119. Respectfully Decline | Manager Duo

When it comes to representation, actors are continually searching for the right fit. Finding an ideal partner in an agent or manager takes time. Time that many actors are not willing to endure, and thus, they sign with reps who weren't a good fit from the start.

In this episode, Tiwana shares the red flags that caused her to Respectfully Decline two separate offers from managers at the same company. 

Evidence of an ill-matching agent is never blatant, but it leaves signs. 

Acting Lessons Learned is Produced, Written, Recorded, Engineered and Edited by Tiwana Floyd
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Transcript

Hey there, welcome back to Acting Lessons Learned, the podcast. I'm Tiwana floyd. I share personal stories of the lessons I've learned growing my career as a working actor in Los Angeles. 

In the next few episodes, I'm doing a series called "Respectfully, Decline." Where I share instances of the red flags that caused me to decline the offers of agents and manager's who wanted to represent me. 

First, early in my relocation to Los Angeles, I was advised by my first acting teacher in LA, Stuart K Robinson, to take any meeting I was offered because there was always something to learn in the process. Golden nuggets that I can use to better understand the business. So I did and still do unless, of course, the person has a bad reputation for being an asshole, a scammer, or a sexual predator. Those I quickly pass on.

I gonna share two related yet unrelated manager meetings that produced several eye-opening lessons for me. All the names have been changed because I never know what's considered defamatory, so I gotta play it safe. 

I should preface that I strongly dislike managers who try to sign successful commercial actors camouflaging the true intention of getting 10, 15, or 25% of our residual earnings with no attempts to assist in the evolution of our commercial career. 

There are a lot of managers who use this strategy to fund their livelihood or keep their lights on. But don't carry out the true definition of what a manager is supposed to do, like developing our career and our potential as an artist. Handling all the day-to-day activities required to manage our careers allowing us the freedom to concentrate on what we do best: our creative work.

Adversely, there are a lot of actors who desperately want to be repped. At one time, myself included and signed with these managers to the detriment of ourselves. And since I haven't been able to reconcile my aversion to these paper-pushers, button-pressing managers, I only desire to be repped by a manager either who doesn't take a commercial commission. Or operates by the actual function of what a manager does. And yes, they exist. I did a poll and was surprised by the number of offices that don't take commercial commissions and function by the true definition of a manager. 

So when I received a cold email from a manager on February 12, 2020, right before the pandemic. An office that I hadn't submitted to because I wasn't even looking to be repped by a manager. I questioned why this person was reaching out to me.

It was a reputable management office. I'd heard of them from my peers. Looked them up on IMDbPro and saw they had many recognizable actors at varying stages of success. From what I could determine, the manager who reached out to me, let's call him Henry, was relatively new to this position, possibly this management company, altogether, as evidenced by the six actors listed as clients on his IMDbPro. He was presumably in the process of building his roster. I googled Henry but couldn't find any articles about him online. Not uncommon as most reps manage to stay off the radar. 

I'm going to read his email with my thoughts interjected.

"My name is Henry. I'm a talent manager at EFC management and, I found you on Backstage 

Backstage? Hunh. I didn't know managers looked for talent on backstage. Good to know. I need to make sure that profile is current.

and I'm inquiring to see if you're interested in seeking management representation. 

okay, nothing wrong with an inquiry. Maybe, let's see.

EFC is also a production company where we cast actors in our productions for theatrical projects. 

That's weird? Why are you telling me that? Is Henry alluding that if I sign with them, I'll be cast in their productions? What are these productions? Are they things that align with what I want? My morals and Values? Feels like baiting.

I have booked shows like Grey's Anatomy, Shameless, Criminal Minds, Lone Star 911, American Horror Story, and How to Get Away with Murder. EFC management has a great relationship with casting directors in LA and a very high booking rate. If you'd like to learn more please feel free to email me and visit our website and FB page."

Okay, maybe Henry isn't a new manager. Was he at a different office to have all these bookings? Let me look at the credits of the 6 actors on his imdbpro page? Nope, none of these actors have the credits he mentioned. Dang, they don't even have current credits. This guy has no credits. Hmm...Let me look at Henry's LinkedIn to see where he worked prior. Oh, he doesn't have a LinkedIn. Where are all these credits he speaks of? 

I wasn't impressed by this letter. What is it about me that compelled you to contact me, Henry? Where's the personality? The finesse?

