Just recently I watched 8 Mile—the Eminem bio film. The film is about rapper Eminem struggling to become a successful recording artist in Detroit by winning rap battles. It follows the exact same format that most “outsider young person struggles to find himself in a strange world” films (Step Up, Stomp the Yard, Drumline, Bring It) follow.

In the DVD extras, there is a section about filming the rap battles themselves.  Particularly, there is a story about how the film’s director and producers decided they wanted to have local rappers actually battle Eminem in order to get a more gritty realism.

The call goes out among the hundred or so extras who made up the crowd during the club and rap battle scenes. Three rappers, the ones who possessed the skills to top a real rap battle in the room, would then be put in the film as star actors featured battling Eminem. This was a chance of a lifetime for these actors who’d only been booked in very low paying extra jobs where their faces would likely never even be seen (see article on being an extra here). Here was a chance to be credited in a major motion picture, to have the camera right in your face and to be able to launch a career in acting.

Dozens of the extras tried out for the roles. Most were rejected out of hand, but quite a few showed promise. Eventually the contestants were whittled down and three lucky and talented ones were chosen. They were very talented too.

One by one, the rapper/actors/contest winners took their positions before Eminem to battle him. Although initially told to save his voice for the dialogue scenes and only to lip sync his comebacks against these rappers, Eminem couldn’t let the taunts in front of the packed room go unanswered. Impressively, true to his character in the film, he improvised clever responses to each rapper—clearly putting them in their place.

So what did we learn from this DVD extra? That Eminem is actually a very good rap battler? Yes. That’s what the film director wanted us to learn. But here’s what we learned that he didn’t want us to learn: After all of the contest—all of the hopes and dreams of each rapper in that room being placed before them—the promise of a starring role in a major motion picture. After winning the contest and being chosen as one of the three actors to battle the star; after filming the battle against Eminem and rejoicing, celebrating and telling all their friends and family about it; after the movie comes out six to nine months later, after all of the anticipation, after buying the popcorn and taking your seat in the theater….

Not a single one of those actors’ battles appeared in the film.  Every single one was cut. Every one. Those actors are not featured anywhere except in the DVD rap battle extras section. But at least they were featured there. Many actors find their roles, in fact, whole characters cut from movies. Where they expected a reel to show agents, managers, casting directors, or at least a credit for their resume, they may get nothing.

Some executive didn’t think the scene was necessary—one battle too many. Or it didn’t work—the lighting was bad, etc. For whatever reason, the film you starred in you no longer star in. The film goes on to be number one at the box-office—oh well, t least it got released. Hundreds of movies get filmed that never even get released.

Welcome to Hollywood. Such things happen here. They don’t always happen, but they do happen. The point is not to discourage you. The point is to make you aware so that, if it does happen, you don’t give up.

Good luck.

TRL

Jeremy Piven plays talent Agent Ari Gold in HBO's Entourage

In part one of this article we discussed the agent’s job as a salesman of talent and what agents need from artists in order to sell them. We discussed the Hollywood marketplace and the delicate balance of presenting yourself to an agent as both “new and original” and “like another successful artist.” And we discussed how writers can get literary agents. In this article, we will take a look at how actors, models, directors, singers and musicians can find an agent to represent them to Hollywood or New York.

The methods of finding literary agents mentioned in part one work for actors, models, directors, and singers also, but the major difference is that these artists need to produce a reel (DVD-5 minutes or less) or a demo CD of their work. A reel consists of edited clips from movies, TV shows or commercials they have filmed or appeared in; photos, performances, or songs they have written. In addition, actors also require a headshot and/or resume. Reels are the calling cards of most performance and film artists. The reel should come after you have done some good work that you believe showcases your talent well.

Once you have one, a great thing to do with your reel is to post it online. YouTube and the related online film/video sites are excellent routes to exposure. Set up your own online presence, such as a blog or website, both inside social network sites and independently and showcase your reel there also. Make sure to include a link to this site on your headshot and business cards. Some musical artist and acting/writing teams (especially comedic sketch teams) create their entire act online, gain an audience and sell their product independently. Such artists are usually in a much better position to approach agents, if agents have not already approached them, because they have demonstrated a market for their art.

Perhaps the most unappreciated bit of advice from agents is that actors and models must know their type. One great way to figure this out, if you have not already, is to watch shows to see characters you feel you relate to or could play. Ask friends and family what type of characters they see you playing and what age range they believe you could pull off. When you know your type, get your headshots made to reflect that type. When you are unified in this way, agents will know how to best market you. Furthermore, they will know that you know who you are, which suggests that others will see you clearly, too. All these unities give an agent confidence to represent you.

What does it mean to be unified in your type? An example would be the actor who knows he has performed best in dramatic roles. He may be a funny guy by nature. He may have made people laugh. But most of the praise he has received has come from dramatic roles. Furthermore, he feels more comfortable acting dramatically. The headshot and reels this actor should get should highlight those dramatic elements. His headshot should look serious and dramatic-not charming, funny, silly or cute. The clips he chooses to include in his reel should also reflect that dramatic side. By doing this, he shows the agent a clear picture of an actor who knows who he is. The agent will have no questions about where that actor fits in and when a dramatic role comes for that actor’s type, the agent will think of him.

