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Seattle Acting School - Reading

Those things said, I am still compelled to offer concrete information for conducting one's career. This is only advice. Like all advice, it may be successfully discarded from time-to-time, but these guidelines will help the young professional stay professional and be perceived as such.

I've asked dozens of top agents, managers, actors and casting directors this same question over the years and have always, always gotten the same response. The question is, "What is the absolute minimum you expect from a professional?" The answer, "Showing up on time and prepared."

In show business (it's not called 'show art') "on time" means fifteen minutes early. Some people hate it when appointments show up early. Take the extra time to relax and look over any materials you may have then announce yourself on schedule. Never show up late. Never show up rattled or stressed. Never show up thrown together. Always show up on time, prepared, and put together.

First, some general advice on auditioning. If you have an agent she or he may advise you on which clothing may be appropriate for a particular audition. If not specified, dress should be clean and casual. Make a note of what you're wearing in your journal.

If you get a call-back, don't change your clothes or appearance. If it ain't broke don't fix it.

Come to the interview alone but let someone know where you'll be and when you'll be back. Call that person if things change.

Never bring your children, relatives, friends or pets along.

Show up on time! Call your agent (never the casting director) if you are running late or in an emergency.

On the job, use ink, not pencil, when you sign in and out. Don't let someone else sign in/out for you and don't initial the sign-out sheet until you actually leave (the sign-out sheet is a legal document and the only way to verify claims for overtime on the job). If there is no sign-in sheet, ask for one. If no sign-in sheet is provided, report it to your nearest Union office.

Unless you're auditioning for a part where you have to be needy or desperate don't make success in show business your only objective. Treat the audition as another opportunity to act. Don't waste your time trying to read the casting director's mind. Go in and show them how you would do it. It's your instinctual, spontaneous interpretation that is interesting. If they have other ways they want it done, they may direct you.

You are the only one who is responsible for your safety and welfare. Don't assume anything. When in doubt, ask. Call your Union.

Things to have in your possession when you arrive.

A briefcase. It doesn't have to be pricey just professional. Never carry in a ruck-sack, gym-bag or backpack. I can't tell you how many positive impressions have been made by carrying a briefcase or how many negative ones have burdoned the backpack/gym-bag/ruck-sack carriers. By the way, a briefcase is intimidating as hell to your competition.

In your briefcase: Headshots and resume's, pen and pencil, high-lighter pen (flourescent yellow), appointment book, Directions to the interview, Thomas Guide, journal, phone/pager, any sides, scripts, or copy you've been provided, something to read, CD's of your audio and video reels (if you have them), copies of your social security card/photo ID/proof of citizenship (I-9)/work permits, etc., and finally, a hand towel.

