A Quote by Daniel Espinosa
It's really hard to get a coffee with someone. I have to call my agent, my agent calls their agent, their agent calls their manager, the manager calls back, the actor sends someone to the manager... then you get, 'Yeah, yeah, I'd love to have dinner at six,' and all I wanted was coffee! It can take, like, six days to get coffee.
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It's hard to get money to support your [non-profit] organization if you have no evidence. It's very much like the acting business: You need an agent and manager so you can get a job to get resources, but you can't get an agent and a manager unless people see your work.
I fired a bunch of people and kind of went back to my roots. I fired my agent - I had this big, fancy agent and a big fancy manager and a big fancy lawyer - and I went back to my first agent and said, "I want to go back to just being an actor."
It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].
I mean normally you have your agent call the other agent and all the agents talk and then finally you get a phone call and you hear some misrepresentation of what someone else had to say.
I didn't have an agent until I got 'Hairspray.' I had to get a Broadway show without an agent to get an agent.
I was asked to lose weight by a network for a TV pilot. The conversation happens because you get a job, and your agent or manager calls, and they say, 'They are so excited about you. They just think there is no one better for this part, and they want you to look and feel your best. They really feel that that could include losing 15 or 20 pounds.'
I tried for years to get an agent because I was told you needed an agent. The agent-hunting process was grim indeed.
I just go my own way. If my agent calls and presents me with something, and I find it refreshing or illuminating, yeah, I'll do it.
When you're doing a film, your agent and manager spend hours - days - talking about contractual obligations. If you turn up for work and ask for a peeled grape on top of foie gras but you don't get it, you can't get annoyed.
Getting an agent is hard, and I also think people rush to get an agent too soon.
Fighters no longer manage themselves: they have a whole team behind them. A fighter has a manager, an agent, a Hollywood agent - they got this and that. And on top of that, they've got their whole team of coaches.
I didn't even know what a tour manager was, but I was the tour manager, booking agent, all that stuff for almost two years without knowing it. I wasn't overwhelmed, because I enjoyed doing it.
I recommend doing some sort of acting class, something that can eventually get you in front of an agent or a manager, and practice is very important.
If you want to be traditionally published, then you most likely want to get a literary agent. To sign with an agent, you need to send them a query letter, but agents can get up to 20,000 query letters a year. With numbers like that, it helps to get in front of agents with every opportunity you have.
I didn't have an agent. I would just write down that I was with my brother's agency, and then the agency would get calls and say that they had no idea who I was.
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.
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