Last week, in the first Kids in Showbiz column, we looked at The Basics, Classes, Type, Headshots, Resumés, Postcards, Demo Reels, and Websites for kid actors. Phew! That was a long column, eh? Have you even finished reading it yet? (Hee!) This week, we’ll look into issues specific to kid actors in Regional Markets, Premature Moves, Child Labor Laws, and Avoiding Scams.
Again, I’ll start with a reminder that choosing a career in show business is something that must be considered carefully and only after weighing the pros and cons. This is especially true for young actors, when it’s the parent making the career choice on behalf of the kid (and it’s that kid who will face most of the “tough stuff” that goes with this business).
Regional Markets
How can I find the best place for my child to take classes in our market? There are online resources for LA-based actors. What about us?
Great question! Many of the wonderful support websites for parents of child actors — PARF at DelphiForums.com, Kidazzle at Showfax.com, and Child and Teen Actors at BackStage.com are favorites — are populated with members who can answer questions about specific markets. True, it’s always going to be tougher to find a ton of information about happenings in smaller markets than it is to find that volume of info about goings-on in LA or New York, but that doesn’t mean it’s impossible!
Do some Googling. Show up at the above-linked forums or any other verifiably professional, agenda-free entertainment industry message board and introduce yourself, state your location, and ask your questions. You never know who might be reading and who will be willing to lead you in the right direction. (Of course, you should take every bit of advice you’re given with that proverbial grain of salt. Remember The Blind Leading the Blind issues and do due diligence to verify the value in the info you’re being given. When in doubt, follow the money. If someone is pushing something a little too vigorously or with no support from unbiased third parties, consider the possibility that you’re in the presence of a shill. Also remember to protect your family’s safety. Don’t over-share in ways that can lead a predator to your door.)
My daughter has decided to pursue this business. We are located in Tennessee (but very close to Atlanta). I know you were in Atlanta for some time. Is it a good location for child actors to start?
Definitely. Minor markets are wonderful places for young actors to work at a professional level (and, in right-to-work states such as Georgia, that means they don’t even have to join the unions in order to do so), get plenty of experience and training, and — should they want to hit LA or New York down the line — create a solid foundation for the big leagues. Obviously, some families will want to make the big move to Hollywood to capitalize on a young actor’s local successes, but others are content with letting their wee ones be big fish in a small pond, waiting ’til the kids are closer to adulthood before heading for the pros. My family fell in the latter category and I made my big move to LA as an adult.
Really, it’s such an individual experience, whether you’re “built” for LA (and you can’t know that for sure until you’re here) that it would be irresponsible of me to make a blanket statement about the importance of leaving a minor market for a major one at any particular time. Some kids hit LA and find huge success right away (regardless of their level of experience “back home”) and others come here with tons of local credits and training, only to find they can’t compete here.
But whatever your personal decision might be, I will say that I’m a big fan of actors (especially young actors) working in their nearest minor markets. There are plenty of opportunities within a tank of gas of your home, most likely. Look into community theatre, church plays, performance opportunities at your school, student films at local colleges, even DIY options like producing your own projects! If you’re near a city with a Film Commission, get on their mailing list to find out when productions are coming to your area.
I know all the negative stuff about JRP but I live in an area where it is really about the only choice. The classes at the performing arts center are more like daycare programs with a theatre slant and I don’t think my daughter has gotten anything out of them (except that she had fun). Would you always consider JRP a waste of time and money? Ours checks out with the BBB and I have a friend who took her son there and thought he learned a lot.
I don’t think anything is “always” a waste of time. There is usually something to learn, no matter how bad an investment the option might be. As for whether classes with a local outlet of John Robert Powers are a waste of money, well, I can pretty much guarantee that you are going to be spending more money than you need to spend on the types of classes you’ll be getting. I’d recommend checking into other options within driving distance or even looking into local colleges to find out whether they offer youth camps (or if their professors teach private classes). See if there’s a working actor with local ties and look into a mentoring situation.