I've listened to numerous agents speak on panels about how actors' inquiry letters could be more imaginative. How agents can tell when actors use a template letter that we'll send to 25 agents And how those letters don't inspire them to offer a meeting. Now, I was on receiving end of this cookie-cutter-style letter. And I wasn't impressed, I wanted more. And you're probably thinking, what did you want more of Tiwana. I wanted a more personable correspondence with some connective tissue. We're talking about a manager. The manager's job is to help develop and build our career. So my expectation is some form of "Hey Tiwana, I looked at your materials, and I'd like to discuss ways in which I think I can help you grow your career." But, I was advised to always take the meeting to see what I'd learn. 

I responded to Henry's email, "Thank you, let's set up a meeting. To which Henry replied, "Great! I love to move forward in our representation process. We do all new talent interviews via Skype or Facetime since we get a lot of talent requests. I currently have Wednesday & Thursday open from 11 am to 5 pm. Please pick a time and give me your Skype or Facetime ID. Also, please email me a link to your last self-tape. Thank you,

I look forward to talking with you."

A Meeting by Skype? I was willing to carve out the time to meet with Henry. I sent him a self-tape, and we scheduled the meeting via skype. 

When we jumped on the call and I saw Henry, I initially thought something is off here. It didn't feel legitimate. Now, remember this is pre-pandemic. I expected this virtual conference to be with someone calling from a brightly lit office setting. It was hard to tell on the screen but it looked like Henry was in a bedroom. The room was dimly lit by one incandescent light in the background. His face was only lit by his computer screen. I could tell his camera lens was dirty from the smudgy halo effect on his face. He wore a baseball cap, was barely shaven, and wore a dingy t-shirt and open button-down shirt, a kin to a Chris Griffin from Family Guy. His behavior was odd and eccentric. 

We spoke briefly, maybe twenty minutes max. I could tell what Henry knew about the entertainment business he could put in a thimble. His communication was abrupt, not rude, just stumbling. Like it was his first time doing any meeting, but he was still trying to uphold a hierarchal position. And, if you know me, you know I have a commanding presence. I don't cow-tow to people. And sometimes, it's off-putting to someone who is used to dealing with folks who lack confidence. 

Henry was trying to close the deal quickly like a used car salesperson or, worse, a Macy's perfume peddler during the holidays. There was this air of feigning power but desperation to make something happen quickly. He started talking about signing me and that he could have a contract over to me via email. It felt like a speed date going wrong and Henry wasn't reading me well. We still needed to get deeper into this conversation and see if we were compatible. He had yet to reach the stage where I'd invite him to my place for a nightcap. And he had no awareness. LOL. His nerves got the best of him, and he went into how he could get me on the ABC TV show Blackish. And, I'm thinking, really, Henry, you can get me on the show? How you gonna do that?

Have you ever had a conversation that moves so erratically that it renders you quiet as you silently question what is happening here? Then because the person is overtalking, they say something that unveils the truth of what they were trying to hide? And at that moment, the statement leaves both of you silent? This happened as Henry revealed he'd seen me in a couple airing commercials and looked me up.  

I started hearing an alarm in my head. You know that sound in every movie when enemy fire hits a tanker? That enh ENH ENH! When the place goes dark, and the red light starts flashing? Now I'm thinking, you saw me in a commercial and looked me up? Ahhhh. This was the purpose of the cold email. I got really still and present. Kinda like on Law & Order SVU when Olivia Benson tries to keep the kidnapper on the call, so they can trace the number. 

I asked Henry. So, would you rep me for theatrical only? He replied, no. We rep across the board. I said oh. Do you submit for commercials? He said yeah, we can. We can? I asked him what his favorite TV commercial was. I might have well bopped him over the head with an inflatable hammer. He was low-key disoriented. He stammered and mentioned a commercial. I asked him which commercial casting directors do you have relationships with. He couldn't answer. I had him on the ropes. I didn't need him to respond. He didn't have the answers. Then, I said, I don't need assistance in commercials. I only need help theatrically. Since you can get me on Black'ish and other productions, you can make a commission off those bookings. 

He started back-peddling, saying I can get you commercials, too. I said I have three commercial reps that handle that area. I'd only need a theatrical representative. And he insisted they'd have to rep me for everything. Then I said, yeah. My commercial reps don't work with managers. Henry said what do you mean? I repeated. My commercial agents don't work with managers. He began stammering and said. Oh Okay. Thank You....click. He ended the skype call. 