What that actor does not want is the agent to be confused about whether the actor will work in a particular role. If one clip on the reel is funny or silly and the other dramatic, the agent will not fit the actor in either category at all. As discussed in part one of this article, think “spork.” You do not want the agent seeing you as a spork or a foon. How often do you prefer to use a spork? An artist, in order for an agent to see how to sell him, must be either a fork or a spoon. An artist who presents himself as a multi-purpose entity will only get called when a multi-purpose role is available and may even be overlooked then.

(One side note for actors-January through the end of February is pilot season in TV. Most theatrical agents are extremely busy at this time and it is not the best time for an actor to submit to them, but it is a great time to get ready to submit.)

Knowing your style, voice and genre holds true for musicians and directors, too. If you can play Country as well as Soul, pick one. Do not send your CD to an agent with both genres on it unless you do not want to hear back from her. If you decide on country, dress country in your photos, etc. It’s not hard if you think of marketing yourself to a particular audience. You can not appeal to everyone, so don’t try.

Directors have to know what stories they can tell. You must chose a genre and stick with it. Your reels must focus on the type of films you make best whether comedy, drama, action, horror; whatever you do best showcase only that one style in your reel. Make sure you clearly convey your ability to tell stories on film. And of course, if you’re a comedy director, your reel better be funny.

The best method for models to find an agent is to post your photo set online at one of the legitimate model search agencies. A little research will quickly reveal which ones are legit-the ones with proven success rates. These sites are viewed by legitimate modeling agents and usually charge a set fee to post your photos (less than $150). You only need to register with one, as the same agents look over each site. With a good set of photos (see the sites for examples) you may find your phone ringing soon.

As with literary agents, make sure to utilize the protection offered by the various guilds. Each guild (except fashion modeling, which has no guild at the present) will have a list of agents that are signed to those guilds. You can insure that the agent you submit your material to is a real agent and not someone looking to take advantage of you by submitting only to signatory agents of the various guilds: Screen Actor’s Guild (SAG), American Federation of Television and Radio Artists (AFTRA), Director’s Guild of America (DGA), Writer’s Guild of America (WGA), etc. There is a thriving business of fake agents and producers who make money taking advantage of unsuspecting aspirants. The best way to avoid these cons is to use only agents approved by the various artists’ guilds. You may also want to avoid larger agencies right off the bat. New artists can get lost in larger agencies.

Referrals can come from anywhere and are the best method of making sure your reel, headshot and resume are seen. The more work you do, the more people you will meet and the more chances you will have for getting a referral. Make sure to post your reels online and pursue as many legitimate chances to showcase your art as you can. Networking helps, but it usually requires a pretty close relationship to gain an agent referral through networking. Most people in Hollywood are barely holding on to their own agents, so you may find them reluctant to refer you unless they are not only very impressed with you, but very secure in their own career.

A good option for referrals is any casting director, producer or other person who has been impressed with your work. Mentioning to such a person that you are looking for a good agent and asking whom they would recommend could get you the name of an agent they trust. That agent is then more likely to consider you if you mention that producer’s or casting director’s high opinion of the agent. This is not considered a referral but a suggestion, yet it is legitimate, easy to get, and will likely result in the agent considering you.

Finally, entering competitions, film festivals, posting your reel and your work online and regularly submitting to agents is the day-to-day work of advancing your artistic career. Always do your art. Whatever you do, do not wait for an agent. Produce your own play, CD or short film. Many people have found their way into the business by doing so. If you do your art well and consistently, agents have a way of finding you. And remember, getting an agent is not the end of the road. Even after you land an agent, you must always work at marketing yourself, meeting new people and doing at your craft. Waiting around for your new agent to call usually results in you having a shorter career than you planned.

The usual route to finding a talent agent involves sending out headshots or reels (if you are an actor or model) or query letters and screenplays (if you are a writer) or query letters and reels (if you are a director or producer) or CDs (if you are a musician).

The key to being represented as an artist is for an agent to be convinced that he or she can sell you. Most agency rejection comes, not because of a lack of talent, but because an agent cannot clearly see how to sell the artist. This is the central hurdle artists need to overcome.

What does it mean for an agent to believe he can sell you? It means that he clearly sees where you fit in the business. He must either know someone looking buy what you are selling or he must believe that he can convince someone to buy you because you represent a type that is in demand.

What many people do not understand about Hollywood is that it is not just about talent. You may be a very talented actor, writer, director, or even a strikingly beautiful model, but that does not mean an agent will believe he can sell you. What is important to understand is that the agent’s job is a marketing job. They would do well to change their names from talent agents to marketing agents. The best way to understand what an agent looks for and how they do their job is to look at how other products are sold in other industries.

