A Quote by Amber Valletta

My agent, Didier Fernandez - who's been my agent since I was 18 - has definitely been a mentor and a protector and a trusted friend. — © Amber Valletta
My agent, Didier Fernandez - who's been my agent since I was 18 - has definitely been a mentor and a protector and a trusted friend.
When I first went up to see my editor, I was with my agent, and my editor said, 'Well, what have you been doing all these years?' And my agent said, 'He's been in recovery. From his childhood.'
I tried for years to get an agent because I was told you needed an agent. The agent-hunting process was grim indeed.
For the record, I've never taken a bung in my life. I might have enjoyed a meal or a bottle of wine on an agent or two but that is it. I was earning £1.5m a year, so I didn't need a little bit extra from an agent. It would have been madness.
When I turned 18, my agent was like, 'You should change from Ricky to Rick.' So I thought it was a good idea. Rick never really fit. I tried for 18 years to make it work, and no one wanted to call me Rick. It should always have been Ricky. That's what it always should have been, so I'm going back to it.
When I wasn't working, I put the blame directly where it belonged - I blamed my agent. When I didn't have an agent, I spent time looking for a new agent so I would have somebody to blame.
I would come home with my friend Bill, and we would sit and watch 'Get Smart.' And I was Agent 44, and he was Agent 85. And it was a fantastic - and all we wanted to do was sleep with Barbara Feldon.
I didn't have an agent until I got 'Hairspray.' I had to get a Broadway show without an agent to get an agent.
Anuj Bahari has always been a really good literary agent for me. What a good agent does is that he manages many of your business aspects so you can keep your time free for writing.
I had been struggling to get roles in Hollywood for three and a half years after leaving the WWE. Then I finally got an agent - the agent I have now. He's a great guy, but he turned me down three times before he even decided to take me on a as a client.
I was doing a lot of web design at the time. And anybody that has an agent thinks, "Why do I need an agent?" Maybe it's a little different as an actor - of course you need an agent - but any kind of agency that's selling something for you, you think, "Why can't I sell this myself? It doesn't make sense."
I was lucky enough to get a very good agent at the age of 15, and got my first film when I was 16, so it's been rolling on since then.
As a matter of selective necessity, man is an agent. He is, in his own apprehension, a centre of unfolding impulsive activity-'teleological activity.' He is an agent seeking in every act the accomplishment of some concrete, objective, impersonal end. By force of being such an agent, he is possessed of a taste for effective work, and a distaste for futile effort.
Get an agent. Seriously, submitting stuff unagented means it will end up on the slush pile. An agent is the first quality filter, and a good agent is worth his or her weight in gold, as they'll often know the editors on a personal level and will be able to talk to them directly about the project.
If you haven't taken a writing class, take a writing class. I took every class that was available in my area. I went to conferences inside and outside my area to network with people. That's how I got my agent. I found my agent through another agent who was at a conference.
I've been in the business since I was 16, so I've had a 14-year career. I've always had acting in my blood. Doing this, whatever it is, was something I was drawn to since my earliest memories. Ironically, I lived in Hollywood, but never understood that all it took was getting an agent and being persistent.
I've been called a spy of Israel since 1996, and since I made my documentary film in 2000 the FBI has investigated me as an agent of Iraq. The FBI has also opened up an investigation into my wife calling her a KGB spy.
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