Thursday, August 27, 2009
Think Outside the Box!
This note was posted by a member of the Actors Resource Center and it was so good I wanted to share it with you!
***
This isn't really about goal setting but I thought some of you could benefit from reading it. Its a good metaphor to remind you that there is no one, set in stone path to success in life and success as an actor. Think outside the box.
You are driving down the road in your car on a wild, stormy night, when you pass by a bus stop and you see three people waiting for the bus:
1. An old lady who looks as if she is about to die.
2. An old friend who once saved your life.
3. The perfect partner you have been dreaming about.
Which one would you choose to offer a ride to, knowing that there could only be one passenger in your car?
Think before you continue reading...
This is a moral/ethical dilemma that was once actually used as part of a job application. You could pick up the old lady, because she is going to die, and thus you should save her first.
Or you could take the old friend because he once saved your life, and this would be the perfect chance to pay him back.
However, you may never be able to find your perfect mate again.
YOU WON'T BELIEVE THIS...................
The candidate who was hired (out of 200 applicants) had no trouble coming up with his answer.
He simply answered: 'I would give the car keys to my old friend and let him take the lady to the hospital. I would stay behind and wait for the bus with the partner of my dreams.'
Sometimes, we gain more if we are able to give up our stubborn thought limitations.
Never forget to 'Think Outside of the Box.'
***
Sharon Moist, also known as The Industry Coach®, is a highly sought-after professional career coach, whose clients include Hollywood Power Brokers and A-List Celebrities. After 5 years as a Hollywood Agent, Sharon left the agency to open her own coaching company. Her website is: The Industry Coach®
To sign up for her FREE COACHING NEWSLETTER, go to: Industry News Digest
***
This isn't really about goal setting but I thought some of you could benefit from reading it. Its a good metaphor to remind you that there is no one, set in stone path to success in life and success as an actor. Think outside the box.
You are driving down the road in your car on a wild, stormy night, when you pass by a bus stop and you see three people waiting for the bus:
1. An old lady who looks as if she is about to die.
2. An old friend who once saved your life.
3. The perfect partner you have been dreaming about.
Which one would you choose to offer a ride to, knowing that there could only be one passenger in your car?
Think before you continue reading...
This is a moral/ethical dilemma that was once actually used as part of a job application. You could pick up the old lady, because she is going to die, and thus you should save her first.
Or you could take the old friend because he once saved your life, and this would be the perfect chance to pay him back.
However, you may never be able to find your perfect mate again.
YOU WON'T BELIEVE THIS...................
The candidate who was hired (out of 200 applicants) had no trouble coming up with his answer.
He simply answered: 'I would give the car keys to my old friend and let him take the lady to the hospital. I would stay behind and wait for the bus with the partner of my dreams.'
Sometimes, we gain more if we are able to give up our stubborn thought limitations.
Never forget to 'Think Outside of the Box.'
***
Sharon Moist, also known as The Industry Coach®, is a highly sought-after professional career coach, whose clients include Hollywood Power Brokers and A-List Celebrities. After 5 years as a Hollywood Agent, Sharon left the agency to open her own coaching company. Her website is: The Industry Coach®
To sign up for her FREE COACHING NEWSLETTER, go to: Industry News Digest
Saturday, August 22, 2009
Friday, August 21, 2009
Thursday, August 20, 2009
Wednesday, August 19, 2009
Tuesday, August 18, 2009
Monday, August 17, 2009
Sunday, August 16, 2009
Friday, August 14, 2009
Thursday, August 13, 2009
Two more weeks of FREE SHIPPING on my new book, "Discover Your Inner Strength."
Check it out at: http://ping.fm/TSHIW
Check it out at: http://ping.fm/TSHIW
Wednesday, August 12, 2009
Tuesday, August 11, 2009
Monday, August 10, 2009
Here's the full, extended version of the "Get Human" Database list from Paul English:
http://ping.fm/hLBsq
http://ping.fm/hLBsq
Sunday, August 9, 2009
Saturday, August 8, 2009
Friday, August 7, 2009
Thursday, August 6, 2009
The Top 10 Mistakes Actors Make When They Sign a Contract
By Jeff B. Cohen, EsQ.
BackStage.com
July 30, 2009
1. They don't read it.
Your primary focus as an actor is your craft. So when you get that part and a deal comes your way, your first instinct may be to sign, sign, sign before the contract evaporates. But take a moment to read it. This thin piece of paper governs the relationship between your money, your art, and your career. In a business filled with puffery, the rubber hits the road with your contract. You worked so hard to get it, so read the damn thing!
2. They don't get the opinion of an attorney.
As an entertainment lawyer, I may be a bit biased here. But whether the contract is with a studio, network, or theater producer, you can be sure those on the other side will have a lawyer advising them. So should you. You may have no leverage to negotiate a better deal. Your agent may have already pushed the agreement as far as it will go. But you still need to read it and discuss it with an attorney. Why? So you'll fully understand the obligations you're agreeing to.
