We’ve talked about agents, managers, and publicists. Well, what about how these team members work together? Casting director Toni Suttie (with help from producer-director Matthew Kilburn) has contributed a POV which extends far beyond her market of Reno, NV!
How CDs, Agents, Managers, and Publicists Work Together
Many have said that the actor is the “CEO of his/her own company.” Therefore, as the CEO, ask yourself this: “Do I have the time, energy, and contacts to run the company alone? Or should I surround myself with a good team of experts?” The most successful actors have agents, managers, and publicists as part of their team. Do you know what all these people have as their common goal? Your success!! But how does it all work together? One of the great mysteries of the on-camera side of the industry is the role of these mysterious professionals. Navigating the murky waters of “representation” can be, at first, quite confusing.
It’s not uncommon to hear talent express delight when getting the opportunity to audition for the same casting director (CD) again. Wouldn’t you love to have great rapport with the person who is responsible for connecting you with the work? The casting director represents the production to find talent and is paid by production.
A casting director might read the script, write the character breakdowns, submit descriptions to various services, and then review headshots and resumes submitted by agents. The CD contacts agents regarding those actors who will be invited to the audition (by the sheer numbers, the CD usually cannot speak directly to the actor). After narrowing the selection of actors who might be a good fit for the job, the casting director brings them in to audition for the directors and producers. But how does an actor get this call?
“I need an agent!” This is the daily battle cry of the unrepresented. If you are able to attain such an elusive prize, it is an agent’s job to solicit employment (submit you), communicate with casting directors, and negotiate your contract if you are hired. Once an agent receives the specifics from casting, they in turn present the opportunity to their talent, usually by way of audition invitation. Without a good agent, you might not even hear about many roles, let alone get submitted for them… or you may not even be seen by some CDs at all. Agents are paid a percentage of your earnings, generally 10-15%, depending on whether a project is union or nonunion. But is having just an agent enough?
Enter the newest phenomenon… the manager, the most difficult to define. A manager is supposed to do just what their job says… manage. They are there to find ways to boost your career (getting you the best headshot, making sure your resume is in order, getting you quality training). And they should work hand-in-hand with your agent. They are generally paid a percentage of the talent’s earnings, or a negotiated hourly fee.
The next step… the publicist. Until you are more established and have some significant experience and success, it is not usually the norm to have a publicist. Publicists normally work on behalf of talent to ensure you are shown in the media in the best light. This not only extends to the talent’s work but to their personal/social life as well. A good publicist works closely with your team to properly involve the press, social outlets, and event planners, so that your public persona is most desirable in the public eye. Most often, publicists work with A-List/B-List talent.
Any smart actor knows that acting is a business as well as an art. As with any business, a team is needed to help run things smoothly and successfully. Agents, managers, and publicists work together to form a long-term, career-focused team for a successful talent who desires to carve a respected niche in a very competitive environment.
Casting directors must understand the client’s needs in order to properly convey those needs to the talent agent who must be able to discern which of their clients can best fit the stated needs and quickly secure the talent. Talent managers must constantly communicate with publicists to determine how to best guide the talent that trust them to give direction to their careers.
Like any good CEO, you will want to research and interview the candidates before you assemble your team. What combination of these team members will work best for you at this time in your career, and how much are you willing to invest in your own success? Put in the research, time, training, and just watch the return on your investment! There are a lot of people in this industry, most of which are focused on their own goals. It is your responsibility to join together with like-minded professionals with common goals, and work together for a future that is mutually beneficial. This will be your greatest challenge, but it will also serve as the platform for your greatest success!
Well all right! Sure enough, this is first and foremost a business (heck, it’s called THE Business), and that means you absolutely do need to treat yourself as your company and that means creating a business plan, marketing strategy, and — when assembling your team — interviewing the candidates with your overall business needs in mind. If the team doesn’t click (with those needs and with each other), it’s the company that suffers. Your career is too important to let that happen!
About Toni Suttie and Matthew Kilburn
Toni Suttie has dedicated her life to the entertainment industry… from office assistant, to nationally-recognized fashion model, to running a top west coast talent agency. Currently, Toni is a highly-experienced and accomplished casting director, producer, and published author, working with independent production, as well as Oscar-caliber performers and Hollywood studios. Her professional experience and industry influence has been responsible for launching the careers of countless successful actors in films and television.
Matthew Kilburn is president of Gamma Universe, LLC (a media and entertainment company), as well as director of the Gamma Films entertainment division and One Tribe Films (their film global division). Matthew’s love for film was birthed when he wrote, shot, and edited his first three films at age 11 on silent 8mm, where he pioneered early editing, animation, and SFX techniques. He has shared his years of industry experience (commercial, TV, educational, and feature films) by teaching at both the university and industry level. Matthew continues to be an award-winning producer, director, writer, editor, and SFX supervisor.
This contribution originally ran at Bonnie Gillespie’s online column on April 15, 2007.