• Headshots and Resume' - More on those things below.
• Pen - always sign in/out in ink.
• Pencil - NEVER write on sides or copy in ink. Anything you write on the copy must be erased before you hand it back.
• High-liter Pen - Do not high-light your lines if you have to hand the copy back - ask, before you high-light, "is it okay if I high-light my lines?" Flourescent yellow makes the lines jump off the page (unless the copies are made on fax-paper) and easier to read when you're emotional.
• Appointment Book - If they want to know of any conflicts in schedule you have to be in control of that information. Get that, "It can all be worked out in the end," crap out of your head. If you've got a conflict, it's a conflict, get it worked out in the beginning, not in the end.
• Directions to the interview. "Oh, I'll find it," means you won't.
• Thomas Guide - Don't be a man and rely on your instincts to find the place. Ask for specific directions and follow them. Map your route out. If you have ADHD (as I have) make a dry run the day before if you have that luxury. NEVER call the interviewer en route to tell them you're late, if you're late they know it. Don't be late because you got lost, you'll look like a fool.
• Journal - write down everything, address/phone number/the people with whom you met (correct spellings) and their titles (especially the receptionist)/what you wore/what you read for (I've been known to record the interview discretely so I know what I said and did - a valuable tool for call-backs that happen six-months later).
• Phone/pager - Turn that damn thing off! Having ringing, beeping, buzzing and vibrating going off in an audition means that you think someone more important than the interviewer might be trying to contact you. "BEEEP," wrong! Thank you for playing our game. There is no consolation prize on your way out.
• Sides/scripts - If you got the sides or copy 24 hours ahead of time, like you're supposed to, don't forget them at home. The worst thing you can do is start off an interview with an apology of any kind but worse still is to not have the thing which is central to the interview. Sometimes, when they see you in person, they have something else for you to read. Adjust.
• Something to read - 75% of a working actor's day is spent waiting. Waiting for your scene, waiting for set and costume changes, waiting for film to be loaded, waiting for lights and sound to be adjusted, etc., etc., ad nauseum. All that waiting can be un-nerving. If you don't have a script to study have something to read that will help you relax. Don't use the time to balance your checkbook or make some calls, you'll just come in harried. I carry Henry David Thorough's "Walden," and "The Little Prince" because they relax me and give me perspective. They work for me. Find the thing that works for you. If it's the Torah, bring the Torah. If it's the congressional record, bring the congressional record. You get the idea.
• CD's with your audio/video reels. If you have those things they are the supreme marketing tool. I keep the video on 1/2" VHS as well as the audio on cassette, in addition to the CD, because you never know what is going to work best for the interviewer. You have to give them to the interviewer. Don't ask for them back. Don't expect them back if you're told they will send them back. These are premiums which you must plan to give away. Don't give away the masters or the originals. That would be, er, um, really stupid.
• Copies of any work-related documents, eg: Driver's license, work permits, INS documentation (I-9), Social security card, etc. You may be hired on the spot. Be prepared with those things. Know your W-4 information and how you want deductions made.
• "A hand towel?!" Read "The Hitch-hikers Guide to the Universe" for an explaination.

Tools of the Trade

1. 8x10 PHOTOS

If a CD (casting director) or agent has not yet met you, your 8"x10" photograph serves as an introduction and is your first opportunity to make a positive impression. Your headshot should look like you look on a good day. It should emphasize your most marketable strengths (if they're casting someone with a big nose and you've had your nose washed out in processing, you can guess where your headshot goes). Present a likeable personality; people hire people they like.

You get called in on your headshot. In the casting director's mind you already "look" the part. And let's be clear, you get called in on your "look." As superficial and unfair as it is, you will be type-cast. Asians don't get called in for non-Asian parts and if you look gay you will only be called in for parts for gay men. Don't complain about it, don't try to hide who you are, don't try to change who you are. If they want a flat chested red-head they're not going to consider a busty blond no matter how well you can act. If they're looking for a bubbly personality and you're sensitive and deep they will not hire you, period. Don't waste your time wrenching yourself around into what you think the interviewer is looking for. Go in and demonstrate that you can act, and to what degree, and they will make a decision based on that. If you're right for the part, you get the part. If you're not right for the part, someone else gets it.

TIPS FOR HEADSHOTS:


• Frame on your face with no distracting background, no patterned clothing and no "busy" necklines.
• Smile, look directly into the camera.
• Select a full-face, natural looking shot. Women who use too much make-up look like tramps in black-and-white photos. That's fine if all you want to be cast as is a hooker (great roles, fun to act, but limited). In black-and-white, red looks black, yellow looks white. Do not submit a composite shot or a touched-up pose. Hire a professional make-up artist. Your best friend is your worst enemy when it comes to make-up and selecting which shot to use. Your agent is the one who has to sell you, let your agent help you pick your headshots. Many agents like to have two or three "looks" to send out. Work closely with your agent on your headshots.
• 8x10s should be "flush" or "bleed" (NY term) or "borderless" (LA term) to avoid wasted space. Many CD's will not accept lithographs. Spend the money necessary to have real prints made. These are your marketing tools and should look professional.
• Your name and Union affilations, if any, should be printed on the front of the headshot. It is wrong to have the type face too large or in some distracting or garish font. To avoid clutter, put all other information and logos on the back or on the resume.


