationships with key industry players. Most parents don’t have the industry knowledge or contacts to be effective managers unless they worked in the industry personally.

READ: How to Manage Your Child Actor

If you are thinking of managing your child’s career, ask yourself these questions:

• Do you have industry connections and experience?

• Are you able to negotiate contracts knowledgeably?

• Can you separate your emotions from your child’s and help him or her cope effectively with rejection?

• Will you be able to care for your other family members and stay involved with them if you are devoting all your time to career management?

In my experience, the most important role of a parent is being a parent. You provide an important role for your child entertainer. You can monitor emotions, health, balance, and enjoyment of the industry because you know your child better than anyone else. You can provide support, ensure that your child still has regular childhood experiences, and advocate for your child with other team members. Your love is an anchor that helps child actors cope with the demands of working in an adult world. 

Unless you are an industry insider, my recommendation is that you focus your efforts on being your child’s best parent and advocate. Work with a manager you trust alongside the other members of your child’s team. Your contribution will be extremely important and valuable to your child’s success. Acting careers can come and go, but your role as a parent lasts forever!

So Your Child Has an Interview With a Talent Rep? How to Prepare

Congratulations! Your child was spotted in a showcase performance by an agent or manager and called into their office for an interview and audition. Or perhaps your youngster’s beautiful photo and resume got the attention of an agent who followed up with a meeting. This is the start of getting signed by a rep who can help your child find auditions and get closer to landing a role. 

Every representative has his or her own process for screening talent. Many times, your child will be asked to cold read (meaning it’s something they have not seen before). This could be commercial copy or a short scene from a theater, TV, or film script. Another rep may ask them to prepare a monologue and song if they’re a singer. If that’s the case, these pieces should be ones your child loves and can perform confidently. 

While assessing acting and cold reading skills is definitely important, what’s even more important is that the rep learns who your child really is through the interview process. This may be territory that’s completely new to your child, but it’s a wonderful opportunity to gain life skills.

Young actors get a lot of practice working on scripted material, but not as much on just being themselves. I see kids get nervous when they’re not hiding behind a piece of paper and are being asked to just talk about who they really are. So help your young actor get comfortable with this kind of thing by encouraging improvisational training. Thinking on their feet and being spontaneous is great practice for the unknown and offers a competitive edge that reaches far beyond the world of acting. 

READ: 4 Questions To Ask An Agent or Manager

At home, you can help your young actor get comfortable talking about subjects that are likely to come up in conversation: hobbies, favorite television shows, siblings, pets, school, and friends. Focus less on specific answers and more on their ability to feel comfortable with the topics. One word responses are not interesting. Neither is insincerity and over-coaching. Instead, encourage honesty, eye contact, clarity, and letting their personality and uniqueness shine through. What’s most important is the connection your child makes with the person in the room.

It’s a good idea to practice interview skills with your child so they become comfortable answering in complete sentences, and seeming natural and confident. Prepare your child to do the interview without you present. Most children do their best without their parent in the room so they don’t have to worry about disappointing them.

Another great way to practice interview skills is by letting your child speak to adults in their daily life. The next time you’re at a store, have your child engage with the clerk by asking and answering questions. Or when the waiter arrives at a restaurant, encourage them to order themselves and strike up a conversation. When my son was young, he loved to order himself. He was very specific about how he liked his food prepared and each time we visited a restaurant, he made such an impression with his unique, amusing personality that they never forgot him.

I’m sure you’re just as excited as your child is to be interviewing with the agency or management firm. As with any company you’re about to start a relationship with, research the agency or firm and ask colleagues for any insight. You’ll have many questions, so prepare them ahead of time to feel more self-assured.

After the meeting, be sure to check in with your child on how they felt about the interview. If it didn’t go well, reflect on ways they might improve for the next opportunity. Evaluate how your child felt about the representative they just met with. It’s important that you and your child feel good about this potential relationship that will hopefully be long lasting.

You are your child’s greatest ally and advocate; make sure you’re doing all you can to make this journey fun, safe, and enjoyable for them.

4 Signs of an Unhealthy Relationship With Your Rep

There are times in every relationship when we wonder if things are still working well enough. Partnerships, people, and circumstances change over time, so it’s good to reassess periodically. If there has been stress or frustration when dealing with your representative, it may be time for a heart-to-heart talk. If after doing your best to work with someone, you find that you are still experiencing some of the following problems, it may be time to call it quits and move on. Here are four signs that your relationship with your rep has passed its expiration date.

1. Lack of communication. This is a red flag that could mean there are serious problems in the relationship. Even though managers and agents are usually very busy, most email or phone replies to you should be made within days, if not hours. If you are emailing or calling your rep and not hearing back in a timely fashion, it makes it challenging for them to serve your needs properly. This lack of attention may mean any number of things, but don’t assume you know the backstory. Instead, arrange one-on-one time to discuss the state of your partnership. Whether they no longer consider you to be a high priority or they are avoiding you for some reason, you deserve to know what is happening and whether or not things can be fixed. 

