Tip #31: Dealing with actor's agents

By Sinéad Ferguson (Producer)

It’s true that your first time dealing with an agency can be a little intimidating, even more so if it is a rather large, well established and highly respected agency that manages a lot of artists. It’s important to do your homework on the agency and know who exactly you are dealing with.

From experience having your named actor agree to come on board your project is one thing. But ultimately it’s then dealing with their agent/agency that is then going to make or break that agreement. So be really professional, honest and transparent about your project and your intentions.

Having sent the usual information, script, film synopsis and the character breakdown it is only then you engage in real communication. For me it involved countless phone calls and emails. It is imperative that not only are you passionate about your project but that you know your project inside and out. It’s also just as important to know your stuff regarding contracts and PACT/Equity. Trust me, you will be quizzed on everything, remember you are dealing with a professional and if you don’t know what you’re talking about, your capabilities as a producer will be called into question. How you communicate and deal with the actor’s agent/agency is a reflection of how you intend dealing with their client and the project as a whole. So don’t cause them to have any reasons to doubt you or your film.

It’s then down to negotiation including fees, the contract itself (if you are using your own, ensure it meets the standards of a PACT/ Equity agreement) finalising filming dates (though this will most likely have been discussed in one of your first conversations) then there is the billing of the star, if they will be required to do ADR and the list goes on and on. Don’t second guess anything. From the get go I laid my cards on the table and cut to the chase, aware that I was dealing with someone who was very busy. Not wanting to waste either of our precious time, I was clear, concise and direct in my communication, while always remaining courteous and polite of course.

After speaking to each other a couple of times and getting to know each other a little better, I encouraged suggestions from her. Ultimately while always remaining completely professional, she proved to be very helpful . If you do have to negotiate be aware that you probably have limited powers in this instance, however that is not to say it’s impossible. I had at least one incident that I was very reluctant to agree to, as you have to keep the project as a whole always at the forefront of your mind. However, it was my approach and the manner in which I negotiated, that eventually resulted in my success.

Tip #28: Approach a named actor

By Sinéad Ferguson (Producer/Production designer)

While many understand the importance of attaching a named actor to a project a common belief is that the agent is to be avoided when making the approach. While this is not always the case, the odds are you probably stand a slightly better chance if you can approach the actor directly. During pre-production, we approached several well known actors via email, for parts in Ambleton Delight, receiving great responses. Of course there are no hard and fast rules to getting your hands on those email addresses but using a little ingenuity and creativity will get you a long way…

Some tips…

1. Keep an open mind; many famous actors are interested in a character that is unlike anything they've played before.
2. Start with named actors who live local to the production –they are more likely to want to be involved. Do a web search.
3. Timing is also crucial -far enough into pre-production that your project has solid foundations and momentum to be considered seriously, yet flexible enough for to fit in with their prior commitments (which if higher paid will obviously take precedent).
4. A role that only requires a couple of days filming rather than a long commitment is not only appealing but often more feasible.
5. First impressions really do count, gently does it, keep it brief, don’t be too pushy and don’t ever bombard an actor you have never met with unsolicited phone calls or scripts.
6. When possible approach via email. Keep it light and friendly.
7. A fantastic script is of course what will ultimately attract your actor. If it also happens to have an element you know is of personal interest to them, make sure you emphasise that and why you think this role might appeal to them.
8. On meeting the actor be fully prepared and able to answer any questions, covering every aspect with clarity and honesty.
9. Although you may have approached them directly you will likely be dealing with their agent to discuss all the finer points such as fees, contracts etc (more to follow in the next blog).
10. It is imperative to develop and maintain a professional relationship and communication is absolutely essential. Ensure everything runs as smoothly as possible both on and off set, foresee and anticipate their needs or any possible concerns.

Above: Brian Capron and Sinéad Ferguson

In Ambleton Delight we had the pleasure of working with Brian Capron, a veteran actor of several television series and films –most notably as psychopath Richard Hillman on Coronation Street (check out a great promo he did below!). We approached him via his events company email address, he expressed interest, we gave him a copy of the script, met him for coffee and the rest is history.

If it is your first time dealing with an experienced professional actor such as Brian, see this as a great chance to learn a great deal from someone who has a great wealth of knowledge and experience.

VIDEO BLOG: Episode 2

Brian Capron, most famous for his role as "Norman Bates with a briefcase" psychopath Richard Hillman in Coronation Street, reveals the best way to approach named actors to help raise the profile of a production, and what drew him to the role of the Mayor in the indie film Ambleton Delight.

With footage from their auditions, other cast members discuss how to ensure these are effective, and how casting as close to type can be a critical factor.

All of this and more, such as finding funding sources, is contained in episode two of 'How to Make a Next-to-Nothing Budget Feature Film' a seven part weekly series that explores 40 key factors involved in low budget film production by means of interviews with principle members of cast and crew, excerpts from the award winning film Ambleton Delight and behind-the-scenes footage and photographs.

To watch it in HD, right click on the player and select 'Watch on YouTube' and then select 720HD from the dropdown menu on the lower right of the player.