2. RESUMES


The casting director wants to know what experience you have, if any. Keep the resume simple and neat. For an 8x10 photo, a resume should be cut down to the correct size and glued or stapled to the back. It is also possible to have the resume printed directly onto the back of the photo, but if you work a lot your resume changes often and must be kept current. So, don't print too many of them.

List credits, beginning with the strongest, including title, role played, and where performed. Be honest; don't make up things, and don't hesitate to list small roles and bit parts. If there aren't any professional credits as yet, list all your community theater or school theater experience. Past accomplishments are important to note. If you're a state champion ping-pong player make sure you put that under "special skills." Your look, manner, energy, talent, accomplishments and future moneymaking potential are all necessary ingredients in the entertainment business.

If you have no credits they'll look for training. If you have no training they'll look elsewhere.

TIPS FOR RESUMES
• Specify Union affiliation (if any), social security number, birthdate, height, hair and eye color. A note on Union affiliations; to many people in the industry you will not even be perceived as a professional until you've made your way into the Unions. Some CD's can't even talk to you until you've gotten into AFTRA and SAG.
• Indicate name, address and telephone number of your agent and/or manager, if you have one.
• NEVER LIST YOUR HOME ADDRESS. Ask your agent or manager if you should include a phone contact where you can always be reached, such as an answering service or a phone with an answering machine.
• List special abilities which may be helpful for the casting director to know: athletic skills, dancing, singing, dialects, playing musical instruments, magic or ventriloquism, etc.
• Describe professional training, schools, teachers, length of study, any specialization.
• Ask your agent or manager if it is advisable to include date of birth.


3. DEMO VIDEO AND AUDIO
• DEMO VIDEO TAPES:
  A professionally prepared 1/2" VHS video demo tape with edited excerpts or clips from TV or film performances can be an effective marketing tool. Another promotional tool is a compilation of clips from your commercials. It is not a good idea to combine theatrical and commercial clips on the same tape. The tape should not be more than five minutes in length and should show only those scenes which best highlight your work. The use and practicality of demo tapes varies from place to place. You should always check with your agent before investing in a demo reel.
• DEMO AUDIO TAPES:
  A professionally-produced audio (voice) tape for voice-over or singing can be an invaluable marketing tool. It should be brief (2-3 minutes), present your normal voice and speaking style and contain portions of only the best work. Do not include character voices or accents and dialects unless you do them very well. Many agents prefer specific tape formats; ask your agent for guidance before having a tape or CD made.
  Generally speaking, voice-over producers choose talent from a relatively small pool of experienced performers, usually those with whom they have previously worked. Check with your agent before spending your time and money on a voice tape.


4. POSTCARDS

Postcards with picture and other information (such as agent, contact number, etc.) may be mailed as reminders to already-established casting contacts. (This practice is more popular in some areas than in others.) The photo may be the same as your headshot, or a reproduction from a publicity photo, print ad or tearsheet. Leave room for a hand-written message.


5. APPOINTMENT BOOK AND JOURNAL

Keeping a daily record can be extremely helpful, especially for callbacks or figuring taxes. An appointment book, daily log or index card file for interviews, auditions and bookings may include:
• date, time, location
• what you're auditioning for
• name of agent
• names of persons met (with correct spellings and titles)
• transportation costs and/or mileage
• description of clothing worn

Also, include any other special information which may pertain to the specific interview. Remember, the more documentation you keep, the better prepared you will be. This is impertive in voice-over and animation where the audition may be conducted up to a year before being cast.


6. BOOKKEEPING

It is your responsibility to keep accurate records of all jobs performed and all money which you earned (such as session fees, residuals, etc.), commissions paid and other professional expenses. This information is essential for preparing your tax return and will provide a valuable way of confirming that the Unions' and the agents' records are accurate.


