TALENT AGENT TRAINING PAGE
LEARN TO BE A "TALENT AGENT".
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TALENT
MANAGEMENT
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[You may want to read this page 5 or 6 times and you may want to make reference to this page when you need to know this information]. In this written document we use the word "ENTERTAINER" and the word "ENTERTAINER" is interchangeable with the words "ACTOR", "ACTRESS", "RECORDING ARTIST", "SCRIPTWRITER", "STORY BOARD ARTIST","FILM DIRECTOR" "OPERA SINGER", "CLOWN", "COMEDIAN", "BAND MEMBER", (etc), and/or other types of "ENTERTAINERS". By you reading and understanding the information on this page, I do not guarantee that you will be the ONLY 16 year old (or a 50 year old) "TALENT AGENT" or "ENTERTAINMENT MANAGER" in OWOSSO and that "CELEBRITIES" might telephone you from HOLLYWOOD, in desperation, because the CELEBRITY thinks that you can get them work, when others can't. Or, that "YOU GOT SECRET HOLLYWOOD CONECTIONS"......NO PROMISES, whatsoever , are being made by me, do to this information..... And, knowing this information is not comparative to a COLLEGE DEGREE.
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TRAIN TO BE A TALENT AGENT
On this webpage I will post information that you can use to LEARN "HOW TO BE A TALENT AGENT".
Our FIRST LESSON will be entitled WHAT IS A TALENT AGENCY and WHAT DO TALENT AGENTS DO?
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(LESSON 1)
WHAT IS A TALENT AGENCY?
A "TALENT AGENCY" is like an employment agency; only for ACTORS and ACTRESSES. The AGENT has a "CONTRACT" with the ACTOR to "REPRESENT" the ACTOR. So, the CONTRACT authorizes the TALENT AGENT to seek employment for the ACTOR with motion picture producers, tv drama producers, tv commercial producers, stage theatres, summer theatres, and anyone else who wants to employ the ACTOR.....The same would be true, if, the "CLIENT"/"CLIENTELE" was a "RECORDING ARTIST" or a "COMEDIAN".
Most AGENTS are often not that concerned about the REPUTATION nor the IMAGE of the ACTOR, because, the AGENT doesn't know a lot about that. He/she knows how to be an AGENT. And, collect the ACTORS "PAYCHECK". Some agents do and they take action to protect the ACTOR/ACTRESEES "REPUTATION" and their "IMAGE" to the Public. So, they hire a "PUBLICIST" or an "IMAGE BUILDER" to deal with "REPUTATION" Problems.....IMAGE: What the Public believes about them.
A "TALENT AGENT" is really just a fancy word for the word "SALESMAN".
So, a TALENT AGENT represents ACTORS/ACTRESSES/SINGERS/ ENTERTAINERS for their work.
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WHAT DO TALENT AGENTS DO ?
"BOOKING AGENTS"
Basically, a TALENT AGENT "REPRESENTS" the ACTOR or ENTERTAINER to get them work, etc. BOOKING AGENT.
TALENT SCOUT
First, the TALENT AGENT "Scouts-Out" talent [TALENT SCOUT]. Attends and watches their performance(s), reads their RESUME and looks at their PHOTO(s), and makes a judgement about the ENTERTAINER and the AGENTS willingness to REPRESENT the ENTERTAINER. Then, the agent makes the decision to, either, represent the ACTOR, or pass-them-up. [AGENTS INTUITION].
REPRESENTATION
If, the agent decides to represent the ACTOR, the agent enters and SIGNS a "CONTRACT", governing the REPRESENTATION, between the ACTOR and the AGENT. [See SAMPLES of these types of "CONTRACTS" in future postings].
AFTER signing the "CONTRACT" the AGENT goes about looking for work for the ACTOR. The AGENT might call PRODUCERS (or CASTING DIRECTORS) on the telephone and discuss their new MOVIE PRODUCTION. During this discussion the AGENT will schedule an AUDITION for the ACTOR. The AUDITION will be scheduled with the CASTING DIRECTOR for the MOVIE. (The AGENT will secure a script from the CASTING DIRECTOR and give it to the ACTOR to rehearse), the ACTOR rehearses "script" the AGENT got from the PRODUCER or CASTING DIRECTOR and the ACTOR will rehearse the "script" a couple of dozen times before the AUDITION).