If you absolutely must train at JRP, remember what I mentioned last week about the way you list the training on the resumé.
We got so excited about a recent open call. I don’t think anyone in our town or any of the towns around here where people drove in from got beyond the slate. Are talent searches legit?
Open calls are not the most efficient means of casting. In fact, if you look at how it’s done in LA, the vast majority of casting for film, episodic television, and commercials is done through sessions set up based on submissions by agents and managers. Open calls in other markets are almost always publicity stunts (much cheaper than advertising) and, while the producers are happy to find talented actors who could be considered for the projects, that’s not their primary mission in holding those calls.
That doesn’t mean you shouldn’t go, if you’re nearby and have the time! But expect nothing to come of it, so you’re not overly disappointed (heck, that’s a good plan for any audition, really).
How do child actors get opportunities for feature films if the parents are not willing to move to LA? Is it worth the time and effort to send taped auditions to LA?
They don’t. And not usually.
What I’m saying is, if you’re hoping to get a shot at a major role in a major LA-based project without being ready to live in LA, the odds are definitely against you. Keep in mind that for every actor who lives out of market there is at least one nearly identical actor with professional credits and a great agent right here in LA. Why would the producers bring someone in from out of town (someone whose family has no intention of relocating) when there is a local option (and that “local option” has professional credits)?
As for the taped auditions issue, I’ve covered that topic before — and no one likes the bottom line, I’m afraid. We’re rarely going to watch every taped audition that comes in from out of market (and I’m talking about the ones we request). And we’re almost never going to watch any taped audition that was sent in, unsolicited. Of course, you’ll still want to do the taped audition because you’re not going to get a shot at the role, otherwise. But if you’re looking for good odds, this isn’t where you’ll find ’em.
When should a kid come to LA? Is it an age thing (more marketable at nine), market thing (they book most of the thing locally)? You hear of kids that book features that are not commercial kids, so what if the only opportunities locally are commercials? When do you try LA for the feature opportunities? If you do try a stint in LA, when is the best time for kids auditioning for parts?
There are definitely ages at which a move to LA is more advantageous. (I’d never recommend a move during the worst of the “dead zones” in actors’ age brackets. See Child Labor Laws, below, for more on that.) Certainly, if a major project is being cast out of your local market and you score a major role, that could get you on the radar of LA-based CDs and that’s a great time to take advantage of the buzz.
I don’t know that I buy into the whole “commercial kids vs. features kids” thing. There are many commercials that have an indie film vibe and there are many films that are way commercial in feel. It’s all a matter of taste and ever-changing trends in the industry, no matter where you live.
As for the best time to come to LA, I’d say anytime other than pilot season, if you really want to have any sense of accomplishment during your visit. Pilot season is so very chaotic and competitive. I know many young actors whose families moved across the country “for pilot season” and left after four months $30,000 poorer having had no auditions or meetings to show for it. That’s no way to start a professional acting career in this market! You want the odds stacked in your favor as much as possible. To me, that means you show up when things are “normal” and learn the ropes. Meet people. Get on the industry’s collective radar. And build up to your first pilot season so that it’s a moderately successful one.
How about going to New York or LA for pilot season or the summer? How long is a good time to go for? It seems that every time we have done this, there is someone that is interested but then they always say something like, “When you move out here, come and see me.” (Or if it is an actual audition, they say, “You would be in the running if you were local and didn’t have to go home.” This just happened to us for a theatre audition only three hours away. They actually wanted my daughter over the other girl, but picked the other because she was local! So, again, they don’t really want you until you move.
Well, with a stage production, I’d have to say the three-hour commute (each way) would be enough to move your child below another, local child pretty much every time. There are so many rehearsals for a play that I can’t imagine the crew would want to take the risk that a traffic snag could prevent them from finishing blocking or doing final dress/tech (not to mention fears of delays on performance nights). I’d imagine the distance issue would be less of a factor if you were up for a one-day shoot three hours away.