7. REFERENCE MATERIALS
TRADE PAPERS:
The "Trades" are periodicals which gather and publish news and information on all aspects of the entertainment industry, including casting notices. Some of the Trades are:
• VARIETY - national in scope (weekly)
• DAILY VARIETY primarily Los Angeles information (daily)
• THE HOLLYWOOD REPORTER- primarily Los Angeles information (daily)
• BACKSTAGE primarily New York information (weekly)
• DRAMALOGUE/BACKSTAGE WEST - primarily Los Angeles information (weekly)


8. TALENT DIRECTORIES

Talent Directories are used by casting directors in every facet of the entertainment industry throughout the country. For a fee, a performer may be listed (with photo and contact phone number) in one or more categories.
• The Players Guide, a New York publication, is updated annually. Only Union members may be listed. The Players Guide offices are located at 165 W. 46th Street.
• The Academy Players Directory, a Los Angeles publication, is updated three times a year by the Motion Picture Academy of Arts and Sciences. Any performer may be listed. The Academy Players Directory is located at 8949 Wilshire Blvd., in Beverly Hills.
• In other parts of the country, talent directories are published by some AFTRA and SAG locals, film commissions, talent agents and regional publishers.


9. REFERENCES


• Ross Reports is updated and published monthly in New York. It contains detailed listings (names and addresses) for Advertising Agencies, Independent Casting Directors, Commercial Producers and Talent Agents in most major metropolitan areas. Also included are contracts and information for Network, Daytime and Prime Time Programming on both coasts.
• The CD (Casting Director) Directory and the Agent's Agency Guidebook are published quarterly in Los Angeles and New York by Breakdown Services. They provide alphabetical or geographical listings, as well as listings of personnel at each office. Both guides are available at theatrical bookstores.
• The New York City Casting Guide provides alphabetical listings of entertainment industry-related persons and places, cross-referenced by street address

The following section pertains more to the performer under 18 years of age or who may not yet be a legal resident of the United States. The inclusion of this information is necessary to make this page complete. AFTRA and SAG have the complete details on these regulations and the regulations may change from state to state, local to local. Always be truthful when it comes to employment.

• WORK PERMIT:

A current valid work permit may be required and it is the actor's responsibility to obtain it. The regulations governing work permits vary from state to state and even from city to city within the same state. Always check with your Union office to be sure you know (a) if a work permit will be required and (b) how to go about obtaining one. To find where to obtain a work permit in a particular area, your best bets are the State Labor Commissioner or Department of Labor, local school superintendents' offices, film commission or Union offices. Most public high schools can provide work permits for students sixteen and over, through the work experience or career counselor.


• THE "COOGAN LAW":

Some states have adopted legislation which allows a judge to specify a certain amount or percentage of a minor's earnings to be set aside in a blocked trust for the minor under certain circumstances. The most well-known of these laws is California's "Coogan Law," named after Jackie Coogan, child star of silent pictures, who made vast sums of money as a child, only to discover upon reaching adulthood, that it had not been conserved. Each state which has a "Coogan Law" in effect sets the particular rules by which a judge makes a decision in this regard. The judge has sole discretion, and there are usually no predetermined amounts described in the law as being reserved for the trust. In addition, the law is not automatically in effect whenever a minor works. It is generally implemented only when the employer asks a court to affirm the minor's contract for employment.


• UNEMPLOYMENT INSURANCE AND COMPENSATION:

Contrary to popular belief, actors do qualify for unemployment insurance or compensation benefits in many jurisdictions. However, since the professional performer is relatively uncommon in most places, chances are that you will need to investigate your eligibility very carefully. For the most part, child performers should not be treated differently than adult performers, and so, if performers qualify for unemployment benefits in your state, do not hesitate to file a claim on behalf of your child; be persistent about demanding it. Remember, the employers have paid the assessment which provides your child's coverage. Claiming unemployment compensation is not charity or a handout; it is money to which you are legally entitled. In California, a booklet called Actor's Guide to California Unemployment Benefits is available through SAG.