MEMORIZATION is one of the "Secrets" to becoming a (successful actress) or becoming a famous "CELEBRITY"
AUDITION
The AUDITION is held in the CASTING DIRECTORS studio. (There may be a thousand other actors there at the AUDITION). The AGENT might attend the AUDITION and give the CASTING DIRECTOR a RESUME and PHOTO's of the ACTOR. Usually an AGENT does not attend an AUDITION.
After the AUDITION the AGENT will call the DIRECTOR on the telephone (follow-up) and convince the DIRECTOR to hold a "DIRECTORS AUDITION" for the ACTOR or to go ahead and employ the ACTOR. [Remember, the AGENT "NEGOTIATES" the work for the ACTOR or the ENTERTAINER].
[REHEARSAL]
Schedule "DIRECTORS AUDITION".
Director holds "DIRECTORS AUDITION".
In second telephone conversation with DIRECTOR, the AGENT convinces the DIRECTOR to "Hire" the ACTOR. If, the DIRECTOR says "NO", then, the AGENT trys to schedule a "SECOND DIRECTORS AUDITION", so , the DIRECTOR can take a second look at the ACTORS "SKILLS". That second audition should do the job. If, not go on to the next "Acting Opportunity" and the next DIRECTOR. The AMOUNT OF PAY is the real factor in an ENTERTAINER/ACTOR wanting a "certain role" in a "certain motion picture". The same is true for a "COMEDIAN" or a "RECORDING ARTIST/MUSICIAN".
However, if, the ACTOR gets "CASTED" do to the "SECOND DIRECTORS AUDITION", then, the AGENT begins to negotiate the "DEAL" with the PRODUCER. That PRODUCER will probably hand (or mail) a "BOILERPLATE CONTRACT" to the AGENT and say "YOU SIGN HERE"
"YOUR ACTOR SIGNS THERE". They pay your ACTOR "that amount". "Any Questions?".
Normally, the AGENT says NO and decides to do, whatever the PRODUCER says (He's the BOSS).
CONTRACT SIGNING
There will be a formal "CONTRACT SIGNING CEREMONY" an ["inking"] between the PRODUCER, the AGENT, and the ACTOR, who all sign the CONTRACT in the PRODUCERS Office. The PRODUCER will probably hand the AGENT a "FIRST CHECK" for the "FIRST PAYMENT" to the ACTOR. The AGENT takes that check, deposits it, and issues a check to the ACTOR. The AGENT allways collects the PAY DUE to the ACTOR and allways pays the ACTOR. [TALENT PAYMENTS].
Now the AGENT needs to keep records of when the ACTOR will work...will do rehearsals...will meet with the DIRECTOR (DIRECTORS REHEARSAL), meet with the PRODUCER...will meet with the "PUBLICIST"....will be "ON THE SET" working (acting), etc.
The AGENT is responsible for notifying the ACTOR of the SCHEDULE and when to work and when to rehearse. The AGENT will , normally, allways call the ACTOR every morning the ACTOR is to work.
The AGENT completes and submits and TIME SHEETS or TIME CARDS or WORK COMPLETED STATEMENTS for the work performed by the ACTOR, gets them approved, and picks up the "ACTORS PAYCHECK" [TALENT PAYMENTS]
REPRESENTATION
If, the ENTERTAINER (ACTOR) has a problem with the PRODUCER, with the DIRECTOR, the PRODUCTION CREW, another ACTOR, the SCRIPT SUPERVISOR, the Make-up Artist, or anyone at work, it is the AGENTS responsibility to solve that problem for the ENTERTAINER/ACTOR.
If, an ENTERTAINER needs a STAFF the AGENT hires them and supervises them.
PRESS CONFERENCES
The AGENT will, also, plan and prep the ACTOR for "PRESS CONFERENCES", "PRESS PHOTO SHOOTS", and "PRESS INTERVIEWS". Sometimes an AGENT will tell an ACTOR "WHAT NOT TO SAY TO THE NEWS MEDIA" during such events. The AGENT will make sure there are plenty of copies of the ACTORS "PRESS KIT" and "NEWS RELEASE" and "PRESS PHOTOS" are at the "PRESS CONFERENCE" and that members of the press can easily get thoses "PRESS KITS" and "NEWS RELEASES".
