Negotiation Techniques: Insight from a Trail Lawyer

 As a manager, one of my main duties is to negotiate.  I have to negotiate terms of contracts, payments, appearances, sponsorships, travel, transportation, advertising… you name it.  Negotiating is a never-ending part of my job.  The key is to know how to negotiate, what tools or strategies to use and when, and how to deal with the opposition in order to get what you want without upsetting the other party.

I figured a good way to learn the keys to successful negotiating would be to pick the brain of a trial lawyer.  Although this person deals more with federal litigation and white collar crimes, his 15 years of experience in the field in addition to his schooling allow him to offer great insight and advice, because let’s face it: Negotiating is negotiating, whether it’s for an actor, a criminal, or yourself. 

So, without further ado, when I asked Moe Fodeman, an attorney for Wilson, Sonsini, Goodrich, & Rosati in New York City, what his strategies are for successful negotiating, here is what he had to say:

“From my perspective, the key to successful negotiations is leverage.  Without leverage, you really have no shot at all shifting the negotiations in your favor because the other side can say just say "no" to you without losing anything.  You have to identify the other side’s weakness(es), make them understand those weaknesses are real and that they pose a significant risk.  So, for example, in my line of work, the key to negotiating to favorable plea agreements for criminal defendants is to make the government understand the shortcomings of their case (if there are any) and make them believe they could lose.
Beyond leverage, (since in the world of federal criminal defense, we very rarely have much leverage!), I find that the most important tool in successful negotiations, is to maintain credibility.  People know when you're trying to sell them a bill of goods.  And if they don't feel they can trust you, they're unlikely to move your way in a negotiation because they'll be too afraid that you're trying to get over on them.  The other side has to believe you when you tell them their case is weak, or that your position is strong, or that you are prepared to walk away from the negotiations.”

Moe Fodeman is currently representing me and one of my entertainment clients.  I have seen him at work and in the line of duty, and on top of what he has to say here, I think another key to successful negotiating is being personable.  Moe is outgoing and likeable.  He makes it difficult to say no. 

So, in summary, I recommend going into a negotiation with confidence, but not too much that you ruin the rapport you have built with the opposition.  Listen, respect the other party, and work together to come to an agreement.  And if all else fails, hire a lawyer!

How the government influences a film’s location

What are they and how do they work?

I guess the first question to tackle is if the government influences such a decision.  Coming across an interview about state tax stimulus packages, stimulated me enough to do a little digging.    Basically, states are now in competition to lure productions their direction by offering tax incentives.  According to the Film Tax Incentives website, tax incentives are the new backbone of film financing equations and can be offered as tradable tax credits, refundable tax credits, film tax rebates and reductions in state taxes.  To put it more simply, if producers find it economically beneficial to film in a particular state because they have to pay less money to the government and therefore have more money to put towards their project, chances are, they’re going to take the state up on its offer.   In 2008, productions that were shot in Michigan could be reimbursed by the state for up to 42% of their expenses.  That’s like making a movie for half price.  All of a sudden, filming in Detroit versus Los Angeles doesn’t seem so bad.

How they started

These tax incentives originally came about in order to lessen the number of “runaway productions”- projects that went overseas to film because it was cheaper.  Although not overseas, Canada was the most successful, which built Vancouver and Toronto into major North American Production Centers.  The States started coming up with tax based incentive programs in order to keep the jobs at home.  What ended up happening was states like Louisiana, Michigan, and New Mexico began making it seem so appealing to bring a project to their state that they saw an influx of applications by producers desperately trying to get ahold of some of these tax credits.  Although the state governments were offering hundreds of millions of dollars in incentives, the benefit and effect of luring these productions their way began paying off dramatically in the long run, at least for the most part, but we’ll get to that later.   

The benefits of local production

The rapid influx of millions of dollars into local economies served as lucrative economic stimulants that the governments, film industry, and local beneficiaries of the tax incentive found highly desirable.  For instance, Louisiana has established themselves as a top competitor and has landed tons of deals, third only behind Los Angeles and New York City.  And because of the experience they are gaining from having so many films produced in their state, more than 50% of projects are local productions, using Louisiana film crews and facilities, which shows what kind of impact the tax breaks can actually have.  Nick Paleologos, former head of Massachusetts’ Film Office until December of last year, pointed to the $452 million spent by movie productions in the state in 2008, but says that’s not even close to capturing their full impact.  In addition to the jobs they generate, he talks about the “multiplier effect”- the money spent by film crews on hotels and restaurants and other services that keeps cycling through the local economy.  He also talks about the interest generated for a particular location if a film is produced there.  The trailers and lights and cameras and “movie stars”… it’s all very exciting, especially if you’ve never experienced it before.