Many artists pride themselves on being different, new, or innovative. They have written a screenplay like no other. They have a style like no one you have ever seen before. From a marketing perspective such newness can spell disaster. How hard is it to get someone to buy something they have ever heard of before? And how expensive is it to get people to know and understand something brand new? Will it work? Does it last? Who can fix it? Will it be around in the future? Does it do what it claims? Is it worth my money? Why buy that when I can buy the one I have used for years? If it is so great, how come no one ever thought of it before?

One example I recently came across was in Bed Bath and Beyond. I was standing in line with my daughter and saw there was an item on display that claimed to replace dryer sheets. From all appearances, it was a small pink rubber ball with little dull spikes on it. It claimed to last for years and to save hundreds of dollars in fabric softener. They were selling a set of two for $9.95.

When we see something like that we can have different opinions. Some of us will buy it based on the novelty of it-we like new things and want to try them out. If they work, great; we will tell our friends. If they do not, cool; we may or may not tell our friends. But the vast majority of people will only come to buy or use a new item after it has been proven-after a few demonstration ads on TV or a segment on the Today Show where some expert claims the dryer ball to be the greatest thing since hamburgers. Over time, more may come on board if the new thing proves to be better than what they are using. That is why when dryer sheets first came out, they mailed them free to millions of people to try in their own homes. Through actual experience, they won people over.

New and different to an agent is very much like the dryer ball. Will it sell? How long? What is the market? How do I sell it and where? What are the risks to my reputation for recommending it if it is not a hit?

If, however, an item is similar to known successful brands, there is more faith the item will sell. That is why there are tons of MP3 players on the market. The Ipod may have been the first and may still be the best selling, but the fact that people know there is a market for Ipods or vampire book or coffee chains, means the chances of developing more and more to reach different segments is possible. Make your MP3 player hold more, costs less, play more formats, etc, and you can steal off a bit of business from Apple.

But, on the other hand, if your MP3 player costs the same, holds the same, and does the same as Ipod, why would anyone bring yours to market? The only reason would be if there is such a demand that Ipod can not keep up. Such is the case with the Twilight Saga. People can read books faster than Stephanie Meyer can write them. So to fill the gap between her releases, there has sprung up a slew of teen angst vampire love books all over Barnes and Noble. Some of these “sagas” have four, five or six books in the series already. They sit on the shelves next to Twilight, New Moon, Eclipse and Breaking Dawn, awaiting the wave of dedicated vampire love story reading girls and ladies to crave again. They are designed similarly to the Twilight books, but promise a bit more sex, more abs or more grit. They take place in college instead of high school, or in the office, or a hospital. You get the point. They are “like Twilight, but different enough to stave off lawsuits.” Likewise, an actor who fits the same type as Taylor Lautner, Keira Knightley, or Natalie Portman could more easily get booked based on the number of films made for actors of that type and the fact that Taylor, Keira and Natalie can not possibly do all those roles themselves.

An agent looks for a client in the same way that any marketer looks at a product it wants to sell. That is why fourteen agents passed on Twilight before one finally accepted it. Twilight was the first rule breaker to get though. Afterwards, every agent went looking for something like Twilight-that is, until the market flooded. Once it floods, being able to sell “another teenage vampire love story” becomes difficult and all the agents go on to the next thing.

So, how do you apply this information to help you get an agent? Let us tackle this by craft. Each discipline has its own angles that lead to agents.

If you are a writer, write the best screenplay you can in the genre you enjoy writing the most. Then write another in the same genre. Many writers make the mistake of thinking the way to impress Hollywood is to show their versatility. In reality, it is a surefire way to confuse an agent and even lose representation if you already have it. Agents and studios need to know who you are and what you do. You either do comedy, drama or action, romance, adventure, etc. You do not do one for one script and another for the next. Being a one trick pony keeps the agent from being confused when he is talking about you. Agents can sell forks and they can sell spoons, but they can not sell sporks or foons because no one buys them. No one buys them because films cost too much money to experiment with. So choose your genre carefully because, if you make it as a writer, you will be writing that genre for a while.

Next, get your screenplay out to agents, producers, and contests. Your agent and producer list can come from the Writer’s Guild of America West (WGAW), which can be found on their website. The WGA lists shows agents and producers who are open to receiving unsolicited screenplays. You can send copies to them and follow up with emails and phone calls. Placing or winning a well respected writing contest will also open doors for you to connect with agents, lawyers, producers and other executives. Such connections can lead to referrals and it is always easier to get an agent via a referral.

Referrals are the best way to get an agent and referrals can come from anywhere. A friend of a relative could get someone to read your screenplay. If you studied writing formally and impressed your professors, most likely early referrals will come from them. A producer who liked your work, but did not feel it right for their company might be willing to refer you to an agent. Or you could hire a lawyer to represent you and he could recommend an agent. All of these are legitimate ways to be referred to an agent.

In the meantime, it can help to start a blog and put your writing out into the world. Get people interested in your stories and perhaps even write for a web series. Doing so can grab the attention of agents who browse the web looking for talent regularly. With the advent of the web and blogging, you can create and instantly publish your stories to a world-wide audience and demonstrate your marketability if you are having trouble convincing agents to rep you. And like the free dryer sheets in the mail, giving away some of what you have can show the quality and style you bring to the table as well develop your fan base.