AGENTS solve problems for the CLIENT/CLIENTELE (the ACTOR) and/or settles disputes or indifferences between the ACTOR (CLIENT) and the DIRECTOR and/or the PRODUCER. If, he/she can't solve the problem, then, the AGENT calls their LAWYER to solve the problem. A call from the AGENT's LAWYER, normally, does the trick. No one really wants to get sued.
The webpage, you see elsewhere, on this website entitled "ENTERTAINMENT WEBSITES" can be used to learn about the ENTERTAINMENT INDUSTRY. That webpage list the websites of TALENT AGENTS.....MOTION PICTURE PRODUCTION STUDIOS.....TELEVISION NETWORKS.....CASTING DIRECTORS.....ENTERTAINMENT PUBLIC RELATIONS AGENCIES (PUBLICIST). Visit that webpage and "CLICK ON THE LINKS".
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80% of ALL "CELEBRITIES" have the TALENT AGENT:
WILLIAM MORRIS AGENCY.
Some people believe that, if, you know WILLIAM MORRIS AGENCY exist, then, that's all you need to know, to make it "SUCCESSFULLY" in the ENTERTAINMENT BUSINESS. It's like the "PUBLICITY BUSINESS", if, you know that BURSON MARSTELLER public relation exist, then, that's all you need to know about PUBLICITY......Now, let them do the HARD WORK.
GOOGLE the words:
BURSON- MARSTELLER
and, the words
WILLIAM MORRIS AGENCY
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(LESSON 2)
What is the difference between a TALENT AGENCY and a PERSONAGER MANAGER ?
Basically the difference is that in most States a TALENT AGENCY is required to have a LICENSE, just like a LAWYER or A DOCTOR. A PERSONAL MANAGER , in most States, doesn't need a "LICENSE".
In most states a TALENT AGENCY is considered an EMPLOYMENT AGENCY. In some States you just pay the STATE GOVERNMENT the LICENSING FEE and that's it.....In other STATES an AGENT is required to take a WRITTEN TEST, have his office inspected by a State government Agent, and have to secure a $1-5 million SURETY BOND. Check with the SECRETARY OF STATE in your State about REGULATION OF TALENT AGENTS.......(It's actually easy to do this).
Allmost all States do not LICENSE "PERSONAL MANAGER" (MANAGER), because the PERSONAL MANAGER is considered an ADVISOR and is advising the ENTERTAINER about their career. In some PERSONAL MANAGER (MANAGER).
AGENTS
"REPRESENTATION CONTRACT"
The CONTRACTS that a TALENT AGENT signs with an ENTERTAINER to represent the ENTERTAINER is somewhat different than the CONTRACTS used by a PERSONAL MANAGER. Most of these "CONTRACTS" are what you call "BOILERPLATE CONTRACT" and are written just to comply with the State Law. You can go to a LAW SCHOOL LIBRARY (like the COOLEY LAW SCHOOL LIBRARY in LANSING, Michigan) or go online to find copies of these "BOILERPLATE CONTRACTS". Just "photocopy" the "CONTRACT's" in the book about contracts and use it. WEST LAW publishes books with copies on TALENT AGENT and MANAGER contracts. If, you don't understand what a contract says, then, have a LAWYER explain it to you. (Have the LAWYER explain it to the ENTERTAINER/ACTOR, too).
The contracts, signed between a PRODUCER and the ENTERTAINER and their AGENT are "BOILERPLATE CONTRACTS", too. And, those contracts, basically, say what the STATE LAW requires it to say. Many TALENT AGENTS have a LAWYER execute (sign) the contract, so, that it is viewed as LEGALLY EXECUTED. Later I will have a lesson about CONTRACTS and I'll explain the various parts (CLAUSES) of the contract and explain wht it does.
The CONTRACT give the AGENT or MANAGER the AUTHORITY to REPRESENT the ENTERTAINER and collect the PAYCHECK of the ENTERTAINER......(TALENT PAYMENTS). I once had a TALENT AGENCY in NEW YORK CITY, in the FISK BUILDING on 57th St. There is over a dozen TALENT AGENCIES in that building. And, there's Half-A-Dozen modeling agencies in that building...several Film Producers have their office in that building. I had a $5 million SURETY BOND, with an insurance agent) to protect against LAWSUITS.