As for the rest of your question, yeah, you’re gonna find that people are really enthusiastic about you… but you’re not local. It’s a really easy thing to say, frankly. And most people probably really mean it! (It’s like meeting someone you adore and with whom you have instant chemistry and saying, “Ooh, if we weren’t both married to other people…” knowing full well that you both are and that’s that.) Sure, they would love to cast you, but you’re not here. I’ve said that to actors who come showcase in LA upon graduation from their league schools. “Let me know if you choose LA,” I’ll say. And then they do and they do… and that doesn’t mean I happen to have a role for them RIGHT NOW. It just means that now I know I can cast ’em, since they happened to choose LA.
The hardest part of the predicament you’re facing is this: You believe that you are missing out on opportunities for your child because you’re not local. That may be true. You also wonder if you should move, so that you can get your child cast or signed with a great agent who has expressed interest, etc. Thing is, you could make the move and find that NONE of that stuff materializes. What then? Will you regret having made the move? Will you resent the people who baited you? Will you project your disappointment onto your child, who just wants to perform (no matter where)?
Slippery slope.
Best to know going in that there are no guarantees in this business. You’re not going to automatically land on everyone’s “it list” just because you make a geographical move. You’ll have a more legitimate shot at professional projects in the big leagues if you happen to live where those professional projects are happening, but that “shot” doesn’t pay the rent. Unless you have a signed contract before you make the move, you can’t really count on any of those, “Oh, if only you lived here,” accolades. And even then… can you really risk making such a big move on a couple of promises?
Does a child actor need to be SAG or SAG-eligible before attempting LA?
No. Of course, I’m a big fan of actors attaining SAG eligibility and then holding that status as long as possible, while building up credits and a reel. But there are plenty of union and nonunion projects shooting in LA every day (and, if your little one is not SAG-eligible, that’s not a problem to most producers, as kids and the elderly are the two easiest groups to Taft-Hartley).
It’s a good idea to have as much professional-level experience as possible within your minor market before moving to LA where you’ll compete with those who have earned loads of experience in “the big leagues,” plus have a healthy bank balance and an even healthier mindset for what you’re about to face. Conversations about uprooting the family, the impact on the non-actor kids in the family, or the option of splitting up the family in support of the kid actor’s dreams are also vitally important prep. (More on this next week.)
Premature Moves
How does your series on “What To Look for in an Agent,” “When To Fire Your Agent,” and “How To Fire Your Agent,” apply to kid actors?
I would say that most of it applies. Certainly, with kids, there is often the added issue of a representative signing siblings, and that can be problematic when one of the kids is ready to move on but the other is not (or when the agent wants to drop one of the kids and not the other). Some parents have learned how to turn this into leverage, but I’ve seen that “go wrong” more times than “go right,” so I’ll leave it at that for now.
Definitely, with kid actors’ agents and managers, it’s important to deal with people who know the Child Labor Laws inside and out. Yes, you are ultimately the one who is responsible for your child’s well-being, but having an agent who knows the deal will be most helpful, when it comes to working with producers who might try to get away with something, should your representative be less-informed about the laws.
Always remember that you are choosing your child’s team and it is important that you trust each member of that team AND that your lines of communication are open at all times. If you don’t understand the terminology on a deal memo, your agent should walk you through the points, step by step. An agent who is dismissive to a parent who is trying to get informed is not a good teammate. Again, you’re the bottom line when it comes to your child’s welfare, and that means you have a right to know exactly what it is you’ve agreed to, when you’ve signed on to have your kid on a set.
As with adult actors, the quickest way to get an agent is to have a pending offer and no one to negotiate the deal. An agent will usually be thrilled to close a deal on which they didn’t have to pitch you (and believe me, it’s worth the 10% commission to have that representative on board from that point forward).
When should a kid actor get a manager (if ever)?
