<p>^ I don’t know. Hundreds. Maybe over a thousand and most don’t get LA rep right off the bat other than maybe starter level agents and managers who don’t have the clout to do much for you. Commercial agents are easier if you have a good on-camera look. And remember … These schools are set up to nurture theatre artists - not movie stars. It’s not like a screen test is part of the admissions process. More get good legit rep in New York where they value the little known archaic art form known as theatre. </p>
<p>It could certainly be good to have rep before showcase, but that’s usually going to have to come from some kind of major pre-graduation professional accomplishment or something tangible and really special that you bring to the table. I was already signed with the New York branch of my agency, but it came through referrals from a supporting role in a film that led to a guest star I had lucked into the summer before my final year followed by eight months of “stay in touch.” A girl I’ve mentioned before that just graduated had also scored a top level manager beforehand who showed up at her showcase with the agent she wanted her with in tow and proceeded to lead her around by the arm making sure she met all the right people at the other showings. She’s only been in town a couple of weeks and already has a small part in a major film booked on which said manager is on the production team. She also just made enough off a print job last week to pay for the round of audition classes she’s about to take plus several months’ rent if that tells you anything. I won’t out her, but her school is on the list although major league talent, approachable gorgeousity, mad networking skills and a [honey</a> badger like determination](<a href=“The Crazy Nastyass Honey Badger (original narration by Randall) - YouTube”>The Crazy Nastyass Honey Badger (original narration by Randall) - YouTube) are her other major tickets to the show. She had also compiled the most amazing reel of student film/ulb work I’ve ever seen a lot of which she wrote, produced, directed and acted in herself. Rare bird …</p>
<p>Shacherry - I would answer your question differently than fishbowlfreshman regarding showcases. First, there is a difference in NY vs LA showcases, but in NY a good many (most even) students get invitations to meet with agents from top notch agencies right after their showcases but that is just the first of many steps. Your talent and type might get you those meetings but then you need to present yourself as in any interview with a potential employer - intelligent, knowledgeable in your field, hard working, personable, etc. etc. Usually if the Agent still feels positively towards you he/she then has you meet others in the Agency and they need to see your potential. In NY it is not uncommon for an Agency to work with you on a freelance basis, especially in the beginning, meaning that there is no long term commitment and they can send you out or not which is a pretty good option I think. </p>
<p>In answer to what to do if you don’t land an agent after your showcase - you do what hundreds of other actors do. Take classes, hone your skills, network, attend “professional” showcases, go on cattle calls, summer stock, regional productions, etc. There are lots of books out there to help a non-reped actor gain insight into the process and Backstage is also a great resource.</p>
<p>I do agree with fishbowlfreshman that getting an agent before graduation would be rare and you need to be careful not to look for an Agent before you’re ready, because they will remember you.</p>
<p>^ It’s a bit different than “modeling” per se although models certainly do print work, too. Generally, it’s the picture of the happy, healthy consumer of a product or the frazzled person in supposed need of said product in a magazine print ad, on product packaging, a billboard, etc. They use all types for that and the jobs are usually booked through the print division of a commercial agency which might also be a commercial department of a larger agency. I dont’ do it, but I understand it can come to a pretty nice chunk of change for what is usually about a half day’s work. Usually somewhere between $2k and $10K.<br>
That’s true for the most part but it varies depending on the agency. It’s not like agents show up with briefcases full of contracts ready to be handed out, but some move more quickly during showcase season which also happens to be the slow season (hiatus) for agency work thus making scheduling easier. This is especially true with boutique agencies with only two to five agents. Actually, one of their competitive advantages is their ability to move on things quickly and I’ve seen people get signed before they’ve even left town after the showcase. Senior agents at the huge bicoastal/international companies like the one I’m with can pretty much bring on whomever they want when they want them, too, although there will be more hoops to jump through for those more junior and the point is really kind of moot since they rarely sign new graduates as developmental clients anymore in the first place. They’d usually rather let the boutique people and others down the food chain develop the actor and then swoop in to steal him away when he gets hot. They’re usually successful, too, although they occasionally run into a loyal holdout like Ryan Gosling who’s stuck with Ilene Feldman all these years. Commercial agents also tend to move more quickly.</p>
<p>But if you want to get inside the heads of agents, the books to read are An Agent Tells All and How to Agent Your Agent. Secret Agent Man on Backstage is a good resource, too. It’s funny because a lot of people think he and Tony Martinez who wrote An Agent Tells All are one in the same, but he probably isn’t because they all say pretty much the same things practically in the same voice although their mindsets will differ somewhat depending on their place on the food chain. It just so happens that Tony and SAM are with mid-level Hollywood boutiques and thus speak the same language.</p>
<p>So I go back to thinking that maybe trying for an agent sooner rather then later is not a bad plan. I’ve thought that this may work. If you know your type and are older to play younger and are in school in NY or LA, you can go after one of the kids agents in NY or LA. It is easy to submit to them and it could be a good place to start, especially commercially since that is more about type and look. </p>
<p>My son has auditioned with actors who are in college and the reps work with them to fit things in around school. It’s a thought. And if it does not work out you get a do over when your done with school and want to go after adult agencies.</p>
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She had also compiled the most amazing reel of student film/ulb work I’ve ever seen a lot of which she wrote, produced, directed and acted in herself. Rare bird …</p>