A Quote by Radha Mitchell
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.
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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].
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.
I received a phone call; my agent got a phone call from Ryan Murphy saying he wanted to talk to me... And he basically outlined 'American Horror Story' for me and said that there's a character named Larry the Burn Guy, and I'd like you to play it.
An agent won't help you get drafted higher, won't make you win more games, and won't make you faster or stronger. They all say they can, but the people who do the drafting don't talk to agents. They talk to coaches, they watch film, they talk to the people who've worked with players. They don't talk to agents.
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.
Every rejection, every phone call from my agent to say, 'It didn't go your way,' I felt the layers of my skin growing. 'OK, cool, let's move on.' You have to get beyond the fear of rejection and plow on because it's intense.
I've got a folder full of rejection slips that I keep. Know why? Because those same editors are now calling my agent hoping I'll write a book or novella for them. Things change. A rejection slip today might mean a frantic call to your agent in six months.
I wrote one book, signed with a good agent, and sat back and waited for the phone to ring. I was sure that the great news would come at any moment. Four books later, I finally got that call.
I didn't have an agent until I got 'Hairspray.' I had to get a Broadway show without an agent to get an agent.
When you hear Liverpool want you, you call your agent back in about five seconds.
I don't pick the roles. Your agent gets a call for you and you go and they all get together, everybody has fun at the reading, and they say, "There's chemistry here." So that's how it happens.
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 got a call from my agent; I'm out in the boonies. They're like, 'Where you at? The Warriors are trying to call.' I'm like, 'Hold up! I'm on the lake, and I ain't got no service.' So I had to drive two miles up the road so I could get service and take the call.
Zappos uses call center technology to track average call time per agent. But the goal isn't to reduce this average - it's more important that we make an emotional connection with the customer, rather than just quickly getting them off the phone.
As I got older, I'd say probably when I got to, like, seventh or eighth grade, I was living in Atlanta, Georgia at the time, and I went for an open call for an agent, a local agent out there, a woman named Joy Purvis, and she ended up picking me up.
I call myself a literary agent simply to distinguish myself from actors' agents.
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