Episode 7 / Liam Tiesteel, Director of LJT Talent Management

Liam Tiesteel, Director of LJT Talent Management, shares LJT's open book approach and how they select performers to represent, life working as a performer and an agent and - of course - some great advice for getting headshots.

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How Do You Choose Who To Represent?

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"For us, what we're looking for in a client is individuality. Someone could be the most talented person that can be, you know, the highest kicks in the room or the best singer in the room. But if they're not an individual and they don't bring a personality, we can't work with that."

• Read The Full Transcript

  How Do You Choose Who To Represent?

  Sure. Yeah. For us, it's very much we've always got open books. We've always got space for people that we need. If we have holes in our books, if we have people working for numerous amount of years, we need to find somebody to kind of fill their spot. For us, what we're looking for in a client is individuality. Someone could be the most talented person can be, you know, the highest kicks in the room or the best singer in the room, but if they're not an individual and they don't bring a personality, we can't work with that. What we like to do is take people on board that we see potential in and we like to nurture talent and really give that personal management and really help people through their careers rather than just taking them on board and being like, here's an audition. We're like, here's an audition. What are you going to sing? Do you need any help with this? Any suggestions? These sort of things are really having a sort of nurturing and safety environment so they can come to us at any point that they need. For those people that we feel maybe aren't right at the moment, we always encourage people to always come back in a few months time because maybe they just aren't right at the moment for whether it be talent or maybe we have someone that just already is similar to them and we never have two people of the same. For us, it's very important that we always keep everyone individualised. So someone could be absolutely amazing, but if we already have you on our books, we can't take you, but that doesn't mean that that person doesn't then book a show for 2 years and then we have a whole book for that person. So we always encourage people definitely to come back.

  Yeah. I think the big thing for me is very much especially like when you're a graduate that first six months graduation you change so much like you will change how you look so your headshots that you get when you graduate 6 months later maybe you've got a facial hair then or you change your hair colour you know you found yourself because you finally go into the adult world - scary part of the industry - so then you kind of need to think to yourself after six months time if you apply to an agency 6 months ago are you that same person. If the answer is no reapply because then it's a fresh application. You're a fresh person, you're a fresh individual. And also ability wise if you've put so much work and ethic into this, you know, this craft, whether it be singing, dancing or acting or all three, the more you work at it, the better it gets. And obviously the industry is changing. So you need to keep up with what the industry is looking for as well.
  

  How Does Being A Performer As Well As An Agent Help?

  Yeah. I think for me it's what I enjoy is being able to balance obviously my own personal career, but also being able to nurture and help talent myself. I think because we come from a fresh, younger perspective, we understand how it is to also be in these scary rooms, to not get auditions, to get auditions, to get rejections, to get offers, you know, all these amazing things. And we enjoy that sort of thriving aspect of knowing how it still feels to be a performer. So, if a performer comes to us and says, "Hey, I'm absolutely terrified for my audition or I can't make an audition because I have to work my 9 to 5 job in London to pay my rent." We understand that as performers ourselves. So, we like to bring that sort of approach to our agency careers. Of course doing what we need to do as agents, but also bringing that personalised approach as performers as well.
  

  What Should Performers Think About When Getting Headshots?

  Yeah, I think with the way the industry is, it's so important through your Spotlight profile, through your CV to have a headshot that represents you. So, when you're picking your headshots, don't think, what do I look the best in or what do I look the best in this angle? It's about castability. You need to see a headshot and think, if you want to be in this certain show in the West End that looks like this character that you think that you could be. So, it's very important to be very representative of what you want your career to go down rather than thinking what do I look best in. Asking for people's advice, asking your agent, friends, friends and family, all these people, they're going to give the realistic opinion of this looks correct for your castability. I think choosing your own headshot can be good. It's great. But I think having an outside opinion is really important.

  How Should The Talent/Agent Relationship Work?

  Yeah, I think it's so individualised. I think every agency works very differently. For us personally, as we, you know, we are a nurturing personalised management, we love it when our clients message. So, if you see a casting that you're like, I really want to be in the room for this. So, you really want to have an audition or do the job, send me a text and I will get back to you. I will always talk to you and tell you how we can achieve that together to get you in those rooms to make sure the audition goes well. And also, I just like to know what's happening with my clients. You know, at the end of the day, this is a professional relationship. It's about nurturing you and, you know, working together to get to where we need to be at the end point. But also, I need to know who you are to actually tell teams about you. So, if I don't know your real personality, I can't sell you to a team. So, I really want to get to know who you are as an individual. You know, I love to have catch up with with my clients, whether that be over the phone, in person, via Zoom, whatever it is, to kind of make sure that we're on that level playing field of if you are getting rejections, you never feel scared to come to me as your agent. I'm just Liam. I'm just a normal person in this industry, but I'm here to support you and really nurture you through all that.ext goes here

Episode 6 / Richard Leavey, an agent with Collective Agents

Richard Leavey, an agent with Collective Agents, describes how a collective of agencies works, the advantages of a collective representing not just actors but creatives across the whole entertainment industry, the state of play in the industry today and how actors should approach their headshots.