Many kid actors who can’t get the attention of an agent seem to do quite well with managers. They help bridge the gap between a child’s non-pro and pro-level careers. I know that I will always prefer to bring in a child who has at least some representation, as that makes my life a whole lot easier. Since so many parents are enthusiastic but not terribly realistic (or objective) about their child’s talents or abilities, it is a blessing to have a buffer between casting and the family. Managers are also wonderful for families of young actors who need a little handholding as they begin their journey in Los Angeles. They can be essential advisors on things such as acting classes, headshots, and formatting of the resumés.
It seems that in my area (New York), a lot of kids have managers and freelance with agents. How effective is this? Does it limit the child’s auditions? Do agents prefer their own roster or do they like the kids who freelance?
I’m not sure what the vibe is like in New York, regarding freelancing with multiple agents, but I recall from my kid-actor acting days in Atlanta (where non-exclusive representation was the norm) that there was occasionally conflict between agencies regarding whose pitch got me in the room. I imagine that would mean an agent is much more likely to enthusiastically pitch the actors signed to the roster (guaranteed commission if they book) than the actors who were only freelancing (possible conflict over who scored that audition and therefore the commission). But if you were the only actor of your type on that agent’s list (signed or freelancing), why wouldn’t he pitch you?
This is why it’s great to have a manager in the equation. The manager can smooth any of the rougher issues that come up between various agents with whom you’re freelancing. The manager can also advise you of when it’s time to “settle down” with one, exclusive agency.
How important is it to have representation for your kid through one of the “powerhouses” in Hollywood? Are the CDs open to new agents and managers? How do parents find out who’s who among the talent agents and managers for kids in LA when they first start out?
When first starting out in LA, it’s not really relevant who the “powerhouses” are. You’re not likely to need their services if you’re still learning your way around town. Far better for most young actors to land on the roster of a nice, mid-sized agency with no type conflicts and lots of enthusiasm for getting the actors out there.
CDs are open to new agents and managers that represent kids to the same extent that we are for those representing adults. It takes time to build up relationships and create trust in the representatives’ filtering ability. We’re most open to new agencies and new management firms created by agents or managers with whom we worked when they were with other companies (before branching out on their own).
As for finding out which agents and managers have a good reputation, Google is your friend, as is the endless resource stream that is your favorite actor message board (revisit those links, above).
Should children be required to join AFTRA or SAG when they do very little for them and they cannot benefit the same as an adult? Why do producers give NO preference to kids that are already in the union versus kids that aren’t (in fact, they behave as if it’s actually better for them to pick a nonunion kid because that equals another forced-to-join new member and more initiation money)?
I can’t imagine that a producer believes it’s better to cast a nonunion actor, as producers aren’t given any sort of “bonus” by SAG for adding to their membership. In fact, producers are more likely to be fined for unjustifiable Taft-Hartley of nonunion actors on union projects, so that’s actually the exact opposite of what you’re suggesting. Producers don’t care whether SAG gets more initiation money or not! They want the best actors for the jobs, and since Taft-Hartleying kid actors isn’t terribly complicated, they’ll do it if they can’t find the actor they want from within the current membership.
It is my opinion that the same “Premature Moves” rules apply for young actors and that it is only when the flow of union jobs is looking really steady that a family should consider joining SAG, as it truly is a commitment to “going pro” and leaving that amateur status behind.
Child Labor Laws
I’m not going to get deep into this stuff because BizParentz.org does a much better job of it and, really, what most of you who have written in are hoping to get from me is a casting perspective on issues facing your young actors. So, for up-to-date information on Child Labor Laws, Work Hours, Work Permit, Coogan Trust Account, Trustee Statement, and other kid-actor issues, visit BizParentz.org. Tour the whole site, but especially grab the Word Docs of the tables “Work Hours for Minors in the Entertainment Industry” and “Options for Young Performers Attempting To Work as ‘Legal 18’” and keep ’em handy.
How do basic child labor laws differ from state to state? For example, you know New York and California need child work permits. When you are applying to an out-of-state market, it is very difficult to find any information on child labor laws. Most recently for me is GA. They wanted my daughter then found out she was only ten and hesitantly said no. However, when I pull their child labor laws, they have them for 14 and up (but none for entertainment and children under 14). So, could she have done that job?