• DISABILITIES:

In accordance with the Americans with Disabilities Act of 1990, a person has a disability if s/he has a physical or mental impairment that substantially limits a major life activity, such as walking, seeing, hearing, speaking, performing manual tasks. A person also is considered to have a disability if s/he has a record of a substantially limiting impairment or is regarded as having a substantially limiting impairment.

In accordance with the SAG/AFTRA Commercials and Television and Theatrical Film Contracts, wheelchair accessibility is required wherever feasible at all audition and performing sites. Under the Commercials Contract, the Producer is required to provide a qualified interpreter at auditions and throughout the engagement if the character is described as deaf. If the character is described as blind, scripts are to be supplied in advance. The Television and Theatrical Film Contracts abide by the ADA's provisions, therefore requiring the performer or Union on his/her behalf to notify the Producer or his/her representative of the need for an interpreter or advance script. For further information, do not hesitate to call the SAG or AFTRA affirmative action administrators.


• TAXES:

The Tax Reform Act of 1986 has made major changes in the way the income (earned and unearned) is taxed. Actors are urged to consult the Internal Revenue Service or a tax professional (preferably one familiar with the entertainment industry) before attempting to file a tax return. Also obtain a copy of IRS Publication 17 (it's free) and read carefully those sections dealing with record keeping and the substantiation of deductions.
Some locals and branches sponsor VITA (Volunteer Income Tax Assistance) programs to help Union members in preparing their tax returns (free of charge). You may want to check to see if there is a VITA program in your area.


• W-4 FORMS:

Always be sure to fill out a W-4 form when you work. Be aware that the IRS may fine you for underwithholding (and will not pay you interest on overwithholding!). Check with your accountant or tax professional to make sure you are filling out the W-4 form in the way that benefits you best. Because of the uncertain nature of work in the entertainment industry, you may want to re-file your W-4 form with each employer one or more times during the year, depending on changes in your anticipated yearly income.


• SOCIAL SECURITY:

The Tax Reform Act of 1987 requires everyone five years of age or over to obtain a Social Security number. If you have not applied for one you should do so immediately since processing may take several weeks and you cannot be paid without one.


• I-9 PROOF:

By law, all employees must now complete the one-page I-9 Form (Employment Eligibility Verification) and must present documentation confirming their right to work in the United States. Generally speaking, two pieces of identification are required, one from List B and one from List C. As an alternative, any single document from List A may be used. Acceptable documents are listed below.


• LIST A
• United States Passport
• Certificate of United States Citizenship. (INS form N-560 or N-561)
• Certificate of Naturalization. (INS Form N-550 or N-570)
• Unexpired foreign passport which contains employment authorization
• Alien Registration Receipt Card (INS Form 1-151 ) or Resident Alien Card (INS Fomm 1-551), provided that it contains a photograph of the bearer.
• Temporary Resident Card. (INS Form 1-688)
• Employment Authorization Card. (INS Form 1-688A)
• LIST B

For individuals 16 years of age or older:
• State-issued driver's license or state-issued identification card containing a photograph. If the driver's license or identification card does not contain a photograph, identifying information should be included, such as name, date of birth, sex, height, color of eyes, and address.
• School identification card with a photograph Voter's registration card United States Military card or draft record Identification card issued by federal, state or local government agencies Military dependent's identification card Native American tribal documents United States Coast Guard Merchant Mariner Card, Driver's license issued by a Canadian government authority.
For individuals under age 16 who are unable to produce one of the documents above:
• School record or report card
• Clinic, doctor or hospital record
• Daycare or nursery school record
• Work permit issued by any government agency
• LIST C
• Social Security number card, other than one which has printed on its face "not valid for employment purposes."
• An original or certified copy of a birth certificate issued by a state, county, or municipal authority bearing an official seal.
• Unexpired INS employment authorization
• Unexpired re-entry permit authorization (INS Form 1-327)
• Unexpired Refugee Travel Document. (INS Form 1-571)
• Certification of Birth issued by the Department of State. (Form FS-545)
• Certification of Birth Abroad issued by the Department of State. (Form DS-1350)
• United States Citizen Identification Card. (INS Form 1-197)
• Native American tribal documents
• Identification Card for use of Resident Citizen in the United States. (INS Form 1-179)
• ON THE JOB:

You've been cast. You got the part. Now what? Here are some general guidelines which are especially important when working with semi-professional productions.

On the job, check in the A.D. (Assistant Director) or the Stage Manager as soon as you arrive. Never leave your possessions unattended on the set.

Union rules forbid that you begin work if you have not received a contract. Don't sign the contract if it differs in any way from your understanding of the terms of employment. Call your agent if there are any problems or questions. But, definitely sign a completed copy of your contract for the job before you begin work. (Make sure all the blanks are filled in.) Remember, they had a lawyer make up the contract. A contract is an agreement between two parties. You get to have a lawyer look over the contract before you sign it. You get to negotiate changes in the contract. If you sign the contract before you have your lawyer look it over you give up all rights and negotiation after it's signed. Not a single residual has ever been paid to the actors from "Gilligan's Island." Most of them never worked again.

Don't be a pest to other actors, the director or crew members. Keep out of the way while watching on the set.

If you feel you're working too long without a break or being asked to do something you feel you should not be doing, say something to the AD. Don't let anyone intimidate you into unreasonable requests or making exceptions to provisions in the contract.

Make sure your agent knows, ahead of time, if you have special food or medication requirements. Bring the necessary items yourself, where possible. But, don't wait until the last minute to arrange for your these things (e.g. food, medication, etc.)

When the script calls for things to get physical, remember, all Union contract provisions regarding safety, stunts and similar work pertain to you. Even though those provisions may not be printed in a specific section of your contract, the Industry-Wide Labor-Management Safety Committee issues Safety Bulletins periodically as the need arises. They are distributed by AFTRA and SAG and you may request your copy through the unions. Additionally, the Commercials Contract, the Industrial/Education Code and the Theatrical/Television Agreements have separate provisions covering extraordinary or unusual physical, athletic or acrobatic ability. Since you may need to refer to them quickly, you should familiarize yourself with these provision and understand them fully. Your health and safety could depends on your familiarity on it.

It is important that you understand that you always have the right to say, "no," to any activity, stunt or action which you feel may place you in physical or emotional jeopardy! Don't allow any employer, in interviews or on the set, to intimidate you into granting permission for you to do anything which you feel is hazardous or will put you at risk! If you believe you are in a dangerous or fearful situation (whether that fear is real or imagined), you cannot be required to perform.

Determine, in advance, whether stunts or other unusual or strenuous activities will be part of the job. If a stunt is required, the performer always (not sometimes, always) has the right to have a stunt double. If a double is not to be used, there must be a stunt coordinator or other qualified stunt-and-safety expert present to demonstrate and help you work out the safe performance of the stunt or activity.

Know where the first aid kit is kept, and who is responsible for administering first aid. If you are performing a stunt or other hazardous activity, request that a trained first-aid technician be present at the actual scene of the activity while it is being rehearsed and performed.

Be aware of any protective items, such as knee pads, elbow pads, helmets and heavy clothing that may be needed and bring them. Wardrobe personnel may not always have protective gear.

Get warmed up and stretched out before performing stunts or other physical activity.

Bring towels and a bathrobe. You may need them during clean-ups and costume changes. Wardrobe personnel may not supply them.