Poor California

So, as states wave incentives under the noses of producers, we can’t forget about the people being left behind- the original film crew- those in California.  Although Hollywood and cinema go hand-in-hand, 40 other states are after the industry due to the economic gain it brings.  Ironically, California had to follow suit and offer tax incentives so films would stay.  The program in California began three years ago and is up for renewal this month.  The Motion Picture Association of America commissioned a study that determined that California’s tax breaks generated 20,000 jobs and contributed $200 million in state tax revenue.  With the state’s deficit however, some people wonder if it’s worth it to set aside $100 million in tax breaks.  

Are they worth it?

Several other states have scaled back on their packages as well because facing unprecedented fiscal pressures, some lawmakers question whether handing out dollars to Hollywood is the best use of increasingly limited public funds.  According to the Associated Press, all totaled, states issued $1.8 billion in incentives and tax credits from 2006-2008.  That’s a lot of money on the table, especially since there have been some issues about how the money actually was spent.  For instance, currently, Tom Wheeler, once head of the Iowa Film Office, is on trial for allowing the misuse of funding.  He inadvertently cost the state millions in legal liability and lost economic development.  And remember Nick Paleologos?  He is now the former head of the Massachusetts’ Film Office after being booted due to controversy and abusing his position.  Some people just can't seem to handle all of the money and subsequent power that comes with it, which has proven to have devastating effects on certain states.

The downside

But there’s a major downside to pulling the funding.  After creating all of these jobs, if a state stops offering incentives to production companies, causing movies go to cities that are offering incentives, all of the local people relying on working on those projects will be jobless.  And here's the irony:  You'll have these people standing in line at the unemployment office, collecting government dollars, instead of paying taxes and working on a project that could be generating significant money for the government instead.

Where do we go from here?

So, as our country continues to battle the impending doom of the national deficit, each state’s decision as to whether or not to offer generous tax breaks, and if so, for how much, remains a debate.  Although I personally think it’s exciting and healthy to see productions spread throughout the nation, there is still just something that makes movies and Hollywood seem right.  But, these tax incentives seem to be too enticing for many states and most producers to pass up.  I’m going to have to fit my clients with radio tracking devices just so I can locate them while they’re working.  Either way, I’d like to think it’s safe to say that Hollywood will always remain the entertainment hub of the world, which means managers like myself will still have a home base.  With technology these days, all communication can be done remotely, but I’d much rather have a reason to live by the beach than to bare a Midwestern winter.

Technology's Effect on Entertainment Stocks

In an earlier post , I talked about Netflix and how the company was branching out and taking a different approach on things, having decided to release its own television series- the first of its kind.  I must have inadvertently kept their concept in mind, because whether it was subconscious or not, since then I've found myself continuously drawn to news stories about companies using Netflix and other new distribution platforms, stirring up traditional media and discovering original avenues of generating revenue through new forms of media.  

Because I am currently studying entertainment business finance in graduate school, I'm trying to make a dedicated effort to incorporate finance into my daily life and routine, hence the mentions in this blog entry.  I'm constantly looking for correlations between the subject and the entertainment industry, particularly my field of interest as an artist/talent manager, considering a vital responsibility of many managers is to advise their clients as to how to invest their money.  Establishing a solid financial background myself can and will definitely benefit me personally as well, so the more knowledgeable I become, the better .  

I began researching different entertainment and media companies after learning second quarter earnings were released earlier this week, and kept coming across articles mentioning CBS Corporation because their reported earnings were more than double that of last year.  Most analysts attributed this significant increase to the fact that CBS has decided to release many of its older hit shows such as Frasier and Cheers to Netflix.  Now internet users and Netflix subscribers can watch and enjoy CBS owned content at their leisure, where it was simply not available to them before.

Utilizing new methods of distribution not only offers more opportunities and freedom for the networks and studios, but it also offers more opportunities for actors, since with new media platforms, there is more room for additional projects, and more projects ultimately means more roles (and therefore more work for managers like myself).  The key is to think outside of the box because the opportunities are there, and with time and some patience and recognition, the opportunities are going to keep coming.  As a manager with clients just breaking onto the scene, harnessing the potential from these new media platforms can serve as a goldmine in securing my actors work.