Although many of these methods apply to actors, models, musicians, and directors as well, we will take a look at those artists in the next article as they have other unique needs to address.

“@TRLocke– Morning! I need your feedback. What are your expectations and/or objectives when attending a film festival?”

With one of the world’s top four film festival, Sundance, right around the corner (January 21-31st), I thought the answer to that question would be helpful to the readers of this blog as well.

I have to admit that my initial answer to this question was less than favorable. I’ve attended about 20 film festivals in my life—only four of them intentionally.

The first film festival I attended was as a student reporter for my high school newspaper. It was a foreign film festival in Cleveland Heights at the Cedar-Lee Arts Theater. There I saw an amazing film shot in Port-Au-Prince Haiti with English subtitles. My memory of it tells me it was similar to a French version of Slumdog Millionaire without the game show device. Despite my flattering review, I doubt seriously anyone from my high school went to see it.

The other three film festivals I attended because I had a screenplay in contention (Chicago) or because a friend had a film in contention (Hollywood), or because I’d scored free tickets to the L.A. premier of an a movie that won the prize at another bigger film festival (Los Angeles—to see Hustle and Flow with Craig Brewer, John Singleton and Stephanie Allain ).

The rest were by happenstance–usually simply the result of living or working in some artsy district like River North and Wicker Park in Chicago or The Heights in Cleveland, or Burbank (and nearby NoHo—North Hollywood) now. The scenario often plays out like this—I’m walking down the street with family or friends, only vaguely aware a film festival is running, when some young filmmaker pops out of a near-empty theater and desperately begs us to come in and watch his movie for free. We look at each other, check our watches, ask what the film’s about and how long it is and then… sometimes we go. Sometimes we don’t. Suffice it to say, not all film festivals are created equal.

Although film festivals are primarily the domain of directors and producers, there are a few objectives that can be gained by anyone looking to attend. What you can gain is related to whether you’re a film director, producer, writer or actor, etc. Either way, having a plan and reasonable expectations definitely helps.

What follows is a list of what you can expect. The information is gleaned from my own experience as well as a number of other artists and books I’ve read over the years. I’m presenting this information in no particular order.

Contacts.  Regardless of what role you play in the movie business, film festivals are a place to meet people who share your interests and professional goals. These people often show up later at different places along your career path. Networking and meeting different people may help down the line. There’s no real guarantee it will help, but I’ve never seen it hurt.  You may have the opportunity to meet and befriend someone just before their film or yours blows up. Such a person could prove invaluable to helping you in your career. It would be rare—namely because people blowing up as the result of film festivals is rare, but it could happen. Actors and writers particularly stand to gain by meeting directors and producers who may be looking to hire you. The same can be said of cameramen, cinematographers, make-up artists, etc..

Parties. If you’ve been cooped up in an editing room cutting your film for the last six months, a party could do you a lot of good. When liquor’s involved anything can happen.

Education.  There are usually a lot of great panel discussions during film festivals. You can learn new ways to finance your film, new routes to submitting your screenplays to production companies, new ways filmmakers are making money through distributing their films in various markets around the world, cheaper methods of production, new insights into the latest technologies, how the business is changing, what to expect in trying to get your film into Hollywood, etc.. Writers can learn about trends affecting the types of screenplays that are being purchased and new avenues for writing in emerging media.  According to a friend on Facebook, Nickelodeon and other studios often present discussion panels at film festivals in hopes of finding new talent for their writing programs or even to staff their shows.

See a Few Good Movies. Though you will likely see some films that make you wonder how in the world someone would put their time and energy into making it, you will probably see a few good films as well. If you’re really lucky, you might get to see the premier of a breakout film and maybe even meet the creators before they become famous and you have to go through their assistants.

Meet an Occasional Celebrity.  Most likely the ones you may meet would be of the B, C, and D-List variety. You likely don’t know their names, but you recognize them, right?  A-Listers are usually kept in a separate room/section/party—popping out to promote their pet pro-bono project (the film that will likely go on to win the top festival award) just before it premiers. But here’s a good chance to get some pics and impress some friends back home.

For those who actually get accepted into a film festival, here are some additional ways you can benefit:

Distribution. This is the grand prize of any filmmaker attending a film festival. “The winner gets a distribution deal.” That’s why most filmmakers enter. But because it’s only a prize for the winners, it’s not really something most should necessarily expect. In fact, even winners are finding the distribution channels for independent films are bottlenecking, according to the festival director at Sundance.

Get Your Movie Seen. Exhibition is another major goal for those entering film festivals. If your film is selected to be shown at a festival, you have the opportunity to be seen by industry professionals and audiences, which could end up opening doors for you. The key here, though, is that you must know that the festival itself is not going to hype and promote your movie for you. Just because your movie is showing in a festival does not mean people will see it. You have to promote it like mad. You went through all the work to make a movie and get it accepted to a festival. Don’t drop the ball now. Finish the work of packing out the house.

