Tina Fey also echoed this sentiment in “Bossy Pants,” and it’s truer today than ever. The following article is the QUINTESSENTIAL piece on pilot season that every actor (aspiring or working) MUST read regarding what it actually takes to book a pilot in Hollywood:
By Ken Levine: Guys are not going to want to f**k her.
Enjoy!
Robin
*If you make less than $300,000 a year as an artist (writer, director, actor, etc.) in Los Angeles, you are exempt from paying a business tax on your earnings from entertainment jobs. However, you MUST file what’s called a “Creative Artist Exemption” before late February of each new calendar year in order to avoid paying business taxes.
See the city’s website at http://www.finance.lacity.org for information on filing online and details.
Another helpful link: http://finance.lacity.org/content/EntertainmentCreativeTalentFAQ.htm
*I am not a tax expert and this post is in no way professional tax advice. Seek assistance from qualified tax preparers in any business matter.
Celebrities and industry experts often hire PR (Public Relations) professionals to manage their images. Why? Because how you present yourself is 99% of information from which people will form their opinion of you. Think about Kim Kardashian — someone who has herself admitted that she has no viable talents like singing, dancing, acting, etc. She is a PR success story if there ever was one. She turned a sex tape into a billion-dollar empire with great PR spin.
My advice to those coming up in the entertainment industry is to mind your PR at every level. Even when you’re just starting out, it is vital that you consider your image at all times and really examine how people SEE you – not necessarily who you truly are. That is what’s going to sell your brand.
Are you hard to work with? Do you demand too much? Are you on time? Are you fun to be around? No matter if you’re an actor, writer, director or producer, your image can make or break your success potential. Take a good look at your Twitter and Facebook posts from an impartial/objective view — would YOU hire YOU?
In acting classes, coaches will often ask the class to give adjectives about other actors in the class to give them a realistic view of what roles people see them playing. I think this is a great idea for anyone in the entertainment biz. Ask your friends for adjectives to describe you and tailor your PR to match. If you’re “sexy,” then try to get on more red carpets, in more social photos and do photo shoots exploiting your best assets. If you’re “funny,” then do more live shows, more funny youtube videos, more stand up, more silly hosting/appearances. If you’re “kid friendly” then pursue more educational theatre, kids’ programming, etc. It seems simple enough, but sometimes we get so caught in our own lives that we forget how to simplify our focus to capitalize on our image projection – this is the case of good “pigeon-holing.” Once you establish yourself, you can break out and do other things.
Something to think about for 2012. Happy New Year everybody!
My talented friend Inda Craig Galván and I shot this video the other day as a tribute parody to “Shit Girls Say” and “Shit Black Girls Say” — enjoy!
As TV pilot season nears (traditionally January through March/April), many actors get excited about the possibilities for booking series regular roles on upcoming shows for the fall. It’s an energetic time that can throw a lot of new terms your way, so here are some basic definitions to know when dealing with pilot contract negotiations:
First Position – Any normal TV pilot contract is going to want you in first position, which means that you are bound to perform on that series and cannot do any other. If you have time and are not in conflict (i.e. the shows are not similar or the roles are small), you MAY be able to do other projects in your free time.
Second Position – A show may take you in “second position” if they feel you’re worth it or that the deal makes sense. This means that although you are obligated to shoot another show, you can work on this series whenever you’re not shooting the first one. This is pretty rare, though. Especially in a time when getting even one job is a miracle.
Holding Deal – Is the network going to pay you to “hold” off on other auditions/projects while they decide whether or not to make the pilot? How long can they keep you from doing other work until they decide? Also, how long do you have to wait for the network to decide on a pick-up order? This is EXTREMELY important. I have a friend who shot a pilot, then eight episodes of a cable show. After moving across the country, she was locked into a NON-PAYING holding deal for a YEAR (through the next pilot season) until the network decided finally that they didn’t want to make any more of the show. This can be financially and emotionally disastrous. Always negotiate a quick out when possible.
Local Hire: Many pilots will shoot in other locations (Atlanta, Louisiana, Michigan, etc). If you are deemed a “Local Hire,” you will not get paid for travel or housing. No per diem and no allowance for a rental car. Take this into consideration if you want to take a long-distance job as a local hire, as you will be paying all these expenses on your own.