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How Does Being A Collective Work?

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"Own your insecurities. I knew that my biggest insecurity back then became my biggest selling point, my strength."

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• READ THE FULL TRANSCRIPT

  How Does Being A Collective Work?

  So the best thing that I love the most about Collective Agents is we are many agents under one umbrella. But we all have our separate lists. So if you would never speak to any other agent other than the one that you signed up with. So, it's that boutique feeling of having one-on-one connections, relationships with your agent, but you do have the power of everyone in that office behind you. I can help somebody with their contracts, they can help me with my contracts. I like that we always know what's going on. We have a very good creative agent within the within the umbrella and they look after musical directors and set designers and, you know, these people are being AV checked months before breakdowns are going out for actors. So I'm there listening and being told this information which you know if I was Richard Leavey Associates on my own I wouldn't have that power. So I love Collective for that reason.
  

  Is There A Strength In Representing Creatives Across The Industry?

  But it's nice to have it to have that within Collective Agents because it just means I'm always hearing what's going on and like I said before if I was on my own, if I was my own entity, I wouldn't know that information. So it means that I can start sort of having conversations with people before breakdowns might have come out in Spotlight, that kind of thing. So I find that really handy and it's we're a close-knit company. We really get on. We've really got each other's back. So I love that about Collective. I feel I have power. We're power in numbers, but I still have that direct relationship with my client list. Yeah. Australia, we have agents. We have connections in Australia, New York. Again, it's just always nice if we have a client going to New York, things might differ slightly to how we work here, so we can get that advice knowing that our client is safe and and we're positive that they're going out there with a clear view.
  

  What Is The State Of Play In The Industry Today?

  So, I think, you know, it's always been a really difficult industry. You've always had to really fight. Very little comes easy. So you know, I think actors need to really ask themselves questions before they go in for meetings with an agent. For instance, you know, what do I need? What am I looking for? What am I wanting to achieve? How how do I want my agent to work? There's no - I always say there's no schooling to be an agent. You kind of learn your way as you go. I had a couple of agents as an actor and I found my person. So, I like to think I agent close to how he did with me because that's when I thrived. That's when I understood myself more. I believed in myself more. But you know, some people might not want that kind of relationship. Some people want to be told where to go, what to do. I believe it is a relationship and there is a conversation to be had. The more I know about my client, the better I can do my job. And you know, every client is different. So, some peoplewill really push for that relationship and others prefer to keep it separate. You know, and we have a lovely time and we meet up for our meetings or a coffee or I see them at a press night. But some people do need a bit more nurturing, especially the early side of their career. I think choosing an agent right now is is really important. What do you want to do? Do I want to go and travel the world? Do I want to stay in London? Do I want to be on screen? Do I want to be on stage? You've got to really understand these questions. I get a lot of young grads come in and they have their their list of questions. Yeah. They come in with a list of questions from their faculty that they've been advised to ask and some of the questions they're just not needed. It's got to be personal. What is your journey going to be? And that might change within 5 years. But you know we're lucky. We've built we've built a brand at Collective Agents. We've worked really really hard and we are lucky. You know we - our success rate of getting people in the room is so high. It's very rare that we really struggle but that's because we work really hard. We understand our clients. We don't just put everyone up for everything. We try and really nitpick and make sure everyone's getting put in for the right thing, not just for the sake of it. And you know, I speak to casting directors nearly every day of my life. And you know, not everyone works like that. People are just, you know, put them in, put them in, put them in. But actually trust your agents process. You might not be in for 10 auditions in one week. You might be in for three auditions in two weeks. But they'll be the right one for the artist as opposed to being in the room for the sake of being in the room. 
  

  What Should Actors Think About When It Comes To Headshots?