Prizes. You may not win the distribution deal, but if you get any kind of recognition to your film, you could use that recognition to help drive promotion later. Any type of prize at any festival looks good on the one-sheet—even if your prize was nothing more than a new Blue-Ray player.

Publicity. Local news media is sure to cover most film festivals in some form or fashion. If your film was selected for a film fest, use that opportunity to score an interview in local press or TV that might help lead to more exposure for yourself or you film.

These are all fairly reasonable goals you can have when attending or having your film in a festival. On top of these direct benefits, sometimes being in an atmosphere with other creative people can really get your juices flowing. Maybe you’ll meet someone who will become your producing or writing partner on your next film. Or maybe you’ll make a connection with someone who has equipment or an editing suite you can use on the cheap. If nothing else, perhaps you’ll meet someone who’s going through the same struggles as you and you’ll realize you’re not as alone as you may have thought.

Most importantly though, look not only for the benefit others can be to you, look for the benefit you can be to others.

Good Luck,

T. R. Locke

Mr. Locke,

I just had a quick WIK question and I would be grateful if you could take a sec to answer it.  The political climate of Hollywood is far-left to left.  When I move there, will I be blacklisted or in any way discriminated against if I have a believe [sic] in or espouse in a different political ideology than from what currently dominates?

Thanks,
Charles

Excellent question, Charles. My answer is no. Here’s my thinking and belief. This business is really all about the dollars. If your idea has an audience and can make money, it really doesn’t matter what you believe.

Consider this for a minute: Hollywood can be understood to be anything that concerns the media. When you talk about celebrities of any ilk, they are represented by agents here in Hollywood. That means Glen Beck, Rush Limbaugh, Bill Oreilly–they all have Hollywood agents. They are all TV/Radio celebrities and you can’t get much more right wing than they. But not just them, nearly everyone you see anywhere representing any view (including many politicians) have agents in Hollywood. It’s how they get their shows negotiated and their book deals, etc. If money is coming, Hollywood doesn’t care what side of the fence it comes from.

Second, consider this: Hollywood tends to make far more conservative movies than liberal ones. That might sound a bit crazy to you, but think about it. Do you see more movies about war, fighting, and getting rich or about saving the forest, everyone getting along and sharing? Liberal stuff is simply not as dramatic. That’s just a fact. Far more movies are about national pride and willingness to die or kill for country, family, or honor. You could probably pitch an idea called, “Sarah Palin Saves the World” where you have the former Alaska governor flying around in a Huey sniping terrorist and clubbing baby seals. If you can show there’s a big enough audience to make a profit doing so, someone in Hollywood would be willing to make it. Okay, maybe not with clubbing baby seals, but clubbing terrorist, sure–especially if the female lead shows a little skin. For the right price you might even get the genuine article herself—check with her agent.  Remember Hollywood was torturing terror suspects long before Gitmo.

I just saw a report on TV that talked about how militarism is still so much alive in Hollywood. It’s very true. Militarism sells tickets.

Finally, I don’t think Hollywood is really, down inside, as liberal as it’s made out to be. As I said, it’s all about the dollars. Hollywood is notorious for typecasting, stereotyping and pigeonholing anything they can’t immediately see a big market for. They make vampire and sex films, not because they believe in vampires and sex, but because there’s a huge market for it right now. If the market disappears, Hollywood will dump vampire production faster than you can vote down universal healthcare.  Tyler Perry has proven there is a market for African-American films, but judging from production, Hollywood still seems to be hesitant to trust anyone to make one except him.

So to answer your question, no I don’t think you’ll be discriminated against for espousing a different political view—namely because I’m not sure your view is different.  Remember the current governor of California is an actor—and a republican. So was Regan before him.

I will say this though; you will have trouble getting any actual political movie made. Political movies don’t do well in general unless they are a few generations removed. But Hollywood might be happy to put your ideas on radio, TV and books, because in those media, politics sell like hotcakes.

Hope that helps.

TRL

This is the second in a series of articles about relocating to Hollywood or New York to follow dreams in the entertainment business.

Part II–Actors

If you’re an actor and you’re wondering whether it’s time to move to New York (the home of live theater and a decent amount of film production) or Hollywood (the home of most film and television production), you might want to consider a few things.

In a blog I wrote last week, I detailed information I learned from one of Hollywood’s top stars whom I have the honor of knowing and thus interviewing for my book. Consider these business facts:

• There are 120,000 SAG (Screen Actor’s Guild) actors in Hollywood.
• At any given time 85% of them are out of work.
• The average salary of a SAG actor is less than $10,000 a year.
• Most of them are just trying to earn the required $7,500 a year to keep their health benefits.
• 18-20% of them fall into star roles and make serious money.
• Less than 1% are the ones you read about and know, the real stars, the actors who make million dollar and double digit million dollar salaries.

The actor I interviewed falls into that last group—earning $250,000 an episode for his role in a hugely successful show. He’s one of the lucky ones. But it took many years for him to get to that point.

