Episode 3 / Alex, an Actor and Agent with 1984 Personal Management
/In this episode, Alex, an actor and agent with 1984 Personal Management, talks about how co-operative agencies work, navigating the process as an actor and an agent at the same time, the ideal actor/agent relationship and the importance of authenticity in headshots.
1984 is a Co-Operative. How Does That Work?
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"I would say that if you're scared to message your agent, there might be an issue there. Because it should be someone who understands what you want to do, how you want to do it, and how you want to be marketed for it..."
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1984 is a Co-Operative. How Does That Work?
Of course. So, a co-operative agency, the basis of it is it's an agency full of actors who act as agents for each other. It ranges from agency to agency, but between kind of 15 and 30 actors and the idea is a few of you are in every day acting as that day's agent for the rest of the actors in the co-operative. And obviously there's some months of training and there's some bits of the industry which are harder to understand than others, but I'd say the advantages are it's hugely beneficial to be able to see what comes out. I feel like as an unrepresented actor, you get a dribble of jobs from what Spotlight gives you, and you're kind of lost in the dark about where are all these Netflix jobs going? Where are all these West End jobs going? I have no idea. And to be able to see them come out and see how they're advertised and then through being an agent for other people, seeing how the process goes from you submit someone for something, then you get a self tape, then you get an audition and a recall and a pencil and a job. That whole process. It demystifies the whole thing and it can really get rid of a lot of paranoia. The other massive plus I would say is just have the control over your career and that's so so important to be able to - I think no-one should know how to market yourself better than you and be able to come into a group of people who understand what being a jobbing actor is like and talking to them and being like this is what I'm brilliant at. This is what I'm less good at. This is the kind of work I want to be doing. And knowing and going into the office and seeing how you're being submitted for things and being able to verify that yourself. It's not only a massive weight off your shoulders, but it liberates you to be able to be like, okay, if I go and do a workshop at this, if I train in puppetry, I then know exactly how to tell the people, okay, I'm now great at puppetry and put me up for those jobs. So, I think it's a level of control over your career that other agencies might not be able to offer.
Is The Process Easier To Navigate As An Actor & Agent?
Definitely, I have to say I don't think it's for everyone because you have to give up some time. So me, like so many members of the agency, we have kind of freelance jobs that we're able to balance around it because we work night shifts or we work weekend shifts. So you know, if you've got a traditional 9 to 5, it's quite hard. And also just for some people, they like the idea of having one person who fights their corner for everything and understands them. And for some people that is perfect and I totally get that. But I think for some people who don't feel like they have that person or people who know them as artists and understand them as artists, to have a group of people who you can draw on for their experience. The stories that you hear, the anecdotes, it all builds up to kind of help your understanding of this very nefarious industry that can feel like a fog at times. It yeah, it demystifies it. It clears the fog.
How Should The Relationship Between Actors and Agents Work?Yeah. I think it's I think it's a very interesting topic the actor agent one especially recently given news about some agents not acting in their clients' best interests and my instinct would be it's different for every actor and agent, of course it is, some people are naturally much more we fire WhatsApps back every day, some people are much more like if I need to tell you something I'll tell you something and that can work however it is but I would say that if you're scared to message your agent, there might be an issue there. Because it should be someone who understands what you want to do, how you want to do it, and how you want to be marketed for it. And if you're sat there hovering over your phone being like, "Oh, if I send this message, am I going to get dropped?" I wonder if - I'm not sure that's perfect. In the same breath, texting your agent every day, don't. Just don't. Especially agents who have you know beyond 20 or 30 towards 50 towards a 100 clients. You pestering someone like that will not endear you to them. It should be I think, you hear this from casting directors as actors, in terms of give me something that's actionable, that's targeted. It's not just being like oh any good jobs come out today because then you know the answer will be like "Yep I'm doing my job". But it's the stuff kind of every now and again if you see something come out that you're like, right I know you've seen this but I am perfect for it. Please get me in that room or like oh I'm not sure this kind of came in on the fringe but I think it could be a great fit. I think it's those marginal things of trusting your agent to do their job because they're very good at their jobs. So many agents are fantastic and I prioritise traditional agents as well. They are committed to that job and they are fantastic at it. But in the same breath it's just giving them a little nudge now and again just to be like just in case you didn't know that's me, that's a bit of me. So I think it's something you work out with every agent and every actor but just, you know, a balance of trust from both parties is very much needed
What Makes A Good Headshot?
I'd say. Don't try and be a character because when the casting director, when you walk into a room the casting director will see you. And if you've put on a face, so to speak, they will immediately see like, oh, that's not who I picked in the headshot. So, it's got to be you. And obviously, you've got space on your Spotlight to have more characterful shots and full body shots. And I think those can be very helpful because there are some jobs that need certain things and those can help. But your main headshot, just have it be you. Don't over complicate it. Just your face, your head. And it's very interesting to see when submissions come into our co-operative immediately, you can almost tell the ones who have really thought about that and have just kind of, and you see them and then you click on their showreel and it's like "That's them" for their showreel. Whereas some people you're like "That's two different people!" So yeah, just be you for the main one and then have fun with the other ones.t goes here