A PERSONAL MANAGER requires NO LICENSE in most States (just hang out your sign) and they (PERSONAL MANAGERS) are not really REGULATED or their facilities inspected by most STATES. Most PERSONAL MANAGERS use the words MANAGER or PERSONAL MANAGER to discribe themselves and to guard against LAWSUITS from ENTERTAINERS.
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(LESSON 3)
MAKE YOU'RE CLIENT A "CELEBRITY" WITH PUBLICITY
Most TALENT AGENTS are not EXPERTS at PUBLICITY, yet, all of them use PUBLICITY for their ENTERTAINER/ACTOR/CLIENT/CLIENTELE.
PUBLICITY can make an average Actress a "CELEBRITY".
And, if, you're going to be a TALENT AGENT, then, you'll need to know what PUBLICITY is...You need to know about words like "NEWS RELEASE", "PRESS KIT", "PRESS CONFERENCE", mean and how to use them, etc.
PUBLICITY
A lot of people think that "PUBLICITY" is tricks...gimmicks...dangerous stunts....which, of course, it is. However, PUBLICITY is really a "WRITTEN NEWS STORY" in the form of a NEWS RELEASE....a PRESS KIT... or, a PRESS PHOTO PACKAGE...
A "NEWS RELEASE" is a "written" NEWS STORY printed on 1 or 2 pages of stationary paper. You take 2, 3, 4, 6 NEWS RELEASES and and some "PRESS PHOTOS" and you put them in a PRESS KIT FOLDER or a 10X 10 ENVELOPE and it becomes a "PRESS KIT". PRESS KITS are give to MEDIA EDITORS, who use the to develop a NEWS STORY.
PRESS KIT
"PRESS KITS" can be mailed to NEWSPAPER EDITORS....Mailed to EDITORs, EDITOR-in-CHIEF, MANAGING EDITOR, and/ or EXECUTIVE EDITOR of magazines. For example, if, your ENTERTAINER/CLIENT was a RECORDING ARTIST or MUSICIAN, then, you'd give the "PRESS KITS" to the EDITOR of "BILLBOARD" magazine, or to the EDITOR of ROLLING STONE newspaper. Whereas, if, your CLIENT was an ACTRESS, then, you'd give the "PRESS KITS" to the EDITOR of VARIETY magazine...HOLLYWOOD REPORTER...PEOPLE magazine...NEW YORK TIMES ( Entertainment Editor)...the CHICAGO SUN-TIMES (Entertainment Editor).
A "TALENT AGENT", armed with a couple dozen "PRESS KITS", can conduct a "PUBLICITY CAMPAIGN" and make his/her CLIENT a "CELEBRITY". A TALENT should allways have a few "PRESS KITS"in his/her "filing cabinet" for when there needed. A TALENT AGENT should have several "PRESS KITS" about himself/herself, in his/her "filing cabinet".
TELEVISION NEWS STORY
VIDEO PRESS KIT
A "TALENT/ACTOR" (or their AGENT) can also give NEWS RELEASES and PRESS KITS to TELEVISION NEWS DIRECTORS. They can also give a "VIDEO PRESS KIT" to develop a TV NEWS STORY. Most CELEBRITY MOVIE STARS have a "VIDEO PRESS KIT" (video clippings from their performances).
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Around 80% of all CELEBRITIES have "BURSON - MARSTELLER Public Relations as their PRESS AGENT/PUBLICIST....GOOGLE the words: BURSON - MARSTELLER Public Relations.
EDELMAN PUBLIC RELATION also represents CELEBRITIES for thir PUBLIC RELATIONS/PUBLICITY/MEDIA AFFAIRS. OGILVY PR represents CELEBRITIES, too.
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GOOGLE the words: Image Building...Publicity...NEWS RELEASE... PRESS KIT...PUBLICITY CAMPAIGN...REPUTATION MANAGEMENT...PRESS AGENTS...public relations...PRESS AGENTS...PUBLICIST...PRESS CONFERENCES...
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(LESSON 3)
ONE HIT WONDERS !
HOW TO PREVENT THAT FROM
HAPPENING TO YOUR CLIENT
OR TO YOU.
In the ENTERTAINMENT INDUSTRY there is this thing known as the "ONE HIT WONDER". It happens to recording artists, it happens to Actors and Actresses. It can happen to anyone in the Entertainment Business. It can especially happen to someone from a small town where there is no "creative climate " at all. No skilled writers. No professional acting coaches. Nothing to be a foundation under your professional as it development.