No. Even if the child labor laws are hard to find, they do exist. And if you can’t find state guidelines, know that the federal minimums are in place at the very least. Just because you can’t find anything relevant to children under 14 doesn’t mean that it’s open season to hire a child and work her with no limits. Here’s another couple of bookmarks for you: SAG.org and HSLDA.org both have state-by-state summaries of child labor laws.
Filmmakers must adhere to the strictest of the laws (so, in California and New York, they have to use state law, which is strict, to protect all of the kid actors; but in New Mexico — where they shot “Kid Nation” last year, before the state’s child labor laws were made stricter — the filmmakers only have to adhere to the federal minimums, because the state hasn’t laid out stricter laws). This is why a film like Dakota Fanning’s “Hound Dog” was shot in North Carolina (where — at the time — child nudity and simulated sex in films was permitted, as long as the parents gave consent). But in California and New York, parents can’t waive some of their kids’ rights and the child labor officials actually get to dictate some of what the kids can and cannot do, based on their age and the acts in question.
Is it looked upon differently for a child to attend public school compared to the virtual schools or home schooling?
There are all manner of benefits (and loads of red tape involved) to choosing non-traditional schooling options for your working actor child. Depending on how much work your child is doing, you may want to explore home schooling options. I’ve seen some of my favorite, busy child actors go back to “normal school” during those “dead ages” before they’re into the next tier of work hours, and they seem to enjoy having a little “non-actor life” when that works out.
Remember that auditions are almost never considered “excused absences” from school. In California, this shouldn’t be an issue, since it is state law that all auditions must take place after school hours. (Of course, there are unknowing producers who will hold casting sessions during school hours. Part of the reason, yet again, that you are the one responsible for your child’s well-being. And often that means you’ll be educating filmmakers on the law, if it’s their first time working with kid actors.) For actual work days, there are five excused absences permitted per school year in the state of California. Obviously, if your child is home schooled, you can “bank” the hours so that no school is actually “missed” from week to week, despite the odd schedule.
Oh, another thing about which you might need to educate producers is the “sight and sound” rule. As a parent, it is your right (in fact, it is the law) to have your child within sight and sound at all times. I’ve heard horror stories of filmmakers not allowing parents on set, stating that they don’t have to grant access because the project is nonunion or some other such nonsense. No way! Many people mistakenly believe that there are fewer rules for child actors on nonunion and/or unpaid projects. Child labor laws have nothing to do with the union status of a project. Let’s be clear: These are issues of state and federal LAW.
In the state of California, studio teachers are certified and credentialed (and are both education providers and custodians of minors’ welfare while on the set). Kids attend set school even in the summertime. Studio teachers verify that young actors have valid work permits (these are documents issued by the Division of Labor Standards Enforcement and are generally valid for six months). And parents are absolutely allowed on set. If it’s a “closed” set or small space, a monitor with headphones must be provided to the parent, in order to keep that child within sight and sound at all times. This is the LAW!
So many parents will turn a blind eye and deaf ear to infractions of the law on set because they don’t want to upset the filmmaker and risk their child never being cast again. This is not only a bad (and potentially dangerous) habit, it’s also risky from a legal perspective. As I’ve mentioned already, the parent is the ultimate caretaker of the child’s rights and adherence to the laws. So, if a filmmaker is not working within applicable child labor laws and the parent does nothing about it, that parent can be held liable for child endangerment. Ignorance is not gonna get you out of it, either. You’re expected to know the rules, before you put your child up for exploitation by anyone. Period. That’s what “going pro” is about.
