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Got a child with the personality and confidence to be on TV? Learn insights from local talent agents on what it takes to get them into the spotlight.
Getting Kids Into TV and Film
Does your child have what it takes to be on TV or in a movie? Here’s what you need to know about working with a talent agent and breaking in. The entertainment world is a multi-billion dollar entity constantly looking for new players, and kids no longer need to live in L.A. or New York to pick up work. There’s plenty of it here in the Southeast in film, TV, commercials, music videos, print, voice-overs, industrials and more. But with so many children — and parents — trying to get their foot in the door, what is it that separates rookies from pros? “Personality and interest by the child is most important in working as a professional talent,” says Stephanie Williams, owner of the Dan Agency in Brentwood. “Because the child is getting paid for the job he is doing, clients who book professional children expect that they have a strong interest in performing for the camera be it print or on-camera, and for that reason will demonstrate amazing personality on the job.” Evelyn Foster, manager of Nashville’s Talent Trek, emphasizes the importance of kids being able to take direction. “He has to be able to listen. In this industry, time is money,” she says, adding that personality is key, too.
Getting Started with an Agent
Agents are always looking for talent, and start-up costs for kids breaking into show business — whether it’s film, TV or commercials — should be no more than resumes and head shots. But get an agent first before you fork out for shots and proceed with caution. If an agent asks for money up front, don’t buy it. Agents make a commission when your child successfully books himself a role, and that’s the only way they are supposed to earn their keep. Foster says, “It is best to have head shots made after being accepted by an agency who will show you what they need to represent your child.” Williams agrees and adds that for children new to the industry, parents should bring a simple snapshot to the initial agency meeting. “Industry standards for head shots are very specific and are different from portraits, pageant shots or school pictures,” she says. If picked up, the agent will guide you down the best path for your child depending on the type of work he wants to do in the industry.
What Kind of Kids Get Work?
Williams describes Nashville as a “lifestyle” market, meaning most modeling and acting jobs that pay aren’t looking for fashion models; they’re looking for commercial models and actors. “Kids of all ages and sizes book professional modeling and acting jobs,” she says. It’s important that kids really want to book work over being pushed by Mom or Dad. “If it is the parents who are pushing their child to work in the industry because they think their child is talented, that never works out for anyone,” says Foster. She says children who really want to do it are the best ones to have on set. “Once on set — I can’t say this enough — children need to have the ability to entertain themselves, be seen and not heard until they are needed, listen to the director and follow directions,” she adds.
How are Kids Selected to be Sent Out?
When casting is taking place for any type of work, an agent receives “specs,” meaning, what the casting director is looking for (look, age range, any specific skills needed for the project). “The agency submits talent to the booking client and negotiates the rate for the job,” says Williams. “If talent is selected by the client to audition or book the job, they will contact the agency with a list of who they want to see for an audition or who they are interested in booking for the job. This is when the parent hears from the agency.”
What is Expected of Parents?
Obviously, you need to have the ability to get your child to auditions and jobs if he lands them. “Should your child get booked, the parent is required to stay with him on set while he is working,” says Foster. Production people working in film, TV and more have seen it all. Sometimes children can become problems on set, but by far, illmannered, pushy parents are the worst. Parents who act in the cliché stage-parent fashion today actually hinder their child’s chances for getting work. “If the parent is difficult to work with, it is human nature on all levels not to want to call them,” says Foster, adding, “However, if a child is really talented and wants to do this, we try to work with and educated the parents so that will not happen.” Williams says a parent can be the number one reason a child will not get booked if the casting director or production crew senses the parent is high maintenance. So, how do you avoid the stage-parent trap and be the ideal parent to work with? “An ideal parent is one who is easy to contact, who always gets back to us on a timely basis and who has worked with their child beforehand memorizing lines or helping him understand the role,” says Williams. “Not coaching them necessarily; that’s the casting director or director’s job. An ideal parent will step back and not interfere with that,” she adds. Foster says being low maintenance is key. “Auditions as well as modeling and acting jobs are about as non corporate as any job could be, and parents need to understand from day one that this is a fluid business unlike most businesses, and specifications can change on a dime.”
Janet Pinkerton is a freelance writer.
LOCAL TALENT AGENCIES
The following agencies work with local children.