The question that is perhaps most important in making this decision is whether the move will afford you greater opportunities than it will cost you to do it.  Here’s what I mean:  It is obvious that there are many more auditions being held in Los Angeles and New York than in Baltimore, Cleveland, Tampa, Salt Lake City and perhaps the rest of the country combined. But what might not be so obvious is whether that translates into a better shot at becoming the actor you want to be. It would seem it should. But consider this:

• There are many more actors competing against you for that very reason.
• Because there are so many actors, there are gatekeepers set up in L.A. and N.Y. to block many newbies.
• Many of the actors competing against you have far more experience than you may have.
• If you don’t have an agent (most new actors in Hollywood/N.Y.  don’t), you may not even hear about the auditions for your type.
• It will cost you far more money to wait for your chance in N.Y. and L.A. than any other place in the country.

Again, I’m not writing this to pour water on your fire. I’m writing this because I believe, as one quote says, “The best way to achieve your dreams is to wake up.” By wake up, I mean recognize the realities of the world you are looking to enter. Too often young actors are lured to Hollywood with dreams of becoming the next Will Smith or Jennifer Aniston. They are lured by the glamour of the less than 1% of actors who enjoy such glamour. Not many have their hearts set on even being one of the 18-20% group—those actors whose faces you may recognize, but whose names you don’t know.

It’s much easier to be a big fish in a small pond. One thing for sure about Hollywood, here you are swimming in the Ocean. Before you move here, make sure you’re ready for the salt water and sharks.

How do you do that? You get big in your town first. You find the theater groups that are active where you live and get involved. If you live in a very small town, you might want to move to a city near you to expose yourself to more opportunities.

Most actors considering a move to New York or Hollywood should have already done these things. If you have succeeded in those smaller ponds, move up to a lake. There are many acting opportunities in larger cities like Las Vegas, Orlando and Chicago. You may want to cut your chops in those large cities first. Doing so will get you used to the process so that, when you do get your shot in L.A. or N.Y., you’ll know better what to do to win the role.

But say you’ve done that as well. Let’s say you’re going to get a roommate (or two) and make the costs of living in one of these cities as cheap as possible. What’s the benefit of moving to N.Y. or L.A? Mmm…?  Maybe sharing my story would illustrate it best.

Here’s the set up: I moved to L.A. with my family after placing as a semifinalist the Chesterfield screenwriting contest, getting an offer to purchase my screenplay, and attaining representation as a screenwriter. At our new apartment in Burbank another couple had moved here in support of their son’s acting career. He’d won a major talent contest in New Mexico, had gotten an agent and booked a few TV shows and movies. The mother had just taken a job as an agent with her son’s talent agency.

Within two months of being here, while chilling in the hot tub by the pool, the mother asked me if I’d ever done any acting. As it so happened, I’d been the star of nearly every high school play we’d done from my sophomore year forward. She said she’d like to rep me, my wife and daughter as actors because she believed we’d book a lot of roles. I thanked her, but said “no.” I was focused on writing.

My wife and daughter, however, said, “Sure! That sounds cool.” Soon they were in movies—The Italian Job, The Hulk, Legally Blonde;  commercials for Time/Life, Rent-a-Center and others, and making decent money while hanging out with the likes of Mark Walhberg, F. Gary Gray and Mekhi Phifer—all without having taken a single acting class or having any experience at all. Once my wife took a few classes, she booked more work. After two years of being asked, I finally said, yes. Before long, I too was booking commercials for Time/Life, Papa Johns and others and going on auditions for movies and TV shows including Stargate Atlantis, CSI,  and ER.

My point is that none of us had any intention of being actors, yet we fell into it in Hollywood. However, none of us are famous, nor have we made a career of acting as the less-than-1-percent actor I mentioned above. He too fell into acting—in college—in a small town. He moved to medium city—got big there in the local theater groups, then moved to N.Y. where he did Broadway and off-Broadway shows. Finally, he moved to L.A. where he struggled for nearly 20 years before he became a less-than-1-percenter. But he succeeded at making a career of it because when he got to L.A., he knew the game thoroughly. He pursued his dreams wide awake and understood it might take many years. He was ready to swim in the ocean.  The question is, are you?

Now tell me what you think. Do you agree? Disagree? Please share from your experience in the comments below and share this article with others. Also look for my next article on Singers and Musicians in the next few days and please check out my book for the complete stories and all the other advice from this actor and many other successful celebrities.

Good Luck

TRL

It’s pretty common knowledge that the entertainment business has two homes—one on each coast. Both New York and Los Angeles are home to nearly every national television show (excepting Oprah) and both also are home to the majority of Film, Music and Dance production. So perhaps the question is more fairly worded to include both cities. Of course, my book is named as it is because I moved to Hollywood, but the truths in it apply to both places. So…

“Do I need to move to either Hollywood or New York if I want to be in the entertainment business?”

The answer depends on which aspect of the entertainment business you wish to enter. What I want to do with this topic is break down the answer into separate blogs. So over the next few days I will address this question and share insights from successful Hollywood players for each of the following fields: acting, writing, directing, film producing (including crew), dance, music production (including singing/rapping, etc), comedic performance, and representation.