2. You fear them. Countless times, students have asked me if they should call their manager or they ask for my advice on what to do about an opportunity. These clients often feel intimidated by their reps and are afraid to ask the questions they need to ask. You should feel comfortable talking with your representative about your career! Granted, managers and agents are usually very busy working for you as well as their many other clients. The best agents tend to be very time-efficient and just need to be succinct. Be respectful of their time by preparing your questions in advance and doing as much legwork as you can before picking up the phone, but have confidence in your right to talk with them. If, however, you find that you are being treated disrespectfully or made to feel badly for bothering them, there may be a problem with the relationship. In order for you to get the most out of having a rep, communication needs to flow both ways. 

3. Does not support your vision. It’s important that your rep be on board with where you see your career going. You may want to focus on theater in New York but he wants you out in California working in television. Are you interested in working on your music, yet he keeps sending you out for acting-only opportunities? A disconnect like this will not move you in the direction you want to go. Talk with your rep about your goals and find out if he can get behind your vision of the future. The right rep will be a good partner who supports you as you pursue your performing arts goals.

4. Not a team player. Many actors will start out with an agent and then add a manager as things start to pick up speed. Sometimes, and this is common for young performers, you retain a manager and hope to make agent connections through them. Talk with your rep and find out her opinion on adding to the team. If she tells you to hold off because you are not ready and you trust her counsel, then perhaps you should wait. Sometimes, though, an agent prefers to maintain independent control over her performers’ careers and doesn’t want a manager to interfere. That agent may be putting herself before her clients and is not being a team player. If you have a healthy partnership with your agent, she will support your interest in adding to your team. Putting together a team that works well together from the start will help it function properly in the long run. 

Keep in mind, agents and managers are juggling many clients and responsibilities. You can help them help you by keeping up on your part: current pictures, updated résumés, and new skills. As with any relationship, good communication is key to maintaining a successful partnership.

How to Protect Your Child Actor From Industry Predators

Right now, the news and social media are full of reports about sexual harassment and abuse in the entertainment industry. Last week, the teens in my acting classes were discussing the news and what they would do in uncomfortable situations. It can be a scary issue, both for young actors and their parents.

Unfortunately, sexual abuse is a real issue, primarily when people in power use their authority to prey on the young or less powerful. Predators can lurk in all settings so it’s wise for parents to help their children—male and female—know how to recognize and respond to unwanted advances.

When I was a new talent rep in my twenties, I had a parent of an important client who consistently made lewd and inappropriate comments. I told my boss, my husband, and even talked to the parent, but the abuse continued. My choices were to endure his bad behavior or fire his talented son. I didn’t want to lose my job, so I sacrificed my self-esteem and tried to ignore his behavior. That was more than twenty years ago when sexual abuse was not discussed, and few options for help existed.

Thankfully, children today have an environment where speaking up against abuse is encouraged. The Casting Society of America put out a public statement condemning harassment in all forms with the slogan, “If you see something, say something.”  SAG- AFTRA urges members who experience or observe harassing or discriminatory behavior to call a 24-hour hotline at (844) 723-3773 or (323) 549-6644. Women in Film has a useful resource for female entertainment professionals.

It is essential for parents to teach and model healthy personal boundaries at home.  Begin by explaining what sexual harassment and abuse are, especially these key points.

Sexual harassment and abuse can:

• be physical, verbal, or emotional.

• happen to boys and girls.

• be committed by an adult or peer.

Teach your child to always come to you if they feel uncomfortable or harassed. Their bodies are their own and no one should touch them without consent.

If your child experiences harassment or sexual advances, they should go to someone in charge, such as the studio teacher/child welfare worker, director or assistant director, child wrangler or guardian, stage manager, or their agent or manager. Offer to help your child make this call and participate in any meetings. You can also ask to sit in on any private acting lessons or casting calls if your child feels uncomfortable.

Have a frank discussion with your young actor about the importance of self-respect and personal boundaries. Remind them that no role is more important than their safety. Teach them about manipulation and threats used to keep things secret so they can feel safe speaking up and reporting abusive behavior.

Watch for these red flags:

• Your intuition telling you that something isn’t right.

• An adult who seems too interested in your child, gives inappropriate gifts, or wants time alone with them.

• Threats of blacklisting for lack of cooperation made to either you or your young actor.

• Unwillingness to attend callbacks or acting classes without explanation or saying that they don’t want to talk about it.

Parents, take this opportunity to teach your young actors that they don’t need to compromise their boundaries to be successful in acting or any endeavor. It’s never a bad time to talk with your child about safety, boundaries, and how to report any unwanted behavior. Your goal is not to frighten your child, but to educate and pledge your support should they ever need help.

The things you teach your child today about sexual harassment and abuse can offer them protection for their entire lifetimes.