I sat there in victorious confusion. I called out a predatory manager but also, what the heck just happened? It was bizarre. Was he a legitimate manager? I questioned. I returned to IMDBpro. His name was on the EFC management's page. It was confounding. I've heard countless absurd Hollywood stories, I thought. Maybe he was a terminated, disgruntled employee trying to get clients before his name was removed from EFC Management's IMDbPro page. IDK

The ordeal with Henry lived in my head rent-free for two days. I decided to write a letter to the owner of EFC Management, Jim Jimson, explaining what I had experienced with Henry. The dark room, the smudgy camera lens, the shallow promises of getting me on Blackish, and finally, how the call ended. I stated that I was skeptical about Henry was he an EFC manager or a predator. Surprisingly, the owner wrote me back, apologizing for Henry's behavior. He clarified that Henry was a new manager and possibly required more training. I thanked him for the reply, and felt good about dodging a bullet.

Two months later, I received another cold email from a manager regarding representation. Let's call her Loretta. But now, we're in a pandemic. It's the early stages of the quarantine. No one knew where the state of the world was headed, let alone Hollywood. Commercial productions continued working with strict precautions and testing, but stage, TV, and film were halted due to the quarantine.

It was odd that Loretta reached out to me at this time. Theatrical productions had shut down. We didn't know how long the stoppage would be. But I gave her the benefit of the doubt. Presumed maybe this was a good time for her to clean her roster, and she's take meetings with new actors because she has the time. 

Here's Loretta's with my commentary

Tiwana, No hello, no greeting.

My name is Loretta and I am a manager with EFC Management in LA. 

YUP, THE SAME MANAGEMENT COMPANY, As henry.

I viewed your profile on IMDB and was very impressed. 

WHAT were you impressed by Loretta?

I am looking to expand my roster and wanted to know if you are interested in management representation? 

EFC Management has a great relationship with casting directors, producers, and agents. In fact, the president, Jim Jimson is also a producer and owns EFC Productions as well as EFC Management. He has produced 32 projects and he wrote and produced for Disney, ABC, HBO, MTV, and VH1.

There goes that baiting device again. What does any of this have to do with you? These are not your accomplishments. Does this enticement really lure actors to sign with them?

EFC Management is a bi-coastal management/production company representing a diverse pool of talent in LA, NY, and the UK. We are also well-known in the LA market and have a track record of booking projects. We have garnered strong relationships with some of the top agencies and have been successful in getting top representation for our talent and opening casting doors for them.

You can check us out on IG, Facebook, and IMDB. I would love to have a Skype call with you if you are interested. If you do have management representation, please disregard this email.

Thank you for your time and consideration.

And Loretta attached 2 links to Jim Jimson's write-ups in Variety magazine. 

WooooooW. Another manager from EFC Management Company sent me a cold letter for representation. Can you believe this? I sure couldn't. 

I was right about the template letter. Loretta used some of the exact verbiages as Henry. What in the world was happening at this office. Without hesitation, I went straight to IMDb Pro to see if Loretta was in fact, a manager at EFC. And to see if Henry is still listed on EFC's company page as a manager. Both were listed as managers.

Was this coincidence, or was I on some old list that an intern created of possible candidates? What were the odds that I'd receive two cold lead manager representation requests from the same company within two months of each other? You know I had to take the meeting. One because Stuart K Robinson advised me to, many years ago. And two, because I'm nosey. Here's my response.

Hello Loretta, 

I appreciate your interest in adding me to your roster. All things considered, this quarantine has me uncertain about how to move forward business-wise. I'm not ready to commit to anything right now, but I'd be open to a Skype meeting to see where our interests meet. 

Cordially, 

Tiwana Floyd

When Loretta and I got on the skype call, she was at home because we all were at home. But she dressed professionally for the meeting. She was well-lit. I could see her face. Kind and personable. We had a pleasant conversation. I immediately recognized this was someone who better understood the industry than Henry. But was still in the early phases of her career as a manager.

I had only prepared a few questions. I led with my instincts asking questions as we went along. I'm always interested to learn about someone's origin story, career trajectory, business acumen, and how they view the world. Why they chose their career path. What are their business goals? Do they enjoy what they do, or are they just button pushers? Are they skilled at negotiating? Are they optimists or pessimists? Are they pragmatic or capricious? I'm okay with a healthy balance of any of these characteristics. I'm only really turned off by these things if they lean too far into them.