I look 16. I could maybe, maybe pass for a tall eighth grader (and that would make me 14). I definitely don’t look 18, but I could probably pass for a senior in high school. Unfortunately, as I have been told by my agent, there are many people who are 18+ who can also look like high schoolers but don’t have any of the labor regulations placed on them that minors do. My agent tells me that, from a business perspective, as I approach 18, I become more and more uncastable, though at least he keeps sending me to auditions. Is there anything in the world I can do about this? Or do I just wait it out? I’ve heard things about emancipation, but I’m not exactly sure what the legal implications of that are.
Emancipation is not what you need to do. You, once you’re 16 (or in your second semester of the 10th grade and 15), need to take and pass the CHSPE. This gives you loads more hours on set and saves the production the cost of a studio teacher. See below for basic guidelines and read my archived column on The ABCs of the CHSPE for more detailed ones.
Yes, without the CHSPE, you’re entering a “dead zone” for casting. I’m glad your agent is being honest with you. That’s very helpful! Many times, they’ll just say, “Eh, it’s dead right now. No one is working,” and that’s not usually the case. If you’re old enough (and look young enough), passing the CHSPE could be your ticket to another couple of years of work before you’re actually 18!
Are there many jobs to be booked for kids that are five? Most ask for six and above.
There’s a reason for that. When a child is six, producers get an extra hour or three! (See below for details.) Every time your child is at the “old end” of one of the age brackets, he or she is going to have a harder time getting cast than an older (but younger-looking) actor of the same type.
I have a question/concern about self-submitting small children. I’ve read your articles about “When Not To Submit” and that it’s okay to submit for age range, if you look that age but aren’t. Well, my daughter is three and I submitted her for a role that had an age range of four to eight. Did I commit a major faux pas? Is it different for young kids? Should I have not submitted her unless she was legally four?
Well, they said they were looking for a child to play “four to eight,” right? So, first of all, your child would have to look at least four, even though she’s only three. Next, she’d be competing with actors who are nine, but look under the age of eight! And those nine year olds can work as many as four hours longer than your three year old. So, it would behoove the producers to cast the oldest possible/youngest looking actor, to get the most on-camera time with the young actor.
I would say your submission was likely dismissed and you weren’t put on any blacklist for having been overly eager. We expect submissions that don’t line up, exactly, with what we’ve specified. Yeah, you might occasionally submit to someone who has a major attitude about following “the rules,” but I wouldn’t worry too much about that (and I’d advise you to not get your feelings hurt if you are given a little wrist-slap for it either). Just know that the odds are steep for the oldest actor in each tier of the work hours chart. There is always going to be a small-for-his-age actor in the next age bracket who will save the producers loads of money (and producers like that. A lot).
So, here’s the basic run-down. There are increased work hours with age steps as listed below, as well as with events such as early high school graduation, completion of the CHSPE, and attaining of a GED.
Maximum work time is as follows:
Age 15 days to six months works 20 minutes, maximum.
Age six months to two years works two hours, maximum.
Age two years to six years works three hours, maximum.
Age six years to nine years works four to six hours, maximum, depending on whether school is in session.
Age nine years to 16 years works five to seven hours, maximum, depending on whether school is in session.
Age 16 to 18 years works six to eight hours, maximum, depending on whether school is in session, CHSPE is passed, GED is obtained, early graduation took place, etc. (Age 16 to 18 with completion of CHSPE or early graduation works as an adult, including overtime).
Again, please note that this is an over-simplification of the California work hours for minors. Download the comprehensive table at BizParentz.org.
Also note that time spent in traveling between the studio (“home base”) and the shoot’s location and time spent in hair and makeup is considered “work time” (and cuts down on the amount of time the young actor can actually be on camera). This is one of the major reasons that producers will cast the oldest possible actor to fill the roles of younger characters. It gives them more on-camera bang for their buck.
Avoiding Scams
If you haven’t already done so, please read my archived columns entitled “Scam Season” and “Buyer Beware” for starters. Next, here are excerpts from emails I’ve received that represent emails I receive every day from parents of young actors. Seriously. EVERY DAY.
Email #1:
How valuable are conferences for kids? Is it worth it to go to IMTA in LA with a pricetag of about $2000 or IPOP (for much more)?