In an August 2^nd article in Reuters, author Paul Thomasch writes that Les Moonves, the Chief Executive of CBS Corp., announced that deals could also soon be in the works with Apple Inc., Google Inc., Microsoft Corp., and Dish Network Corp.  Sam Schechner of the Wall Street Journal  writes that media executives hope that CBS’ bold and forward thinking moves “will be an arms race among technology companies to buy content to feed a new array of tablet computers and Internet-connected televisions”, mentioning that Amazon.com Inc. has already positioned itself to begin to compete with Netflix and has struck deals with both CBS and Comcast Corp’s NBC Universal as of late.  It seems as if everyone is beginning to realize that utilizing new forms of media can be advantageous to all parties involved.  This day and age, with all of the new developments in media distribution, has the opportunity to revolutionize the way consumers access and view programming.  The pioneers of these new avenues are at a major advantage, as can be seen by the significant increase in profits for companies such as CBS.

As I read through countless articles commending CBS for their non-conformist strategies, I became convinced that by taking chances and utilizing the not-so-traditional forms of distribution, they would continue to flourish, no matter what happened with the stock market and other outside influences.  And as quickly as I came to that conclusion, all of my beliefs were turned upside down.

As we all know, the stock market took a serious nose dive on Thursday, August 4^th, 2011, plummeting over 500 points.  Whereas many analysts were convinced (or at least trying to convince their readers and more likely than not, themselves as well) that the well-being of the entertainment and media companies was independent and not affected by the financial market, all of their theories were refuted in an instant.  Ironically, out of all of the entertainment stocks, CBS was hit the hardest, dropping over 9% over the course of that one day.  I guess when investors panic and want to get out, it doesn’t matter who they are or where they have their money.  If they think they may lose it, they are going to pull it and head for the hills, groundbreaking new distribution methods or not.

I want to come clean and confess that my knowledge of the stock market, investing, and finances at this point is probably comparable to that of a goldfish.  Actually, I probably shouldn’t even give myself that much credit.  Trying to wrap my head around the ups and downs of the market reminds me why I content as a biology major in college.  But, I am hopelessly optimistic that with a little guidance (okay, with a lot of guidance), that soon I’ll understand what is going on and why.  In my defense, from what I’ve read, which has been a considerable amount lately, even the most educated and experienced analysts seem to get as blindsided as the rest of us.  If I have learned anything so far, it’s that our economy and everyone who invests in it, is as fickle as they come.  Of course, if I had my life savings relying entirely on the fate the stock market, I have to assume I would be pretty fickle myself.

But, back to CBS and to Netflix and to these new forms of media and distribution.  Despite the major hiccup everyone experienced the other day, I am confident that the entertainment and media companies looking to take chances and utilize new technology and advancements in order to produce and distribute their programs are going to prevail.  It’s a well-known wives tale to not put all of your eggs in one basket.  CBS and Netflix are definitely following that advice.  The more avenues they pursue, the less affected they’ll be if an avenue fails and the greater chance of success they’ll have if an avenue is proven effective.

Personally, until I get a better handle on stocks and finances and investing in general, I’m going to look solely at the facts.  And the facts are, that technology is changing.  Everything we do and how we go about doing it is changing at lightning speeds.  Ironically, the only portion of CBS that did not see an increase in profits was their book publishing division, which simply proves that digital distribution is the way of the future for books as well as television and movies. I can say with great confidence that with such advancements as streaming online content and video on demand, there is endless potential for entertainment and media companies- what they produce and how they choose to distribute it.  And with this endless potential comes new and exciting opportunities for actors, their managers, investors, and viewers alike.  Stay tuned though, because it may be a bumpy ride.

Taking a Chance on Personal Branding

I was recently introduced to a website called TED: Ideas Worth Spreading.  The idea of TED, which began as a conference in 1984 to bring people together from the worlds of Technology, Entertainment, and Design, hence the name, is that great information, great ideas, and great innovation, should be shared with as many people as possible in order to enlighten and inspire everyone who is subjected to it.  In a lecture by Chris Anderson, the founder of TED, he explains the concept of crowd accelerated innovation.  The basis of this concept is quite simple, yet if utilized properly, can be extremely revolutionary.  People introduced to new information, anything from a science experiment to a dance move, get inspired to either recreate, adapt, or improve whatever they see and learn.  Therefore, more people exposed to this information will result in more inspiration, and ultimately more innovation.  With more people involved, there is greater opportunity to create bigger and better change, and at much faster speeds. 