6 Ways for Young Performers to Obtain Representation

If your child is hungry for a life in show business, getting representation is the next step to a budding career. But how does one obtain representation? It seems like a daunting task in an incredibly competitive industry. Luckily, there are many ways in which a child can gain industry attention to secure a rep. 

In a production. It is always best to be seen in action. Agents and managers generally frequent theatrical productions, as they are always on the hunt for new talent. If your child is serious about acting professionally, make sure he is involved in school plays, community theater, and even regional theater. Reps are always looking for a child who has potential. 

Industry showcases. Industry showcases are the perfect opportunity for young performers to gain industry attention. This is an event in which agents, managers, and casting directors watch actors perform exclusively for them. Actors perform scenes, monologues, songs, and even read commercial copy. If a rep responds to the actor, they will arrange a meeting and possibly sign on a new client. Even if your child doesn’t sign with an agent or manager, they might keep their name on file to be seen again in the future. 

Workshops and classes. Many acting workshops and classes will culminate with an informal performance for an agent or manager. These are generally for educational purpose where your child will practice in audition-like settings. However, if an agent or manager sees promise in a performer, they might ask for their name to set up an interview. 

Old-fashioned mailings. Years ago agents and managers primarily gained clients through headshots and résumés mailed to them by hopeful performers. Make sure you have a great photo that looks like your child and a résumé detailing your child’s experience and training. Get a list of agents and managers who work with young performers through CallSheet and send a hard copy to them with a short cover letter. If you live outside of the big industry cities, call your local SAG-AFTRA office to get the names of reputable agents and managers.

Referrals. Perhaps you have a friend who is signed with an agency or management company. Ask them for a referral. This can get your name in the door faster than mailing lists (because they can ask questions and gain a sense of who you are from a person they’ve already trusted to sign as a client). 

Your coaches. Your acting or voice teacher can also refer you to a rep, as they have the contacts and a trusted relationship with many of them. I never pass up an opportunity to send one of my promising young students to one of my colleagues if I believe they are ready to work. Since the young actor has been vetted by me, the rep is more apt to respond. I have introduced many of my students to both agents and managers and they have continued on to have incredibly successful careers. 

There are so many ways for your child to be seen by industry professionals. What is most important during this time is to stay involved in theater and performance opportunities while continuing with ongoing training. Passion is at the heart of any career, and it’s important to keep your child’s love of performance at the center of your journey.

When Does a Young Performer Need an Entertainment Attorney?

For parents of working actors, the entertainment industry may seem like a lot of smoke and mirrors. While there are plenty of mirrors in show business, your child’s legal rights should not be one of them. Parents often ask me when, if at all, is there a right time to hire an entertainment attorney. I have plenty of students who have entertainment attorneys, and plenty who do not. Let’s discuss the right times to hire an attorney to protect your young performer.

Getting representation. Your child has caught the attention of an agent or manager. Congratulations! As an acting coach and career consultant, I have clients from all over work with well-respected and vastly talented agents and managers. I have also had clients approached by talent reps that I would not recommend. Although they may present a legal document, the contract may embroil your child into years of their representation and could potentially freeze or ruin your child’s career if they decide to pursue other options. Any time your child enters a contractual agreement, I would advise an entertainment lawyer to look over the legal obligations and wording of the agreement.

Once you are signed. Once you have a trusting relationship with a talent agency or manager, it is not necessary to use an entertainment lawyer for every contract your child enters. A good agency will negotiate contracts and have your child’s back in all stages of production. Almost every large talent agency has an in-house legal department that handles contracts and the negotiation process. You are not charged for these services because the legal team is there to represent the agency-specific deals—which include actors’ contracts. Even smaller agencies and managers have regular contact with entertainment attorneys, so you can be well assured that your child’s contracts are fair and legal.

Working in the business. Once your child begins to work in bigger productions and gain recognition, you may want to think about an entertainment attorney as a part of your child’s team. They will give personalized attention and negotiate contracts that best serve their clients. They will also inform you of industry norms and make sure your child is protected on set. When your child is constantly working, it is crucial for parents to understand your child’s working conditions. Skilled in the nuances of performers’ rights, an entertainment attorney will advise you of your child’s legal rights regarding their pay, education, and labor laws. They will inform you of your rights as a parent, including sight and sounds laws, hiring a “responsible person,” and money questions. Entertainment attorneys explain, in layman’s terms, rules that can have potentially monumental costs and consequences to a family if enforced. When handling long production periods and large sums of money, an entertainment attorney can inform you of the legal benefits and drawbacks to such big decisions.

Deciding when to hire an entertainment attorney is a complex question, with no one right answer for everyone. Ultimately, the best decision is what makes financial and legal sense for your child and family. It is important to find an attorney whom you respect and trust. Your entertainment attorney is there to protect the interests of your child in an unbiased setting, as they do not fill the shoes of an agent/manager. For more information on the legality of show business, check out Sally R. Gaglini’s book, “Young Performers at Work.” As a top entertainment attorney for young performers, Gaglini’s book provides a deep knowledge of entertainment law to inform and protect you and your family.