3. They don't check the exclusivity.
Exclusivity provisions can prevent you from performing in various commercials, television shows, films, and even Internet projects. Additionally, they're almost always subject to negotiation.
4. They don't confirm the union status.
The contract should clearly state if the agreement is covered by the Screen Actors Guild, the American Federation of Television and Radio Artists, or Actors' Equity Association. And on an independent film, the actor should call SAG to confirm that the producer really is a SAG signatory.
5. They don't get most-favored-nations language.
The producer may have assured you that all the actors are getting the same salary, the same credit, the same-size dressing room, and so on—this is often referred to as "most favored nations"—but the contract should clearly state that the actor's terms are on a most-favored-nations basis, just so the producer doesn't get cute.
6. They don't get a merchandising clause.
It's very common for producers to provide actors with profit participation with respect to merchandising—5 percent of the net profits associated with any merchandising that uses the actor's image. So ask for it!
7. They don't use a loan-out corporation.
If an actor is grossing in the ballpark of $150,000 annually, he or she may be able to save money in taxes by forming a corporation that contracts directly with the producer for the actor's services. This is commonly referred to as a loan-out corporation. Please consult with your attorney and tax adviser to see whether the benefits outweigh the costs in your situation.
8. They don't understand how long the contract may last.
In the case of a test option agreement for a television show, the broadcaster may have the option to engage the actor at a preset price for a number of years (six years is not uncommon). Make sure you understand how long the agreement may tie up your precious time.
9. They don't get pay-or-play language.
So let's say you don't get along with the director and you're unceremoniously fired for no good reason. What then? Well, if you have pay-or-play language, you still get paid. A pay-or-play provision means that even if the producer no longer uses your services, you still get paid your contractual rate.
10. They don't check the perks.
Who doesn't like perks? They're the fantastic swag bag in the gifting suite that is your deal. Keep your wardrobe, get first-class travel to the premiere of your film and a luxurious dressing room (no less favorable than those of your co-stars, of course), plus a dedicated assistant, a free DVD copy of the project when it's commercially available, a first-class ticket to the location for your significant other…. You work hard. If you have the leverage to get those perks, live it up!
BackStage.com
July 30, 2009
1. They don't read it.
Your primary focus as an actor is your craft. So when you get that part and a deal comes your way, your first instinct may be to sign, sign, sign before the contract evaporates. But take a moment to read it. This thin piece of paper governs the relationship between your money, your art, and your career. In a business filled with puffery, the rubber hits the road with your contract. You worked so hard to get it, so read the damn thing!
2. They don't get the opinion of an attorney.
As an entertainment lawyer, I may be a bit biased here. But whether the contract is with a studio, network, or theater producer, you can be sure those on the other side will have a lawyer advising them. So should you. You may have no leverage to negotiate a better deal. Your agent may have already pushed the agreement as far as it will go. But you still need to read it and discuss it with an attorney. Why? So you'll fully understand the obligations you're agreeing to.
3. They don't check the exclusivity.
Exclusivity provisions can prevent you from performing in various commercials, television shows, films, and even Internet projects. Additionally, they're almost always subject to negotiation.
4. They don't confirm the union status.
The contract should clearly state if the agreement is covered by the Screen Actors Guild, the American Federation of Television and Radio Artists, or Actors' Equity Association. And on an independent film, the actor should call SAG to confirm that the producer really is a SAG signatory.
5. They don't get most-favored-nations language.
The producer may have assured you that all the actors are getting the same salary, the same credit, the same-size dressing room, and so on—this is often referred to as "most favored nations"—but the contract should clearly state that the actor's terms are on a most-favored-nations basis, just so the producer doesn't get cute.
6. They don't get a merchandising clause.
It's very common for producers to provide actors with profit participation with respect to merchandising—5 percent of the net profits associated with any merchandising that uses the actor's image. So ask for it!
7. They don't use a loan-out corporation.
If an actor is grossing in the ballpark of $150,000 annually, he or she may be able to save money in taxes by forming a corporation that contracts directly with the producer for the actor's services. This is commonly referred to as a loan-out corporation. Please consult with your attorney and tax adviser to see whether the benefits outweigh the costs in your situation.
8. They don't understand how long the contract may last.
In the case of a test option agreement for a television show, the broadcaster may have the option to engage the actor at a preset price for a number of years (six years is not uncommon). Make sure you understand how long the agreement may tie up your precious time.
9. They don't get pay-or-play language.
So let's say you don't get along with the director and you're unceremoniously fired for no good reason. What then? Well, if you have pay-or-play language, you still get paid. A pay-or-play provision means that even if the producer no longer uses your services, you still get paid your contractual rate.
10. They don't check the perks.
Who doesn't like perks? They're the fantastic swag bag in the gifting suite that is your deal. Keep your wardrobe, get first-class travel to the premiere of your film and a luxurious dressing room (no less favorable than those of your co-stars, of course), plus a dedicated assistant, a free DVD copy of the project when it's commercially available, a first-class ticket to the location for your significant other…. You work hard. If you have the leverage to get those perks, live it up!
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