When working in extreme weather or in and around water, watch yourself for any signs of hypothermia (lowered body temperature) such as chattering teeth, blue lips or shivering. Blankets, towels, a bathrobe, and thermal clothes and underwear should be readily available at these times. You would be wise to bring your own. A hot bath or shower should be taken as soon as possible after this type of work.

Bring a high SPF sunblock, to be applied before makeup, when working in direct sunlight. A hat is advisable.

Bring ear plugs or other devices as protection against explosions or other loud sounds.

Determine, in advance, that NOMEX (fire-retardant) undergarments will be available when you're working in or around fire.

Clean your eyes, ears and mouth thoroughly if you have been working in smoke or muddy water. Ask the first aid or medical personnel to assist you. The Unions have been working closely with Industry to develop specific guidelines covering "Working in Artificially Created Mist/Smoke,"

Flammable products, such as make-up and hair spray, should never be used on you when near fire effects or open flames.

Remain a safe distance away from any area where a stunt or other hazardous activity is being rehearsed or performed if you're not directly involved in it. Spectators and bystanders can often increase the danger of the situation.

Animals on sets should be approached with caution and only when the handler is present.

Prop weapons are not toys. They are often dangerous and can maim and kill! Do not approach or use without qualified supervision.

Finally, some of the preceeding information was stolen outright from the SAG website and is published without their permission. I corrected some spelling and grammar but most of this last section is verbatim. For those whose personal politics include anti-Union sentiments I would invite you to examine the history of the treatment actors were subject to prior to collective bargaining. For all their ills and foibles, irrespective of the conflict, the Unions have always taken my side. When I grow too old to teach, my Union pension will be the only buffer I have between myself and total poverty. I am grateful for them.

Although I no longer work professionally in broadcasting or film I maintain my memberships in full. To those whose egos and paychecks are so large that they believe financial core is the only membership to maintain I invite you to face a life-threatening medical condition and see who stands beside you, your employer, or your Union.

Seattle Acting School - Agents

Becoming a professional actor, at some point, entails finding serious representation. The Seattle acting community is fortunate to have a compliment of agencies who have the best interests of their clients at heart.

California has strict laws which govern talent agencies. Washington actors enjoy no such protection. Just like every other business, talent agencies have decent and indecent people who work there. Like everything in life you make a choice and take your chances. Securing representation is the stuff of Hollywood legends.

New actors are best directed to work with smaller agencies in the beginning. Ideally, if you can get a medium sized agency to "hip pocket" you, you'll be in a better situation than signing a contract with a small agency before you get work. A contract is an agreement between two or more parties, the agency had a lawyer write theirs, you get to have a lawyer go over a contract before you sign it. An agreement means both parties have had a say in who's covered, what's covered, why it's covered, how it's worded and what consequences there are to breaking the agreement. A contract is not one-sided, it's not "take it or leave it." If you sign a contract without reading it, or having your attorney read it, then you give away all negotiating power after it's signed.

Having said that, you are forewarned.

"Hip pocketing," means you can say that the agent in question is your agent if you get work on your own. You usually can't put the name of the agency on your résumé or head-shots, but if you're offered a job you can respond with, "Talk to my agent." You definitely won't get a call from this agent to go in for an audition. "Hip pocketing," means if you find an acting job on your own then the agent will usually sign with you and charge a reasonable commission for negotiating the best deal for you. It's not a bad deal for the young professional actor just starting out. Some agents will "hip pocket" an actor, many will not.

When you start to scout for an agent ask yourself, "what's reasonable?" Is it reasonable for an agent to charge you money up front to represent you? Is it reasonable to have to remove your clothes for an audition for an agent? Is it reasonable that your agent wants you to have new headshots from the photographer of his or her choosing? Is it reasonable that you have to take acting classes provided by an agent? Is it reasonable that an agent provides acting classes? Anytime you sense a conflict of interest there usually is one.

