“Here are some statistics you may not know—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.  But 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.” –From I Followed My Bliss to Bankruptcy–What I Wish I Knew Before I Moved to Hollywood pg. 208

The star I interviewed for my book, which gave me the facts above, 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 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.” –page 209

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.” –page 207

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

Now that the doctor responsible for giving Michael Jackson his fatal overdose is on trial in Los Angeles, I thought it might be a good time to revisit one of the first post on this blog about the Dark Side of Hollywood…

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

Mmm. The first real tip. Let’s see. How’s this…?

Develop a very thick skin.

I just happened to see the job listings from UTA (United Talent Agency). The job listings are supposed to be internal openings that agents and their assistants browse to learn what production companies, or their own clients, are looking for in terms of support staff. Most of the listings are for agent assistants, celebrity assistants, interns/trainees and other lower-level studio executives. They are the kind of jobs many people who come to Hollywood hope to land in order to get a foot in the door.

These lists get swiped and passed around through email. Join almost any creative support group and you’re likely to come across one or more from a major agency. They all have them. And some of the jobs pay decent wages, too. You can be a celebrity assistant for instance and earn “$48K/year–no benefits.” However the reply link was via a country music company, so it might not be enough money.

What traits do many of the jobs look for? Well, along with, “must be willing to work flexible hours and be utterly committed to the job,” one very telling request was as follows: “Must have thick skin.”

What makes someone put that in a job posting? Not sure, but I would guess they lost their prior assistant because they cussed them out one too many times.

Thick skin. It’s not only good for assistants working for agents and celebrities, but it’s a must for any creative person who puts their talent up for judgment.

In fact, thick skin might be too soft a term–try armor plating. “Must have armor plating.” Armor is better than skin for repelling the knives that often fly at you. “Must be bulletproof.”

Whatever dreams you might have in Hollywood, unless you’re extremely lucky, you’ll encounter lots of rejection before you find it.  Not letting that rejection penetrate,  not taking the harsh comments to heart–letting them bounce off your thick skin will definitely help you stay on track and give you a better shot at reaching your goals.

Keep at it,

T. R. Locke

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