What do acting managers do? How are they different from agents? Do you need a personal manager if you have an agent? Here you’ll find answers to these questions as well as tips on how to pick good talent management companies.
If you want to know how to get an acting manager, click here and follow the same steps you would to get an agent.
What’s a talent manager?
A good personal manager manages your entire acting career:
They should give you advice and counseling on acting pictures and resumes, what roles to go for, what areas of training to focus on, how to market yourself and how to take your career to the next level. Some acting managers will even coach you for an important audition or help you select the right wardrobe for your headshots.
They should help you build a team (i.e. get an agent, publicist and down the road possibly a business manager and attorney) and as you grow as an actor, coordinate everyone in the team to further your career.
They should network for you and generally facilitate you getting the next acting job.
What’s the difference between managers and agents?
Unlike agents, acting management companies are not supposed to procure work or negotiate for actors, although many talent managers will send actors who don’t have an agent on auditions.
Talent managers take a 15% commission on all your performer earnings, while an agent will take 10% in the area they represent you in (so if you only have a commercial agent and book a theater role, you would not pay a commission to your agent, but you would pay 15% to your manager whether you book a commercial, a film or a play).
Acting agencies are usually regulated by the state. Many states require an acting agent to have a license and post a bond. Some states also require that the agent pay the actor within a certain amount of days and limits the commission an agent can take. ATA and NATR member talent agencies also have agreements with actors’ unions. Unlike agents, acting management companies in most states do not need to have a special license. There are many more talent management companies then talent agencies and an actor should do research to make sure a personal manager is legit before signing a contract.
…so do you NEED a manager?
The answer to that question really depends on your situation and the kind of managing you will get.
If you are further along in your career, a manager will organize your busy schedule and help you achieve your long-term goals. If you are just starting out and unable to get an agent, an acting manager can give you access to more auditions and help you get an agent.
Acting is a very competitive career and the more people you have on your side the better. If you find a good personal manager who is well-respected in the industry and will work hard for you, don’t hesitate because of the 15% commission. 85% of something is better then 100% of nothing. That being said, if you already have an agent and you find a manager who doesn’t do much more then submit actors on auditions, think hard before signing a contract. Having 2 representatives has disadvantages: information can get lost and double submissions often exasperate casting directors.
Bottom line? You may not need an acting manager, but you’ll want to sign with a good one.
How to pick a good manager
Here are a few tips to help you pick a good personal manager:
Make sure the manager is legit. Don’t sign with anyone who charges a fee for representation or requires that you take a specific class or get your headshots taken by a photographer of their choice. You can also call actors’ unions and the Better Business Bureau to see if anyone has filed a complaint about a particular personal manager. Check if the manager belongs to an organization that has its own rules and code of ethics, like the National Conference of Personal Managers.
A manager needs to be well connected and respected in the industry. Ask acting teachers, fellow actors and casting directors who has heard the name of the talent management company in question. Of course, if you are starting an acting career, you may have no choice but to pick a manager who is also starting out. If that’s the case, ask the manager for references and call up a few actors he or she already represents.
Your acting manager needs to be able to work well with your agent, so discuss your plans of signing with a particular manager with your agent beforehand.
Find out how big the management company’s client list is. This is important since acting managers need to be able to give you a lot of personalized attention.
Note that a manager who represents other artists, like writers, directors and producers, is particularly valuable, since it will allow you to build relationships and audition for whichever of their clients’ projects you are right for.
Hope all this information helps you pick the perfect manager for you. May your phone ring off the hook with calls for auditions from talent management companies!
How to find an acting manager
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Master Cat; or, The Booted Cat” (early French: Le Maistre Chat, ou Le Chat Bott’), commonly known as “Puss in Boots”, is a French literary fairy tale about a cat who uses trickery and deceit to gain power, wealth, and the hand of a princess in marriage for his penniless and low-born master. The tale was written at the close of the seventeenth century by Charles Perrault (1628’1703), a retired civil servant and member of the Acad’mie fran’aise.[1] The tale appeared in a handwritten and illustrated manuscript two years before its 1697 publication by Barbin in a collection of eight fairy tales by Perrault called Histoires ou contes du temps pass’.[2][3] The book was an instant success and remains popular today.