Anderson adapted crowd accelerated innovation into internet accelerated innovation, discussing how with the internet and online videos, it is now possible to share one’s knowledge and talent (and anything and everything else for that matter) with millions and millions of people worldwide instantaneously.  People who would have never had the opportunity to be exposed to certain things due to their geographic location or any reason whatsoever can now watch and learn from whoever they want, whenever they want.  When a video goes viral on Facebook or You Tube for instance, within a matter of hours, not only will an astronomical number of people have watched it, but a huge number of people will have most likely begun trying to imitate what they have seen, leading to more sharing, more inspiration, and more advancements.  Everyone tries to outdo the person before.  And once again, the cycle continues.

You can learn a lot from the TED website, not only about the ideas of the world’s most inspired thinkers, but also just from the speakers’ passion and they way they convey their stories to the audience.  Don’t panic, if you have flashbacks of the most boring lectures you can remember back from your days in school, these lectures are nothing of the sort.  These speeches last less than 20 minutes each and are actually interesting and entertaining.  The time goes by in an instant.  And speaking of passion, one of the highlighted “Best of the Web” talks (watch video below) is given by an entrepreneur named Gary Vaynerchuk.  He’s an inspirational speaker and encourages listeners to do what they love; and passion is literally oozing out of this guy’s pores.  He insists it’s the only way to succeed in one’s career.  He says that in order to do well, it is essential to hustle- to work as hard as possible every chance you get.  There are no excuses.  They key is to stay up-to-date on everything and to take advantage of every opportunity possible.  You have to figure out what you really love and carve a niche for yourself in the market, work to build brand equity, network, and just go for it.  In order to position yourself to succeed, you have to use all of the social media tools out there in order to connect to your user base anywhere and everywhere you can.  You have to get people to talk about you.  If you are doing something noteworthy, then you are going to get recognized.  And the more people you expose yourself to, the more people who will talk about you, which is a variation of Chris Anderson’s crowd accelerated innovation.

Vaynerchuk also discusses that they only way to truly succeed is to be completely transparent.  You have to be authentic and be true to yourself.  In order to make people believe in your product or your services, first they have to believe in you.  He stresses that there is only one chance at life, so we better take advantage of it.  We are going through the gold rush of branding and there is an infinite amount of potential for success.  As long as you work for it and want it bad enough, you’ll achieve it.  Just absolutely love what you do and working so hard won’t be so hard at all.

I came across a second video dedicated to the topic of personal branding, which also stresses the importance of transparency.  In this video , found on the BNET website, the CBS Interactive Business Network, host Robert Gerrish interviews Australian author Ben Angel.  Ben says that it’s okay to tell your own stories and that you can’t be afraid of hiding anything in the fear of not fitting in.  You should put things you may normally have the tendency and desire to hide in the forefront.  It’s okay to be controversial, mind you, as long as it’s in context.  There is nothing that is better to educate your clients about how you utilize your services than if your personal stories are able to stimulate debate.  Being more seductive and vulnerable to clients is going to take you a long way.  And since this information is coming from an expert a half a world away, just as it is coming from Vaynerchuk, a New Yorker, it’s obviously a worldwide, accepted principle.  Just be yourself.

Hopefully this simple information will be a motivating factor to get you to open up about yourself, to take a leap of faith, and to decide to take a chance to not only do what you love, but to put yourself out there while doing so.  It may sound scary, but after opening up, you will feel completely liberated.  The personal and professional rewards you reap for taking that chance will be more than worth it.

SAG, New Media, and iActor- The Way of the Future

I have chosen to dedicate this post to the Screen Actors Guild, which for those of you who don’t know, is a trade association consisting of over 125,000 members.  Despite its large numbers, I am not a member, mainly because I am neither qualified nor eligible to join.  There are various prerequisites of membership, such as having played a principal role in a SAG affiliated and approved project.  Although I’m not a member, my clients and prospective clients are, so I admire their exclusive club from the outside looking in, as it’s known as the most distinguished performers union in the world.  