Email #2:
My eight year old was “scouted” and wanted to try the screen test, then wished to sing up for the “program” called My Artist’s Place started by Erik DeSando. Little did we know what we were getting into with the program and the biz! We definitely went into this blindly, paying up front for “discounted classes and photos,” etc. We have been educated, but the bottom line is that our daughter really loves on-camera acting, is excited to do her “homework” every day, and is pursuing a career.
Email #3:
I wanted to ask your advice or see if you have any insight on Trisha Simmons’ LA Kids Act. My daughter took some classes with her in LA last summer and did a pilot with her she titled “It’s a Dog’s Life.” Mind you, we were new to all this stuff and didn’t know any better until I started talking to my friend I met at a class my daughter took with Joey Paul Jensen in New York. It cost everyone $750 to be involved in this pilot, it took two days to shoot, and the kids were promised a copy of the pilot (which we never received). I have emailed Trisha, my daughter emailed her as well, and she never responded back. I have a notion to turn her in to the BBB. It was like we were scammed. What would you advise?
Email #4:
Recently my 11-year-old son received a personal invitation/callback from an open audition to participate in an International Talent Showcase in Miami at the Doral Golf Spa and Resort. Apparently the top producer from “Hannah Montana” will be there, as well as casting directors from Disney and Nickelodeon. Basically, agents of the highest caliber. At first, it was too good to be true, so I researched the company with the BBB and anything else I could find on the Internet. Nothing. I couldn’t find anything wrong with it. I even called the resort to find out information. The sales manager at the Doral Resort stated that ITS holds two conventions a year in Florida. One is the summer at the Disney Coronado and the other in the winter at the Doral Resort. The sales manager at the Doral Resort told me it’s legitimate. It’s a million dollar contract already paid for.
At this point, I am extremely excited thinking my son has what it takes and could be a natural. I still had reservations so I called some agencies in LA. They advised me that if you have to put any money up front, it’s a scam. However, their scouts go to these conventions to find new talent. Okay, ITS is asking for a $500 deposit and the whole package is around $5000. I understand that it could be considered a scam because monies are being asked for up front, yet some of these agencies attend these to find new talent. I am extremely confused at this point. I don’t want to be scammed out of $5000 yet I don’t want my son to miss out on what could be an incredible opportunity. I want to fulfill my son’s dream and if this is the real deal, I will pay the $5000. Any help or advice would mean the world to me and my son.
These “pilot opportunities” that you have to pay into and these “conventions” with high-profile “scouts” are tempting, because it looks like you can spend (a large amount of) money and get your child seen by the tops in the business.
But here’s what you need to know: Everyone attending these conventions to “scout” has been PAID to be there. They’re basically paid to take a vacation — first class all the way — and then all they have to do is sit and watch all of the people who paid to be seen. They don’t have to actually want to find new talent. They don’t have to actually even interact with anyone. They just have to allow the conference to use their names in the major advertising campaign they pelt the local markets with (and then, in the fine print, there’s the whole blurb about how none of these bigwigs is actually guaranteed to be there, in case an agent wants to send his assistant instead), collect their check, and enjoy their high-end luxury vacation.
So, if that’s worth $5000 to you, have at it.
But it’s not how talent is found or developed or hired “in the real world.” Sure, the convention will advertise a few success stories — because everyone who attends the convention signs away their rights and, should they “make it” someday, the convention gets to say it’s because of their program — but if you look around at one of those conventions and see the hundreds upon hundreds of hopefuls (who have each paid $5000 to be there), then multiply that by the number of conferences they have per year under various names in many venues, then… sure… eventually they will just happen to have had a half-dozen folks come through that system who go on to “make it” (and, again, because they all signed releases, the conference gets to take credit for those success stories). (Oh, and did you add up the money, while you were looking around that room?)
