Why is union membership and an agent the most important things, and not talent?

Question

I am an older (50 years old) actor looking to break in, but if you are not in the union (SAG or AFTRA or Actors Equity) and don't have an agent, you are not allowed to audition.
However, you are not allowed to join a union unless you have been in union productions, and no agent will even speak to me. Not even for 5 minutes, as I have requested many times.

This is a very unfair system as keeping people from trying out is a main function of these people.

Does any one know how to get an agent to even see you? Please don't tell me cliche things like "Do something to get noticed". I have tried various things to get attention and even had the police called once.

Answer 1

It was interesting what was said about AFTRA- yes you can join if you about $1800 + about $60-80 each half year to maintain memebership.The prices are approx. I went to NYC w/ the idea of joining but decided to wait and have a solid strategy ready to go go go with.
It has become clear to me one has to have many a pot / or project on the stove , in the works, in as many areas as possible- according to one's strengths.
Do you write (jokes, poetry, songs)?
Do you sing, dance,play an instument?
If there are theaters, and or theater festivals or organizations that are advocates for theater or the arts in general, see if you can do some volunteer work for them in some capacity. Listen and find out out what others are doing....
Realize that just having an agent isn't the end all and be all -and can even be bad if it's not an agent who respects you, knows your worth and will really work FOR you. They are working for you.Figure out what you have to offer and put together a plan as if you were marketing another as yet undiscovered talent.....
In the meantime, keep a journal and record your experiences,be they frustrating or elating ....it can be helpful to you in future acting work , your personal life in general , and of course your autobiography- which you should start working on now!
In all seriousness, don't hang on to the idea of being only an actor. If you broaden your idea to think of yourself as an artist or craftsperson you will find many more avenues by which to channel your creative impulse without having to rely on sources outside of yourself to "allow" you to practice your art(s).
Read the Dan Futterman article below... may be inspiring....
There was a question concerning Equity auditions in Jackie Apodaca's The Working Actor column;
june 28-july 4 ,2007 edition : www.backstage.com/workingactor. check it out , there is a way to be able to do them, you just have to get there early and keep on going to them.....

Answer 2

I hate to say this, but I got the distinct impression from your question/essay that you are perhaps less than pleasant to deal with.

You mention having requested an agent audition "many times." Hmmm. I wonder about what the tone of your communication to them has been. And I'm almost tempted to ask about the incident wherein you called the police. Again, hmmmm.

The fact is, you need to start doing some non-union theatre and sending flyers to local agents as an invitation to come see you actually work. The fact is, few agents are going to audition you in their office unless you have substantial credits on your resume.

And yes, it does seem unfair to not be able to attend Equity auditions. But that's just one of the many unfair things in the business. Before I got my card, I would drive 200 miles to auditions in Los Angeles, and rarely even get in to experience the "privilege" of being typecast out. That of course all changed when I got cast in a show and won my Equity card -- thereafter I could attend as many auditions as I liked, although more than half involved typing out. Ironically, about six months after joining Equity, I did my first opera and had to join AGMA -- if I hadn't been in Equity, I would have been able to buy my Equity card outright since AGMA is a sister union. :-)

So though I know it's hard to hear, the truth is you simply have to work hard at this. It can be an incredible grind, but it can pay off. And besides the hard work, you simply must be pleasant and professional to all auditors, agents, directors, etc.

Answer 3

Union membership and having an agent are really the best protection for both parties. You can get your foot in the door by doing extra work. As soon as you are on the set and they need someone for a speaking part, you can push your way into the system. If you don't have an agent or belong to the union, you can be taken advantage of and unless you have a huge inheritance (in which case you could produce your own vehicle and start in it) there is nothing you can do to defend yourself.

Productions prefer (make that insist) on using talent that has been signed because they can be depended upon to give at the very least, a solid days work, know the rules, and the company can deal with the agent, not the talent. Believe me, no one wants to deal with the talent. You get to be the talent by exploring your emotions and eventually learning to wear all of them on the outside. Who wants to deal with somebody who can run the whole gamut of emotions on cue during any discussion? If you go hunting, do you deal with the tracker, or the bear? You may shoot the bear, but you deal with the tracker!

Do something to get noticed should always come with a codicil. Do something "Positive" to get noticed. I was an extra on Private Benjamin (the series, not the movie with Goldie Hawn) and was walking very quickly during a weapons qualification scene. Everyone else was running and I was called over to find out why I was ruining the shot. I calmly explained that on any live fire exercise, running with a loaded weapon was against the rules for safety reasons. The consultant was actually called, he verified what I said and when he was asked why he let it slip he simply said "It was what you wanted!" He then asked me if I was some kind of troublemaker, and I replied that I was simply a soldier who had fired expert on every single qualification (up to that point) I had ever gone out on. They actually re-shot the scene, and the guy you see from the legs down, walking quickly across the range, was me! (Big deal, right?) I did get two more days of work out of it though, and got to swap some neat war stories with the consultant, who oddly enough, did not take offense at all. I got back into the Military and eventually ended up in Berlin. During the film festival, which they were holding at the Officer's Club (Harnack Haus) I ran into him again. He was working with Peter Fonda at the time and there was another crew on location to shoot one of the Bourne Films. I was offered more work, but my commitments with the band were too heavy. A bunch of my friends got work however, which was extremely cool and did not hurt my reputation one bit. You can't "Break in," I'll agree, but you can ease in, if you are agreeable, willing to do the heavy lifting, and have perception of reality that directors are looking for. Best of luck in all of your endeavors, now get out there and take any part you can get.

Answer 4

If an agent is interested in you, they will call. Mail your headshot/resume. Make sure you worked at quality theaters and not the community theater.
Hon, did you get the E-mail last week from AFTRA, regarding what you are complaining about? Check your
e-mail, there is an annual progam that's coming up soon that may be what you need.

Stop being negative and hositle, it won't endear you to agents or casting directors. Maybe this career is not for you.

Agents will not speak to people they don't know, would you?

Answer 5

I don't know where you live, but I believe you can buy a membership into AFTRA. Check it out. It will cost you about $2,000 but it is a start. You can start auditioning for AFTRA sactioned work, like TV and commercials. Once you get into one union, it's a lot easier to get into the others. Make sure you get the right info because you will be discouraged from going this route by the unions themselves.

Answer 6

There are websites and magazines or newspapers where you can find open casting calls for work that will count towards your getting approved by SAG. Commercial work is a good way to start.
Ad agencies produce commercials, perhaps you can market yourself by finding ad agencies in the area and cisiting their offices.
If you dont already, get involved with local theater. It will look better on your resume if you have recent acting experience

Answer 7

Boy,do I feel you.You might try going to "open auditions"that means anybody who can walk crawl or role can audition for a Equity production,once they take you,getting carded is a cinch,it;s also easier to be seen by an agent!The thing is,don't get discouraged,man!Older than you have done it,so i now it can be done.Go ot these as often as you can,someting is bound to happen for somebody with your spirt!Great Good Luck!TL

Answer 8

I faced the same problem, trying to get published. I believe it is not talent, but who you know and how much money you have to get an agent. You may want to go to open casting calls, the competition is fierce, but at least you could get a chance.

Answer 9

Having an agent means that the producers will have a professional to deal with when it comes to a contract. They do not want to risk dealing with a temperamental independent.