Interview with Dance Agent Terry Lindholm – Part 1
Joe Tremaine interviews Dance Agent Terry Lindholm.
Professional Dance Training: Dance Agents, Part 2
Part 2: “It’s gotten really competitive since the onslaught of the So You Think You Can Dancers,” said Tim O’Brien, dance agent and President of Clear Talent Group, of the current reality facing professional dancers in Los Angeles. When Master Dance Teacher Joe Tremaine recently sat down with Tim, and Shelli Margheritis of McDonald Selznick & Associates, two of the city’s top dance agencies, each of them opened up on what else dancers need to know when seeking representation and what the agents expect of them.
MAKING THE MOVE TO A LARGE MARKET
Agents recognize that making the move to Los Angeles or any large market, is a tough decision. They also admit that sometimes the only way for you to realize if it’s the right decision for you, is for you to make that move. If you plan to take that step, be prepared. Understand that this industry comes with a lot of rejection. It can be a lot of fun and it can be a great career, but it’s definitely not easy. Then, once you’re in that city, be sure to take class and get a feel for the flavor in that particular city, as each market has a different vibe.
MOVING TO L.A. / GETTING REPRESENTATION
Once you make the move, especially to Los Angeles, you will want to seek representation. Having an agent helps you hear about the best jobs, gets you in for agency auditions and helps protect you once you have booked the job. Each agency has their own guidelines for finding talent and receiving submissions from prospective talent. Some hold their auditions once or twice each year, you can find out the dates of those auditions by contacting them directly. Most talent agencies also accept submissions either electronically through e-mail or in hard copy format, but the role of digital media cannot be ignored. Due to the demands on each agent’s time, they usually prefer receiving links to performance reels posted to online sites such as YouTube, as this allows them to quickly review the dancers look and technique and efficiently share that link with the other agents in their office.
WHAT AGENTS LOOK FOR
Contrary to popular belief, agents have a wide range of what they seek in a dancer they want to represent, but a great look and that indescribable “it” factor always top the list. Remember that each and every project has different requirements, whether it be a niche forte or good, well-rounded dancers, and the agents goal is to fill those roles. They do warn however, to be on top of your game, especially if you are specialized. For instance, if you’re a b-boy, you better be the best b-boy and know all your tricks. They also stress the importance of technique. The more technique you have the farther your dance career will take you.
AGENT’S JOB / YOUR RESPONSIBILITIES
An agent’s job is to represent talent and help guide their career. They do this by helping you choose the right headshots, helping craft your resume, getting your electronic breakdowns posted and prepping you for castings, which they then submit for projects that are being produced. Next steps include securing the audition, following up on the call back, finalizing the compensation negotiations for the dancer and the follow through for the rest of that production. In the meantime, they are already preparing you for the next project that will help progress your career. Shelli and Tim both stress that good communication is the biggest factor in having a successful relationship with your agent. It is your responsibility to keep them updated on your availability, the choreographers you have worked with, what your dream jobs are, etc., so they can pitch you for those projects and know that you will be available when they do. Always remember, you are your product, and your product is only as strong as the re-investment you make in it. Your agent is there to sell that product and the better they know your product, the better their rate of success.
How to Dress for an Audition
Today we’re going to discuss a big topic of concern all actors face. The number one question we hear when actors come in for private acting coaching or to our acting school in Los Angeles is, “What do I wear?!”
The best way to answer this question is by first focusing on what NOT to wear. The casting director doesn’t want to come into a waiting area that looks like a Halloween store exploded! If an 8 to 10 year old girl is called in to audition for the role of a fairy, there’s no need to go full Tinkerbell. Leave the wands and the wings at home, little ladies. What the casting director wants is far simpler and much less expensive than going to a costume shop every time you have an audition.
Here’s what you need to know about audition ensembles: whenever you go into a character specific audition (i.e. fairy, space camp kid, soccer player, etc.) all you need is a HINT of the character. Little fairies wear sparkly shirts; space camp kids have jackets with a spacey looking patch; and soccer players wear jerseys (leave the cleats on the field!). I think you get the picture.
One thing we tell our students in our kids acting classes and acting classes for teens, is that casting directors have already seen your headshots, so they know what you look like even before you step into their office. Don’t distract him or her with complex costumes or over the top outfits.