Having recently completed some in-depth market analysis on entertainment industry trends, I found a common thread among all sources and a main topic of interest concerning advancements in technology and in what ways technological breakthroughs are affecting the business.  Probably the most influential innovation of all time, or at least of recent history, is of course the Internet.  With every passing day, it offers more and more capabilities, providing the entire world’s worth of knowledge instantaneously at our fingertips.  In addition, the Internet is now serving as an additional platform for the distribution of shows, news, and movies alike.  With Video on Demand, consumers can now watch what they want, when they want, and even where they want, with access to media on their mobile phones, which is changing both the mindsets and behaviors of the public and the advertisers trying to reach them.

The Screen Actors Guild, otherwise known as SAG, is the largest labor union representing working actors.  According to its website, “The Guild exists to enhance actors’ working conditions, compensation and benefits and to be a powerful, unified voice on behalf of artists’ rights.”  SAG not only strives to protect its members, but to also help find them work.  It has developed a New Media Department which “provides valuable insights into the implications of emerging technology”.  In other words, SAG formed this department because as technology and new platforms evolve, so too must actors’ contracts.  Just as downloading songs has had major repercussions on the livelihood of musicians, downloading television shows and movies will have the same effect on actors.  Therefore, their work must be protected over these new distribution channels before its too late.  SAG is focused on making sure that happens.

In addition, SAG now offers a free service to its members called iActor, which I feel truly speaks to the times.  iActor is an innovative online casting agency featuring only members of the Guild.  Each member has the opportunity to create an online profile and can upload multiple resumes and headshots onto the platform that target different varieties of work, such as commercials or features, as well as video and voice reels.  These profiles can be modified and updated at any time.  When a producer or casting director is in need of talent, he or she simply can access the iActor database and sort through all of the profiles, narrowing each search by any combination of categories and terms such as skills, physical characteristics, and credits.  Once any prospective performers are found, agents are able to contact the actors’ representatives through direct email.  And then that’s where I come in.  If actors want to solicit a particular casting agent, director, or producer directly, for example, they can email their profile to any of their contacts and a properly formatted version of their resume will automatically be attached (although running that by your manager might not be a bad idea).

iActor is groundbreaking in the fact that now casting agents too have all of the information they need right at their fingertips.  And every actor on the platform has an opportunity to be ‘seen’ by every casting agent searching the site.  Actors with less connected representation for example, who may not have been looked at before, are in the running for parts alongside everyone else.  It makes for a fair and unbiased playing field- a field much bigger and broader than ever before.  Now actors who don’t live in the heart of Los Angeles or New York have the same exposure and opportunities as those who do.  SAG has even gone so far as to put together a team of individuals to personally assist members who are not computer saavy, as well has holding regular workshops for those needing additional assistance or helpful tips so that no one gets left behind.  Finally, iActor features automated Station 12 cast clearance, which means that producers will know right from the start that an actor is cleared to work, rather than spending the necessary time, money, and resources trying to determine an actor’s eligibility.  That’s additional time, money, and resources they can save and rather dedicate to their production.

Overall, I am emtremely impressed with the Screen Actors Guild and its attempts to stay current in order to both protect and showcase its members.  In this day and age, it is essential to continuously adapt and evolve, as technology is radically changing how everything is done. The union is making every attempt to help procure work for its members while looking after each and everyone’s best interest.  And for all of those SAG members out there that haven’t yet taken advantage of the iActor casting directory, hopefully this article will give you the incentive to do so, because if it hasn’t been necessary to join thus far, judging from industry trends, it is definitely the way of the future.

A Partnership to Watch

In a press release issued June 13, 2011, it was unveiled that Simon Fuller, creator of American Idol, and Chris Blackwell, founder of Island Records, are forming a revolutionary joint venture called Blackwell Fuller Inc.  It’s almost so revolutionary that although it was strategically and formally announced, so far it seems more top secret than concrete.  Not many details have been confirmed, so the business plan is up for a lot of speculation.

What we do know is this: Fuller and Blackwell are two of the most influential people in the music and entertainment industry and the career accomplishments of them each individually almost guarantee that their collaborative work is going to be just as successful or more.  In this venture, Fuller and Blackwell plan on representing artists by allowing them and the content owners in the music and entertainment industries the ability to expand their audience.  We know that they plan on taking advantage of all of the recent and continuous changes in the new digital age.  They plan to create new media partnerships and opportunities and aim to put artists and content owners in full control of their careers and their businesses for the first time. Sam Thielman of Variety explains that these partnerships will “bypass the traditional, stage-managed relationship between artist and fan.” Billboard explains they want “to give artists the freedom and financing ‘to explore new paths to the market’”.  The LA Times calls it a “digital media consulting firm for musicians and artists”, and the Financial Times says the venture aims to bypass traditional record labels by giving the artists more power to profit from their work.