Personal Manager or Agent? Well, you make the choice and take your chances. First of all, if you're at the beginning of your career do you really have anything to manage yet? In California there are laws which prohibit Agents from becoming involved financially with productions but managers are free to engage in whatever interests them. So, managers there have a degree of flexibility that agents do not enjoy. In Washington you don't even have to have a business license to call yourself an agent, or a manager, much less be licensed by the state.

Look at it this way, you won't even be recognized as a professional until you have joined the professional unions. You might contact the Unions (SAG, AFTRA, AEA, you can search their sites from the bottom of this page) and find out what the requirements are for joining in Seattle. You can also get a list of approved agents from the unions. Getting your union card will help you enormously when securing legitimate representation. It tells the agent that you're serious enough to go about securing employment without their aid and that you've already paid some dues (or at least initiation fees). Finally, and this is the absolute truth, there are only two people on earth who care about your career: you and your mother, and the only person whom you can depend on to get you a job acting is yourself. Your agent's job is to negotiate the best deal for you once you have gotten hired. A manager will do that as well as provide guidance in your career choices and possibly your financial dealings. Part of their motivation has to be finding the next big star but the strongest reason for their interest in your success is their own ability to meet payroll. Those are the things which establish their reputations in the industry.

Agents are very protective of their reputations. The simple fact is that 90% of the people who call themselves actors have no business being in the business. That accounts for a lot of the 95% unemployment rate among actors. An Agent who sends out someone who is ill-prepared to compete runs a real risk of destroying his or her reputation with the casting agency. Many Washington agencies offer classes, which actors pay for, to ensure that no such damage can be made. That's reasonable in some ways but are these agencies really qualified to teach anything? In Washington, casting agents can offer classes, in California that practice is about to become illegal. Casting directors and agents share a similarity in that one of the their chief interests is in making sure that whomever they send to a director or producer doesn't embarrass them. So, they offer their little classes, which are not long enough or substantial enough for learning to take place, where they make the actor "hit the mark," or learn a monologue, or make eye contact with the casting director. It's all very superficial and has nothing to do with acting. I say this in class from time to time -- if you can act it's easy to hit your mark, if you can act you can do any speech you're handed, if you can act you have the confidence to look anyone square in the eye. If you can act the only thing you have to worry about is showing up on time and prepared. If you can act, even if you're not right for the part they're casting, they will hang on to your picture and résumé because they are in the business of finding people who can act! If you are not a trained actor the best you can hope for is to hit your mark and not embarrass your agent.

Now that the line is drawn let me say this, agents and managers who offer classes in acting are like car salesmen who offer classes in driving or attorneys who offer classes in lieing to the judge. They may know something about those things but it doesn't mean they can teach them and it certainly doesn't mean you will learn from what they teach. Every expert on education agrees, all the research returns the same result, learning takes place through meaningful repetition of the fundamentals over a long period of time. The actor cannot learn anything in three days or weeks or months. It takes years to learn to act and the teacher has to know what he or she is teaching from practical professional experience, not from academics. (Don't even get me started on why a college degree in acting doesn't mean you can act.)

It's the same old catch: you can't get work without experience and you can't get experience without work. You are not likely to get an agent until you have secured your own acting jobs but very few professional acting jobs are open to those who have yet to secure representation. You can't join the unions until you have a job but you can't get a job without belonging to the union. Like every actor before you, you have to work at getting work. You get a few jobs as an extra on a set, get your vouchers signed, and you can get in the union. Once you're in the union you look legitimate to agents. Once you have an agent you look legitimate to casting directors.

The absolute truth is if you can act you are likely to get the jobs you are right for. Union affiliations, agency representation, even stardom, all take a back seat to learning to act. There are those who are well connected, remarkably beautiful and gifted with wonderful personalities who never have to do any of this. They just walk in the room, get an agent or a job (and are immediately Taft-Hartley'd into the Union), and are given their stars on Hollywood Blvd. Those people are probably not reading this article. The rest of us have to learn to act.