The first thing to do to prevent you and your client from being a "ONE HIT WONDER" is to realize that it can happen, thus you can plan your future to prevent it.
Lets say your BAND has recorded a single record and its playing on a few radio stations and your getting popular around the area. Then, a "BIG CITY AGENT" comes along and gets you on a "BIG CITY TOUR" and you go on the tour singing the One hit you have.
This is the critical point. you've got industry professional interested in you and you've become a "ONE HIT STAR". What do you do now?
You need "another hit" or you need some publicity to enhance your career or to carry you alone for a few months. You need to plan for the future. So, you ask around about who writes "HIT SONGS". (After all you're not an expert song writer). You ask other "Music Groups"...you ask other agents you meet...you ask Producers you meet along the "TOUR". And, you find someone who has written several "HIT SONGS" and you talk to them about recording one of their songs, but, you insist that it be a "HIT SONG". So you try the song out in the garage, or in a studio, or in a club you got hired to play in. And, you let INTUITION make your decision. And, you get other persons opinion about that song and the way it sounds. Did they like it or not? Did it sound like a "HIT" or not? If, you the ENTERTAINER, the AGENT, or the MANAGER think it's a "HIT" you, then, enter an AGREEMENT with the AUTHOR to record his/her "written song". NOTE: When signing AGREEMENTS, of this nature, you don't want just PERFORMANCE ROYALTIES. You Want RECORDING RIGHTS, COPYRIGHTS, MOVIE USAGE RIGHTS. and any and ALL RIGHTS. Often AGENTS end up with all the RIGHTS to their CLIENTS "CREATIVE PRODUCTIONS". ENTERTAINERS, MANAGERS, and AGENTS allways need really good Attorneys.
Sometimes a Producer pays for the studio rental, pays for the producing of the record. And, sometime the AGENT pays for it all. And, sometimes a SPONSOR pays. ALL AGENTS, MANAGERS, and ENTERTAINERS need some one associated with them thats got a lot of money and is willing to invest in your CREATIVE CAREER.
PUBLICITY: A "LIFESAVER"
FOR CELEBRITIES
Allmost all ENTERTAINERS never realize that PUBLICITY is not just a vital aspect of their career, it is the factor that can make you a "CELEBRITY". PUBLICITY can prevent a "MUSIC GROUP" from becoming a "ONE HIT WONDER". PUBLICITY can make the public know who you are...PUBLICITY can make the public want to see you perform, again. PUBLICITY is what will attract the "BIG CITY AGENT" or the "BIG CITY PRODUCER". PUBLICITY can make the executives of the record company know who you are. PUBLICITY can cause RICH AGENTS to fund your career. PUBLICITY can become the most valuable thing an AGENT or an ENTERTAINER knows about.
So, the ENTERTAINER (or the AGENT) who does not want to be the "ONE HIT WONDER" will learn that they need a "REALLY GOOD PUBLICIST" or "PRESS AGENT" and that that person is willing to get you (or the ENTERTAINER) a lot of PUBLICITY.
Like they say "GET YOUR PICTURE ON THE COVER OF THE ROLLING STONE" or on the cover of "PEOPLE" magazine, or on the cover of "BILLBOARD" magazine, or on the cover of the NEW YORK TIMES.
If, you were a TALENT AGENT or an ENTERTAINER what would you do to prevent yourself from becoming a "ONE HIT WONDER"?
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(LESSON 4)
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CASTING DIRECTORS
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The "GATEWAY"
TO HOLLYWOOD
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"CASTING DIRECTORS" are the persons who make the selection of the actors who will play the roles in a MOTION PICTURE. A "CASTING DIRECTOR" is hired by the PRODUCER to get the cast for a motion picture. Often the PRODUCER will give the "CASTING DIRECTOR" a copy of the "SCRIPT" and the casting director will analyze each "CAST MEMBER" and write a "CHARACTER DISCRIPTION" for each role. Then, the "CASTING DIRECTOR" will go about finding ACTORS & ACTRESSES for each role.