To me, even when considering all of these statements, the Blackwell Fuller business plan still seems extremely ambiguous.  All I can truly gather is that they plan on offering opportunities for artists to benefit from their work in ways they never have before and that they are going to have the creative freedom to do that however they please.  I have to imagine artists must be salivating at the thought.  Blackwell himself told the Wall Street Journal that they aren’t competing with management companies, but rather with major record companies.  However, Fuller began his career as a manager, representing the Spice Girls in the 1990s, and still represents them today under XIX Entertainment, a company he recently created and heads, which represents big name athletes and artists including David Beckham, Jennifer Lopez, and Carrie Underwood.  He left the company that produces American Idol last year, but remains executive producer, to manage his list of clients.  Blackwell, on the other hand, introduced the U.S. and Britain to Bob Marley and reggae, and guided such artists such as Cat Stevens, Melissa Etheridge, and U2 for decades. 

I can’t help but think that Blackwell Fuller Inc. has the potential to develop into an all-powerful management firm, despite their claims, due to the founders’ experience as managers, their business plan, and the fact that the company has hundreds of millions of dollars worth of financing.  With Fuller and Blackwell’s clout in Hollywood, they can basically do whatever they want. And what successful artist wouldn’t dream of having the opportunities these two can supposedly offer?

Although I am anxious to learn more about this venture as new details are released, as a talent manager myself, I am left wondering what kind of effect Blackwell Fuller will have on the industry, and if it will benefit smaller managers like myself, or negatively impact us if it begins to overpower its competitors.  I am hopeful that with the constant advances in digital media, we will all be able to find and succeed in our own niche, since battling the Goliath might prove deadly.

I reached out to XIX Entertainment’s media contacts for comment, explaining that I am a graduate student in Entertainment Business, and after a few brief email exchanges, Kelly Mullens left me with this: “You will never learn - nor will you succeed in the entertainment business - if you don’t do the work yourself.”  Considering she is the media rep for Simon Fuller, I’ll accept her words of wisdom knowing they are coming from a reputable and established person in the industry.  As much as it would be nice to think that Simon Fuller gave me that advice directly considering how much I admire him, I still plan on following it and will hopefully benefit personally and professionally by doing so.

I leave you now, not as much with the fear of Fuller and Blackwell swallowing me up, but with inspiration from a lesson from which I think we can all learn:  If you work hard, and pursue your dreams, you can and will prosper.  Simon Fuller and Chris Blackwell are true testaments to that.  As I uncover more detail about the developments and plans of Blackwell Fuller and how it is influencing the industry, I will be posting it here, so make sure to check back! 

What does it take to be a successful talent manager?

According to the Talent Managers Association, an agent’s primary objective is to secure employment for his or her clients, while a manager is forever thinking about how to make things better.  I have compiled select questions and answers from several interviews with various experienced talent managers in order to gain a better understanding of who a talent manager is and what a talent manager does.  Here is what I found:

In an interview with Steven Nash of Arts and Letters Management and former President of the Talent Managers Association, Mr. Nash explains that a manager is the client’s partner.  Because managers work on commission, they virtually invest in their clients.  Managers handle less people than agents.  They assist in making financial, professional, and personal decisions of their clients in order to help their marketability and reputation.

To watch the entire interview, click here.

Meghan Schumacher of Meghan Schumacher Management

You represent actors for a living. What do you enjoy most about being a manager?
The thrill of creating an exciting opportunity for someone is great. I have been working with some of the same actors now for over ten years. Having that long-term knowledge of their needs and building on a foundation so that their career continues to grow is a challenge and very satisfying. Every day is a different set of goals to accomplish. It’s fun.

Okay, this still confuses people. What is the difference between an agent and a manager? If I have a manager, do I need an agent? Or vice-versa?
This is the million-dollar question, isn’t it? Technically the difference is that an agent is responsible for getting those opportunities (offers/auditions) that an actor needs to get a job and that a manager is there to guide or advise the client through the process getting that job. The lines are blurry in many cases, I will be honest. Also, as a general rule, an agency will have many different agents covering separate projects.
A manager can offer different services for different clients. If an actor has a great agency and they are doing a great job, then a manager can be a part of the team that enhances all of those positive experiences by playing “air traffic control,” if you will. In essence, a manager can help distill everything so that the right decisions (i.e. which role to choose, which audition/offer to prioritize) are made. If an actor has many different agents covering separate parts of the business, the manager is there to oversee that they all get covered equally and to the best advantage of that specific actor.