KNOW BEFORE YOU GO
Keep in mind that you usually have to think about contracts before you even get the role. Before you “test” for a pilot (audition with a few other final candidates for the network), you will sign your future contract. This means you’ll see how much you’ll get for the pilot, as well as how much you’ll make for up to five to seven years should the pilot go to series. It’s important to discuss all the details with your agent/manager/lawyer thoroughly before you sign anything. And if you don’t have a manager or agent and you’re testing for a pilot, make a few calls to agents and let them know you’re testing — they may take you on at this stage, even if you don’t get the pilot. And you’ll have someone in your corner to look things over.
For more detailed information about pilot contracts, check out Backstage’s article: “Avoiding Pilot Error” – it’s magnificent.
Happy pilot season!
Every time someone wants to come to LA for Pilot Season or for a little while to test the waters as an actor/writer/etc, they always sign up for “networking events” or ask to meet with important people for the sake of “networking.” Well, let me save you the trouble. NETWORKING IN HOLLYWOOD DOESN’T WORK — BUT WORKING DOES.
What does that mean? Well, in other cities, such as New York or Chicago, people will often attend industry networking events or set up meetings over coffee to get to know people in their particular field. The result of these meetings is usually an exchange of information at least, or a business opportunity at best.
In LA, in HOLLYWOOD specifically, this doesn’t happen the same way. Sure, there are “networking” events that you can pay for to meet casting people, but in my humble opinion, very few of these actually get you anywhere. Typically, though, people only arrange meetings with you if they WANT SOMETHING SPECIFIC FROM YOU — ie, they want to represent you (an agent/manager) or they want to offer you a job. If there is nothing in it for THEM – they likely won’t meet with you. Plain and simple. OR, if they do meet with you because your aunt’s their accountant and they have a kind heart, they will offer you some vague advice and tell you at the end of the meeting to call them when you have a pilot or a show on the air. Which, hello!, is not the point.
Instead of trying to set up meetings with people when you have little to nothing to offer in terms of industry experience, work on GETTING WORK. Submit yourself to casting sites, write spec scripts and do short films. That way, when you have the meeting that you want, you have something to OFFER.
Next step: Consider the Market Carefully
I often talk to non-union actors who want to get agents and enter into the world of union work (SAG/AFTRA). My advice is to join AFTRA – IMMMEDIATELY. Many TV jobs are now covered under AFTRA agreements and here’s what most people don’t realize — unlike SAG, you don’t have to have a union job to join AFTRA! You can just pay your money and become a card carrying member!
And if I haven’t blown your mind already, how about this: if you book an AFTRA principal role after you’ve joined, you can then join SAG after a year! That’s right, you don’t even have to book a SAG job, you are automatically eligible after that year from the date you book AFTRA principal work.
Here’s more information about joining AFTRA from the official website (www.aftra.org):
How to Join AFTRA
Posted July 20, 2009
Any person who has performed or intends to perform professional work in any one of AFTRA’s jurisdictions is eligible for membership. Contact your Local office for specific information about AFTRA membership and its benefits.
How do I join AFTRA?
Professional performers, recording artists, or broadcasters can join online by clicking here.
For more information about joining AFTRA, contact your Local AFTRA office, or the national membership department at 866.855.5191 or by e-mail at membership@aftra.com.
How much does it cost to join?
New members must complete an application and pay a one-time initiation fee and dues for the current dues period. The initiation fee is $1,600 and, as of November 1, 2004, minimum dues are $63.90.
How much are dues and when are they paid?
After joining, a member’s dues are based on his or her AFTRA earnings during the previous year. Members who earned less than $2,000 annually pay only the minimum amount of $63.90. Members are billed twice a year with dues periods commencing May 1st and November 1st.
Had a little fun this week on Fuel TV’s show “The Daily Habit” re-creating stalker phone messages — Check it out!
SAG Foundation LiveStream Video Gallery has a huge variety of videos from their live events for actors of all ages. When you get a chance, check it out!