The "CASTING DIRECTOR" will hold "AUDITIONS" ( dozens of AUDITIONS). An AGENT or an ACTOR will read about "AUDITION" and "CASTING CALLS" in the "Trade Papers" (like VARIETY.... DAILY VARIETY.... HOLLYWOOD REPORTER...BACK STAGE....SHOW BUSINESS (newspaper) or other trade papers. Those "AUDITIONS" are for "EXTRA ROLES" or "DAY PLAYERS". The "STAR" will be chosen by the "CASTING DIRECTOR" in private and, that "STAR" will go through maybe 5 or 6 AUDITIONS before the "CASTING DIRECTOR" makes the decision that that ACTOR will be the "STAR" of the motion picture being casted.
Usually the "CASTING DIRECTOR" will announce the "AUDITIONS" (Roles, location, time, date, etc) and maybe let the ACTOR have a copy of a page or 2 pages of the "SCRIPT" to "REHEARSE" before the "AUDITION". Then, when the "AUDITION" is held the ACTOR arrives at the "CASTING STUDIO" at least 15 minute before the "AUDITION"....checks-in (signs in)....and finds out which room their AUDITION will be held....Then, at the designated time the ACTOR enters the "AUDITION ROOM", greets the "CASTING DIRECTOR", then, immediately presents their AUDITION. The ACTOR will probably present about a "HALF PAGE of the SCRIPT" as the "AUDITION". The ACTOR, then, gives the "CASTING DIRECTOR" a HEADSHOOT PHOTO of the ACTOR. Allways make sure your NAME and Telephone Number is on the BACK of the Photo. (All photos should have the ENTERTAINERS NAME on the photo).
Sometimes the "CASTING DIRECTOR" might request that the ACTOR attend a "SECOND AUDITION". Or, the ACTOR/ ENTERTAINER can have their AGENT call the "CASTING DIRECTOR" and discuss the ACTOR...discuss contracting them...finds out what the "CASTING DIRECTOR" liked about the ACTOR....or the AGENT can request a "DIRECTORS AUDITION" with the "DIRECTOR" of the MOTION PICTURE. After all, the "CASTING DIRECTOR" may be the person who gets the CAST and selects that CAST, however, the "DIRECTOR" will also have to approve of every ACTOR, before the PRODUCER hires those ACTORS.
An AGENT or a MANAGER have to keep track of AUDITIONS. And, an AGENT or a MANAGER normally SCHEDULE ADUDITIONS with a telephone call to the office of the "CASTING DIRECTOR".
As an AGENT or a MANAGER you need to know and build a "RELATIONSHIP" with "CASTING DIRECTOR" for whom you can "AUDITION" your "CLIENTS".
Below is the WEBSITES of a few HOLLYWOOD "CASTING DIRECTORS":
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CASTING DIRECTORS WEBSITES
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Visit the WEBSITE above to learn more about "CASTING DIRECTORS"...what they do...what they have done...and what they will do in the very near future. Some ACTORS spend more than 10 years of their acting career before the discover the "CASTING DIRECTORS" at the websites above.
Now you have some "inside information" about Hollywood and, so, now you have some "Hollywood Connections".
LYNN KRESSEL CASTING is probably the "BIGGEST CASTING DIRECTOR" in the business:
LYNN KRESSEL CASTING
23rd St. @The Hudson River Pier 62 Room 304
New York, N.Y. 10011
Tel: 212-414-2941
You may want to read this information at least 5 or 6 times.
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There actually is no University or College, in the United States, where you can learn to be a TALENT AGENT or PERSONAL MANAGER. Most learn on the job. Right now you know more about TALENT MANAGEMENT than the average TALENT AGENT.
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NEXT POSTING:
"SIGNING ROYALTY CONTRACTS
AND, READING ROYALTY STATEMENTS"
(this may change)
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TO BE CONTINUED
Imagine you Learning enough about the TALENT AGENCY BUSINESS that come 2014, you applying for and being issued your "TALENT AGENCY LICENSE" and, then, you opening your own "TALENT AGENCY (in NYC, in Hollywood, in Beverly Hills, or where you decide).
Instead of you becoming a "BRAIN SURGEON" .....why not you becoming a "TALENT AGENT" and possibly make an "ANNUAL INCOME" 5 times or `10 times more than a "BRAIN SURGEON".
How much do you think HOWARD STERN gets paid in a day? How much do you think his AGENT gets paid.
HOWARD STERN's AGENT gets paid more than $100,000 a day.
See why you want to be a TALENT AGENT.