Dustin Hoffman’s agent in Tootsie has a great line. He says to Hoffman: “I’m your agent, not your mother.” Realistically, what should an actor expect from his or her representatives?
The expectation for all representatives is that they should be working hard to help move the actor’s career forward. Everything after that is different with each manager. The flair and style with which each company illustrates that is very different. Some are very motherly and interested in your personal life etc. Some do just as well a job but stay completely on the professional side of the relationship. Each actor can find what they are looking for.

To read Matthew Rose’s complete interview with Meghan Schumacher, click here.

Kathy L. Carter of Carter

 

What are some of the challenges you face as a Hollywood manager that might surprise people?
I come from a very straight-forward family. I respect when people get straight to the point and accurately say what they mean. I am considered too blunt with some people but I consider this to be respectful to the other person's time and profession. If I don't like something, I say I don't like it. This includes speaking very directly with my clients. We are only as good as the weakest link so I have a very honest relationship with the people that I do business with even if they don't like my delivery. If I lose a deal or a client, at least I did it with honesty and integrity.

To read the full interview with Kathy Carter, click here.

Wendi Niad of Niad Management Company

Are there any upfront or ongoing fees to the client?
No fees. No legitimate management company would charge a client any upfront or ongoing fees. We make money when you make money. 

How is being a manager different from being an agent?
Less clients and much more hands-on. It's not so much about the next commission check (as agents are concerned with) as it is about where that client wants to be five years from now. It's more about career planning than just the next job. 

What if your client also has an agent?  How do you work with the agent to avoid duplication of effort?
E-mail is a beautiful thing. I e-mail the agents whenever something has come up for that client. We are always cc'd on any correspondence regarding that client and vice versa. Usually, if we're trying to get a client hired for something, one of us will call the studio and the other will work the producer. 

To read Mary Schirmer’s full interview with Wendi Niad, click here. 

Successful managers seem to truly be involved in every aspect of an actor’s life throughout the duration of his or her career.  They need to be their clients’ best friend, while still always viewing every situation from a professional standpoint.  Although being a manager requires serious patience and hard work, it is clear, from the managers interviewed here, the rewards are much greater.

Reality TV and Animation- Is There Still Room for Actors?

Reality TV began as what was thought of to be a fad.  However, due to their obsessive fans (how many of you have gotten sucked into all day marathons of Project Runway or The Jersey Shore?), more and more reality shows are getting pitched and picked up, leaving less and less slots available for “old-fashioned” shows- ones that require paid actors.  And because networks are able to save on salaries, at least until the no-names who earned their 15 minutes become recognizable and can demand higher payouts, it’s enticing to them to not have to employ actors and writers to produce a series.

Actors are not only competing for air time with reality shows, but they are competing with cartoon characters as well.  According to The Hollywood Reporter, Fox plans on airing at least two additional animated series this upcoming year (Allen Gregory and Napoleon Dynamite), and may try to compete with Saturday Night Live by filling their late night Saturdays with animation.

Luckily, with the advent of digital cable, more channels equal more possibilities.  More shows mean more opportunities, which should lead to more work for actors and writers.  And if these cable channels can’t help keep the unemployed from being just that, maybe Netflix can.  According to TODAY, The Associated Press reported that with Netflix’s growing clout in Hollywod, it plans to distribute its own series, The House of Cards, which will be the first of its kind.  Instead of airing on a particular network at a set time, Netflix will release the shows via its online streaming or DVD delivery service, since the company owns the rights and can air it as it pleases.  With names attached such as actor Kevin Spacey and director David Fincher (nominated for best-director Oscar for The Social Network), The House of Cards could be a big hit and a big money maker for Netflix, which will only open up the doors for additional shows to be created and released in the same manner.

So, I guess for now we can all still indulge in our guilty pleasures and watch reality shows and cartoons and not feel guilty that the talented actors out there will continue to have less and less work.  With new distribution methods and loyal viewers, hopefully there will be room for all.  There might not be enough time in the day to watch everything worth watching, but there is always Tivo.