If you or anyone you know is considering whether to move to Hollywood or New York or wondering if you’re ready to take that next step, please check out the blog over the next few days for some insights that might help make that decision a little clearer for you.  My goal is to save you a lot of pain and time by helping to you to be sure that, if you do come to Hollywood or New York, you’ll be ready and you’ll know more of what to expect. Please bookmark, subscribe to the RSS feed above, or share on your networks to let others know about this series. Thanks.

First up tomorrow… Writers.

TRL

One of the actors I interviewed for my book, “I Followed My Bliss to Bankruptcy—What I Wish I Knew Before I Moved to Hollywood” earns a reported $250,000 per week for his considerable skills learned through his years of experience. Most of those years passed with barely a livable wage from his craft.

“For one period of time, about three years, our family survived because on my wife’s income. She was out working while I cared for our child. You can start to question what you’re doing wrong and what’s going on. I would do well on an audition, but couldn’t get to the next level.”

Three years. Things have only recently changed.

“I got a stint doing recurring roles here and there. I have friends who became huge stars very shortly after arriving here. We worked together in New York doing Broadway. We came out here together and acting success happened for them much quicker. It just took longer for me. Other very talented friends still have not broken through.”

And that’s how it is. Some make it right away and others labor on for years.

In my book, I chose to interview celebrities and successful Hollywood artists to see what they knew that others who hadn’t succeeded did not.  They knew what it was like to succeed and they understood the demands on the life of a successful actor, writer, singer, producer, director, etc. I chose to interview them anonymously because I wanted them to feel free to be completely honest–neither afraid of hurting someone nor being retaliated against by someone later.  (In hindsight, I could sell a lot more books if I hadn’t promised that anonymity, but I believe the honesty gained improves the quality of the information.)

One thing they all agreed it took to succeed was a tenacious unwillingness to quit.  The realities can be pretty grim for artists in Hollywood. Here one is surrounded by the successful, the wealthy; the ones with the power to make movies, music, or headlines everywhere they go. It might sound glamorous to tell your friends you were on set today with Megan Fox or Will Farrell, but when the difference between what they are paid to be there and what you are paid to be there is millions of dollars, and your not sure if you will be able to pay your rent tomorrow, it can be hard to bite the bullet and keep pushing forward towards your acting success. Hope, in Hollywood, is a skill set you must possess.

Acting success also doesn’t come to those who can’t take rejection. Rejection for an actor can feel very personal. After all, it is the actor who stands before the casting director speaking her lines. It is this same actor who then hears “Thank you!” in the middle of her sentence and is escorted out past the next young thespian who looks enough like her to be her sister. According to this TV star, acting success is about business and rejection is part of the business.

And contrary to oft taught belief that success in Hollywood is all about who you know, according to this star,

“It’s not really about who you know, but being in the right place at the right time. It’s about being steadfast. You come in, do the job. Most people who make it are just lucky. They have the look the casting director is looking for—so the casting director takes whatever talent the actor has. Most times what the actor has lends itself more to celebrity than to talent.”

That explains a lot. When he first arrived in Hollywood, this actor counted among his fans the hugely successful TV producer Steven Bochco (Hill Street Blues, NYPD Blue, LA Law). Although that relationship led to occasional roles on Bochco’s shows, it didn’t lead to constant employment or stardom.  This actor’s journey in Hollywood went from bit part to small recurring role for nearly 20 years before he finally had “the look.”

That quote might even explain why many get into the business of acting—seeing some actor in a movie and thinking, “I can act better than that.” That may be true, but will you be at the right place at the right time? One thing is clear, the more auditions an actor goes on, the more chances she has for making it eventually.

Here’s another great nugget of truth he shared,

“L.A. is not really about acting. TV is a producer’s medium. Film is a director’s medium. Actors have no real control. Sometimes you do a take and you think you did it well and the director wants you to do again in a different way. So you do. They may use the take that isn’t how you wanted to do it. But it’s their decision. Once you understand and know your place, you’re cool.”

Who would have thought that? A director, no doubt. Of course film is the director’s medium. That why director’s get to call it “a film by” and get their names above even star’s names. Yet it’s unlikely an actor would expect to have his best work discarded because the director or producer preferred the take where the actor looked less than his best.

The interview with this great and wise talent went on for much more in the book, but the last piece of advice I’ll share from him here now is this:

“Young actors don’t realize this, but acting is one of the most unglamorous jobs there is. It’s one of the most fickle. There are some great rewards, but this is a business. The things you think they look at, they don’t. It’s really a war of attrition. You stick around long enough, you’ll work. If you come here looking for all the perks and accouterments, then you’re in it for the wrong reasons because you really have no control over those things.”

Great truth to keep in mind as you look for your acting success in Hollywood.  For more from this and other interviews with successful writers, directors, actors, singers, film and record producers, to help save you years of frustration and to encourage you on your Hollywood journey , please check out my book. I guarantee you’ll be glad you did.

Good Luck.

T.R. Locke

It was reported last night on NBC news that a source close to Michael Jackson said the superstar was so distraught about being forced to do fifty concert dates in London, instead of the ten he wanted to do, that he may have accidentally killed himself through an overdose while trying to make himself too sick to carry out the contract.