If you happen to be one of the lucky ones who gets signed by one of the agents or managers in attendance, imagine how you would feel, once you’re a client paying a percentage of your hard-earned bookings in commission to a representative who spends time away from the office (away from your career) on these paid “scouting” vacations. Not a great relationship, I’d imagine!
All the convention folks care about is whether your check clears. If you go, you’ll likely see hundreds of totally ill-prepared, unaware, not-at-all-ready-for-this, hopeful kids with eager parents who got duped into trying this inroad. Problem is, it’s not an inroad. This isn’t how we find new talent. If one kid happens to get signed by one agent once every few years through one of these conferences, it’s a fluke and it’s the kind of thing that would’ve happened with or without the conference and that $5000 (which will not be all you spend, since everyone there will tell you that you also need to spend money on new photos — and here’s a great photographer, classes — and here’s a great teacher, taped monologues to send to CDs — and here’s a great videographer, websites — and here’s a great designer, etc.).
And because they know you’re the type who will throw money at your child’s dream, they’re pretty much assured to get you to spend more and more and more, because you’re already there and now you’re thinking, “Well, heck! If I’ve paid this much already, what’s another $200?” And that’s what they’re counting on. (That, and your silence about having been a sucker, if you later regret having spent so much of your savings on something that is so totally Googleable and confirmable as a shady operation.)
It’s important to understand that your child’s dream is not something that can be bought for him. It’s like the weight-loss industry. What it really takes is hard work, discipline, and time. But there will always be someone trying to sell us something that looks like a dream come true.
I was wondering if there are any websites like Actors Access that are more for just children. I have noticed that there are not many breakdowns listed for children. Maybe I am just looking in the wrong places.
The industry is not actively seeking MORE places to look for actors. We each have our favorite source and that’s the one we use. If you’re not seeing a lot of breakdowns for self-submissions, it’s likely that we’re going through agents and managers only. But you can keep tabs on what’s actively casting by watching the sides that pop up on Showfax.com (yeah, it’ll probably be too late to submit on those projects, once their sides are up, but you can learn who casts what sort of projects and begin to track the CDs who should get to know your young actor). Also check out the PARF message board, which is often used by parents keeping tabs on what’s casting, when.
I’ll advise you to use caution in signing up for multiple “submission sites.” There are a few that are flat-out scummy scammy places, stealing information and reselling it after changing key facts such as submission deadlines and shoot dates (to give the impression that you still have a shot at getting seen). Stick with the ones that are industry standards. If you do sign up at a “non-standard” casting site, please be careful and read the TOS (Terms of Service) before you upload any photos or personal information. At many of these kid-centric sites, you are actually giving away your rights to your child’s images. And since you agreed to the TOS when you signed up, you have no recourse when your child’s photo is suddenly sold into a “stock images” catalogue and reused in perpetuity.
Another item to watch out for is the “bulk purchase” scheme for classes. Acting classes really should be bought in blocks no larger than four to six weeks (and even single-session purchases are appropriate and common, with young actors). Many of the shady folks out there get you by selling a year of classes for some huge tuition amount, telling you you’re getting a price break by buying ahead. They do this knowing that you’re gonna have schedule conflicts (when you book a job, for example) or that you’re going to get everything there is to get out the instruction within a few weeks, but will be trapped due to “no refund” clauses.
In Closing
I know I said last week that it’s less about “getting it right” and more about “getting it right for you.” With the exception of the Child Labor Laws, for which “getting it right” is, well, the law, the same holds true this week. Yes, the stakes are high, when you’re making decisions on behalf of your children. That’s why it’s so important to read, research, follow the laws, and do what works for you, in your market, in line with your experiences and results.
Join me next week as I wrap this series up with Mistakes Parents Make and a Parent’s Obligation to a Child Actor.
Bonnie Gillespie is living her dreams by helping others figure out how to live theirs. Wanna work with Bon? Start here. Thanks!
Originally published by Actors Access at http://more.showfax.com/columns/avoice/archives/000810.html. Please support the many wonderful resources provided by the Breakdown Services family. This posting is the author’s personal archive.