I discovered Loretta was new to LA, having just moved here from Atlanta. She had worked in casting and was a talent agent. Both were listed on her IMDb and LinkedIn pages. She was much more knowledgeable on the industry but divulged that she was learning the lay of the land of Los Angeles. I only became skeptical of Loretta once I uncovered that she still had a full-time job on the east coast. She was up every morning at 5a and worked remotely until 2p while submitting actors until 8p. She was also a single mother and had no community because she had just arrived to LA. I know all to well what it's like to work two jobs until the Hollywood dream becomes the sole income. I also know how tired I was trying to do both. Add a child into the mix, which is a recipe for spreading too thin. 

At the close of our conversation, Loretta extended the offer to represent me. I didn't bother going into the across-the-board vs theatrical-only conversation with Loretta because I knew I wouldn't be signing with anyone new while the world was shut down. I graciously thanked her for her interest and time and suggested we check in when the productions were back in full swing.

And as TV and film productions began their slow crawl toward reopening, it had been eight months between my last correspondence with Loretta. It felt like a good time to reconnect to see if where she was in her journey

When I emailed Loretta, she was happy to hear from me and still interested in moving forward. Now was the time for me to broach the across-the-board vs. theatrical-only representation conversation. Loretta stated the same as Henry. That EFC management signed actors across the board. I informed her of my position, the same one I held when I first spoke with Henry. And asked if we could work under a theatrical-only contract. Loretta explained that because she worked as a contractor for EFC Management, she had to follow the owner, Jim Jimson's protocol of across-the-board only. I asked about the length of the contract and commission percentage, she stated one-year and 10%. I requested that we negotiate to 5%. She said she had no jurisdiction to make that call. I was considering working with Loretta for one-year. I knew I could write off any commissions I paid her through my Scorp. So I requested that she send me the contract, and from there, I'd decide based on what it communicated. She obliged. 

Well. Before I could get to the contract itself, the second page of the paperwork was a general check release authorization form. EFC Management required ALL CHECKS from ALL Monies or Gifts or Incentives I earned in ALL areas of entertainment, regardless if they brokered the deal or not, to be sent or redirected straight to them. My stomach sank from the audacity. I didn't feel good about this at all. 

This was problematic because talent management companies are not regulated to the same degree as talent agencies. Talent agencies in California must be licensed by the state before they can even become an agency. They must also be bonded. If they have a financial crisis, the bond will cover some of the monies due to the actors. 

But with managers, there is no licensing or bonds in place. Actors have to trust these offices will do what is expected. I didn't find this contract to be equitable. When I asked Loretta how she would help me to grow my career, her response was to submit me more. 

The manager's job is to develop my career and my potential as an artist. By California law, only a talent agent can submit me. So, no, Loretta, "submitting me more." is not a plan. You're coming to the table empty-handed, and now I have to put you into the category of looking to change your lifestyle from my commercial earnings with no endeavors to help me develop my career.

I Respectfully Declined Loretta's offer to represent me. Informing her that my agents prefer not to work with managers. That I was unwilling to pay her 10% commission on areas of business, she had no hand in building, 

and, furthermore, to sign a general check authorization allowing All of my monies to go to EFC Management. 

She responded with, "Other actors do it." which I find very offensive. I am not other actors, and a manager should never lump their clients into one ideal.

While this final part may sound like it was a heated repartee. It wasn't. We were both respectable in our correspondence. Five months later, I booked a national commercial, and another one I had filmed pre-pandemic began to air. I was satisfied with my decision to not pay a manager an extra 10% of my earnings that they had no hand in.

The quarantine showed me the importance of keeping the bulk of my money in my possession. I remained fiscally stable throughout the pandemic as I witnessed many of my peers struggle with income. Three of my actor colleagues had to drive uber during a quarantine risking their health. One of those friends divulged how she resented having paid 20 grand in commissions to a manager who did nothing absolutely for her commercial career. I'm still determining if I'll ever employ the services of a manager. I'm not opposed to it, but Mos Def would have to be under ideal circumstances.  

I've learned that I don't have to say yes to someone just because they approach me or ask to meet with me, and I can take my time to suss out the credible ones.

It's tough to discern which representatives to add to your team, equally as much, I'd gather, as it is for an agent or manager to choose an actor to sign. It's disheartening to discover not all representatives have good intentions. Still, we have to take our chances and hope for the best. But when we listen as intently as we do when we are acting, we can hear what's truly being said. 

Thank you for listening. I hope you enjoyed this episode of Acting Lessons Learned, and some takeaways will enrich your journey.

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