The tale’s immorality has provoked some concern about its influence on young minds, but apparently Perrault composed “Le Maistre Chat” and the other tales of Histoires to reinforce standards of civilized conduct in the upper-class French society of the seventeenth century rather than to provide amusement and instruction for the young. Indeed, Puss has been described by one commentator as “the epitome of the educated bourgeois secretary who serves his master with complete devotion and diligence.”
Perrault’s Histoires has had considerable impact on world culture. The frontispiece to the earliest English editions depicts an old woman telling tales to a group of children beneath a placard inscribed ‘MOTHER GOOSE’S TALES’ and is credited with launching the Mother Goose legend in the English-speaking world. “Puss in Boots” has provided inspiration for composers, choreographers, and other artists over the centuries. The cat appears in the third act pas de caract’re of Tchaikovsky’s ballet The Sleeping Beauty, for example, and makes appearances in other media.
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The tale opens with the third and youngest son of a miller receiving his inheritance ‘ a cat. At first, the youngest son laments, as the eldest brother gains the mill, and the middle brother attains the mules. The feline is no ordinary cat, however, but one who requests and receives a pair of boots. Determined to make his master’s fortune, the cat bags a rabbit in the forest and presents it to the king as a gift from his master, the fictional Marquis of Carabas. The cat continues making gifts of game to the king for several months.
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Movie: Senna (2010)
Release Date: 8 October 2010 (Japan)
Directors: Asif Kapadia
Writers: Manish Pandey
Genres: Documentary | Biography | Sport
A documentary on Brazilian Formula One racing driver Ayrton Senna, who won the F1 world championship three times before his death at age 34. Senna is a 2010 documentary film that depicts the life and death of Brazilian motor-racing champion, Ayrton Senna. It is Asif Kapadia’s fourth feature film as director, and is distributed by Working Title/Universal Pictures.
The film begins with Senna’s arrival into Formula One during the 1984 season, briefly covering his time at Toleman and Lotus before concentrating on his career at McLaren. The documentary concentrates on his time with the British team ‘ namely his rise to global fame ‘ becoming a World Champion, his rivalry with his team mate Alain Prost, and his political struggles with the then head of FISA Jean-Marie Balestre. The film covers the climax of the rivalry during the 1989 and 1990 seasons, when Senna and Prost were involved in controversial clashes which decided the drivers’ title.
Following a brief overview of the seasons that followed and the technological domination of the Williams cars, the documentary reaches its finale as Senna moves to the Grove-based team in 1994, before covering the events of that year’s San Marino Grand Prix, which saw Senna lose his life. The film concludes with the Senna family, his fianc’e and his close friends from Formula One mourning his loss at his funeral.
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In the film, both through home videos provided by the Senna family and from interviews with people that had known him, Senna is presented as sublime, spiritual, on occasion ruthless, as well as private, humble and fiercely patriotic, donating millions to his native Brazil and contemplating a life outside motor racing.
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Senna was universally acclaimed by critics, with a 100% fresh critical consensus on Rotten Tomatoes as of July 2011. Dan Jolin of Empire Magazine gave the film 4 Daniel Sarath from the online blog Napier’s News gave the film 9 out of 10 and called it ‘a flawless work of cinema that showcases documentary filmmaking at its most exciting’. Alex Zane from The Sun gave the film 4 out of 5 and wrote that Senna is ‘fascinating and profoundly moving’
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In the film, both through home videos provided by the Senna family and from interviews with people that had known him, Senna is presented as sublime, spiritual, on occasion ruthless, as well as private, humble and fiercely patriotic, donating millions to his native Brazil and contemplating a life outside motor racing.
In the film, both through home videos provided by the Senna family and from interviews with people that had known him, Senna is presented as sublime, spiritual, on occasion ruthless, as well as private, humble and fiercely patriotic, donating millions to his native Brazil and contemplating a life outside motor racing.