The mere accusation of such a disturbing possibility shines a light on the reality of the dark side of Hollywood. When people talk about Hollywood, they are generally talking about the entire world of entertainment. Entertainment to the average person is fun-movies, music, dancing, television, sports, live theater, magic. It’s all the great stuff we pay to see or do because our participation takes us away from our day-to-day.

But for those who are the creators and producers of entertainment, a better term might be “Show Business.” There is the show. And there is also the business.

Michael Jackson loved the show. The same source on NBC reported he could talk about old movies, dance moves and music for hours, but when it came to negotiating contracts and the legal technicalities, MJ took a much dimmer view. Most artists do likewise.

That’s why Hollywood is full of people who make the business side of show business happen-agents, lawyers, producers, promoters, marketers, advertisers, accountants, banks, corporations, distributors, publicists, secretaries, assistants, drivers, construction workers, electricians…

For an artist, Michael Jackson was a very shrewd and intelligent negotiator. He was one of the first artists to maintain ownership of his own masters and publishing rights to his music (something Paul McCartney actually advised him to do). MJ took the advice so seriously that he also purchased the rights to half of the Sony music catalog that controls the Beatles music as well.  No doubt this shrewdness grew out of the massive experience of Michael Jackson’s 45-year career and having been on the short end of negotiations early on.

But just because Michael was good at negotiating doesn’t mean he enjoyed it. Most artists don’t. The vision artists have of coming to Hollywood might include getting rich, but it rarely includes the minutiae and details required to actually make getting rich happen. Artists usually just want to be discovered-to have the chance to make their living doing something they love. They’ve seen the money come for others and they hope it will come for them, too, but someone else usually handles that. And that someone else gets rich too. Very rich. And usually that someone else is much more powerful than the artist-no matter who that artist is.

When the artist (the show) and the people running the business of that artist are in sync, Hollywood is at its best. Great art can be produced and the world can get to enjoy it. The artist grows wealthy and famous and the money flows. But when the artist and the people running the business of that artist get out of sync, lawsuits, threats, drug addiction, depression, sickness, exhaustion, confusion, disappearances, bad artistic products and even death occur.

This is the dark side of Hollywood. It’s what awaits every artist who comes here. Whether the artist falls victim to this dark side or not, he will certainly face it. Eventually, the artist, whose art most freely flows from his own willing creativity, will find himself being forced to do something he doesn’t want to do because it interferes with the business side of his show.

Business people don’t really understand what it takes to create art. They’ve studied a system of rules, formulas, legalities, educated guesses and leveraged hunches to determine what they believe (or sometimes know) will create money. So as an artist, if your lyrics, your story, your jokes, your self-expression, your movie ending, your energy level, your friends, your family, your desire to try something new, your vision, your look, your new wardrobe, etc. doesn’t jib with their scheduling, market testing, product lineup, distribution policy, Asian market strategy, image consultation or calendar, etc., you’ll find yourself confronted with the dark side. And in the worst cases, that dark side cannot only kill your art, but it can kill you.

The dark side of Hollywood reminds me a bit of that that old fable of the goose that laid the golden eggs. The man takes and kills the goose in order to more quickly get at all the golden eggs inside. In the fable, there are no eggs inside the dead goose. The man learns his lesson about greed and patience and caring for precious possessions. The goose must keep living, be healthy, and take his good time to produce golden eggs one at a time. But in Hollywood they can kill the goose that lays the golden eggs and no longer get the new eggs, but instead sell Golden Goose t-shirts, make Golden Goose movies, sell GG collectibles, copies of other eggs, commemorative special edition DVDs of the Goose’s Best Golden Egg Lays, televise gala events of famous people talking about their Golden Goose experiences and sell advertising spots, play old Golden Goose movies and, of course, dress up a duck in goose feathers, paint some eggs gold and shove them up the duck’s ass-the people won’t know the difference when they pop out.  Now, instead of one Golden Goose, there are twenty-all aimed at different markets, all saying and doing exactly what the surveys and market research says they should.

The dark side of Hollywood is that any artist, any art is first and foremost a product to sell. It’s one thing when the product being sold is a machine, a coffee cup, a wallet or a car. Such things can be marketed at will or disposed of without much consideration if it doesn’t sell well. It might seem another thing altogether when what’s being sold is a human being-his thoughts, ideas, dreams, visions…his music. But in Hollywood there is no difference.

Hey!

Thanks for dropping by. Whether or not you’ve read my new book,  I Followed my Bliss to Bankruptcy–What I Wish I Knew Before I Moved to Hollywood, I invite you to make comments or ask questions about Hollywood or the book here.

Your questions aren’t limited to the book. If there’s anything you want to know about the business of Hollywood, I’ll do my best to answer it–and if I can’t, I’ll find an expert who can. I also hope to begin posting blogs, vlogs and interviews in the other section called, “Making it in Hollywood.” Check back often or even join, to get more information and advice from successful guest contributors.

Thanks,

T. R. Locke