As for non-character specific auditions, always wear a color that compliments your skin tone, hair shade, and eye color. If you don’t know what colors look good on you, ask a friend, a parent, a sibling. Also, a great way to boost your confidence is to wear a color that makes you feel good! Just make sure to stay away from the following colors: black, white, grey or red. These colors don’t translate well on camera. Black makes everything look dull, white can blow out the camera lighting, no one ever remembers grey and red tends to do funny things to skin tones and camera settings.
Now that you know how to look your best, go out there and break a leg!
How to Become a TV Host – Part 4
In Part 1 of How To Become A Host we reviewed what it takes, the (3) T Core Values it takes to become a host.
-Think, Talk and Teach-
In Part 2 I broke it down to (3) Key Areas of connection every host needs to understand. TV Hosting is a Mind Mouth and Body Connection.
Part 3 continues with the importance of a “Mental Workout”.
Here is the final piece, Part 4: Read more
How to Become a TV Host – Part 3
In Part 1 of How To Become a TV Host we reviewed what it takes, the (3) T Core Values it takes to become a host.
-Think, Talk and Teach-
In Part 2 I broke it down to (3) Key Areas of connection every host needs to understand. TV Hosting is a Mind Mouth and Body Connection.
Here is Part 3: Read more
Professional Dance Training: Dance Agents, Part 1
“It’s gotten really competitive since the onslaught of the So You Think You Can Dancers,” said Tim O’Brien, dance agent and President of Clear Talent Group, of the current reality facing professional dancers in Los Angeles. When Master Dance Teacher Joe Tremaine recently sat down with Tim, and Shelli Margheritis of McDonald Selznick & Associates, two of the city’s top dance agencies, each of them opened up on what else dancers need to know when seeking representation and what the agents expect of them.
MAKING THE MOVE TO A LARGE MARKET
Agents recognize that making the move to Los Angeles or any large market, is a tough decision. They also admit that sometimes the only way for you to realize if it’s the right decision for you, is for you to make that move. If you plan to take that step, be prepared. Understand that this industry comes with a lot of rejection. It can be a lot of fun and it can be a great career, but it’s definitely not easy. Then, once you’re in that city, be sure to take class and get a feel for the flavor in that particular city, as each market has a different vibe.
MOVING TO L.A. / GETTING REPRESENTATION
Once you make the move, especially to Los Angeles, you will want to seek representation. Having an agent helps you hear about the best jobs, gets you in for agency auditions and helps protect you once you have booked the job. Each agency has their own guidelines for finding talent and receiving submissions from prospective talent. Some hold their auditions once or twice each year, you can find out the dates of those auditions by contacting them directly. Most talent agencies also accept submissions either electronically through e-mail or in hard copy format, but the role of digital media cannot be ignored. Due to the demands on each agent’s time, they usually prefer receiving links to performance reels posted to online sites such as YouTube, as this allows them to quickly review the dancers look and technique and efficiently share that link with the other agents in their office.
WHAT AGENTS LOOK FOR
Contrary to popular belief, agents have a wide range of what they seek in a dancer they want to represent, but a great look and that indescribable “it” factor always top the list. Remember that each and every project has different requirements, whether it be a niche forte or good, well-rounded dancers, and the agents goal is to fill those roles. They do warn however, to be on top of your game, especially if you are specialized. For instance, if you’re a b-boy, you better be the best b-boy and know all your tricks. They also stress the importance of technique. The more technique you have the farther your dance career will take you.\
AGENT’S JOB / YOUR RESPONSIBILITIES
An agent’s job is to represent talent and help guide their career. They do this by helping you choose the right headshots, helping craft your resume, getting your electronic breakdowns posted and prepping you for castings, which they then submit for projects that are being produced. Next steps include securing the audition, following up on the call back, finalizing the compensation negotiations for the dancer and the follow through for the rest of that production. In the meantime, they are already preparing you for the next project that will help progress your career. Shelli and Tim both stress that good communication is the biggest factor in having a successful relationship with your agent. It is your responsibility to keep them updated on your availability, the choreographers you have worked with, what your dream jobs are, etc., so they can pitch you for those projects and know that you will be available when they do. Always remember, you are your product, and your product is only as strong as the re-investment you make in it. Your agent is there to sell that product and the better they know your product, the better their rate of success.
5 Ways Technology Has Changed the Demo Reel
A demo reel is an absolute must for actors. In this video, Retta Putignano of Create Your Reel talks about the value of the demo reel for getting you in the door of casting or an agent, and exactly how it should look in today’s market.