  Headshots are the first thing a cast and director sees before you even walk into a room. They are vital. And there are some bad choices out there. I can't stress enough, especially maybe slightly younger people. It's so simple. It's like people overthink it and they need to look a certain way. We all know what you look like. Anyone can see my face as what it looks like, not what I maybe see in the mirror or what I might post on Instagram. You know, everyone can see me fully and headshots need to represent that. They shouldn't be overly made up. I don't want fake eyelashes. I don't want contoured cheekbones. I want to see the person. Because that - you are the person that they're going to meet. So, I think less is more. If you are a really friendly young person with balls of personality, I want to see that in your photo. I don't need you looking at, you know, I want it to be authentic always. And unfortunately, I see a lot of people spending money on these headshots and when they have their final edit that they haven't asked my opinion on, and I know I'm going to struggle getting them into the room. So, it is absolutely vital. Your headshot is the key to your door, if you like. But again, just know your brand. I wish I'd known my brand 25 years ago when I was graduating because I was told what to do and I didn't listen. I thought I knew me better. So I was walking into rooms not really fully understanding myself as a full-rounded performer and I tried to blend in and I tried to be a lad and I tried to, just yeah, I was acting but in the wrong sense of the word and as soon as I got my brand everything clicked and I started to work. Oh, I owned my queerness. I owned my my figure. I owned that I wasn't going to be a big muscle man in Chicago. But what could I do? I could do the shows like Priscilla and La Cage and you know that kind of vibe. So as soon as you know your brand, don't overthink it. You will be fine. But own your insecurities. I knew that my biggest insecurity back then became my biggest selling point, my strength. So you know, again don't get overly edited photos. That's your face. If you have a dimple, if you if you have something slightly quirky, use that to your advantage. that might book you the biggest commercial going and you get a huge buyout. So I say know your brand, own it, don't overthink it, and that is your selling point.

  How Do You Find The Right Headshot Photographer?

  So finding your perfect headshot photographer isn't that difficult. We have the internet everywhere now on our phones. So look at actors that you aspire to be or what careers they've had. Look at where they've had their headshots done. It's very easy to find. You just type it into Spotlight. And then go and stalk a few websites of, you know, your top three or four photographers. What draws you to to that person. Do you like the lighting? Do you like the way it's photographed? I don't think again you need to overthink it. And ask your agent. Always ask your agent because we will have a list of good, wonderful photographers that will make you feel comfortable in the room I've got three to four headshot photographers that I know as soon as they land in my inbox, they're all going to be amazing and there's going to be a guaranteed top two or three, four, five, however many they want to pay for. But again, just don't overthink it.

  And also my personal opinion, I know it's hard for some people, but try not to think about saving money too much because sometimes the difference between £20 or £30 can be a huge difference in the package that you receive at the end of it.

Episode 5 / Lauren Shannon, Co-Director of agency Shannon & Bloom

Lauren Shannon, Co-Director of agency Shannon & Bloom, talks about setting up an agency, working with children and nurturing young talent and provides some great advice for young, aspiring actors.

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How Did Shannon & Bloom Get Started?

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"I don't want to be catfished. I want to see how you look and your headshot has to be an impact to me. I don't want a flawless, airbrushed representation of you. I want those unique features, I want you to embrace what you look like and celebrate it."

• READ THE FULL TRANSCRIPT

  How Did Shannon & Bloom Get Started?

  I have a background in TV and film from doing castings, working behind the scenes as an acting tutor and just being on set mainly with children. I've had a school for 25 years. I met Rosemary, was absolutely bowled over, fell in love, saw that we were like ying and yang and had such core, different strengths, that we decided to make this amazing Shannon & Bloom family and become an agent.
  

  What Are The Key Considerations For Nurturing Young Talent?

  I feel children are a complete, different kettle of fish because parents need guidance, they need help with set up, how to tape, their headshots - literally every component with children really needs that nurturing vibe. So, with our actors we always give feedback. Because we're both trained actors we really do re-direct, because, obviously, a partnership together will really be able to build success and create a vision. And with children you really do need to, in some ways, tutor their self tapes so that they really shine in the way that you know their characters are really coming across, transferring onto the screen and being able to really embody the character. Showing that emotional range. With children, that needs nurturing. That needs guidance. So it is a completely different kettle of fish with children, to be honest, in my opinion. And it's also very hard when you have a child who's invested so much time in a self tape. Or they've got through to the screen test and it's just between them and another child. It's really heartbreaking to tell them. So it's a different component that Rosemary and I have - we have to be the child's biggest cheerleader. We have to be really reassuring that, you know, this is the business, it's harsh, but you need to celebrate even having a self tape. You need to really embrace the process, learn from it and then you know normally when the film or the advert comes out and they weren't chosen you can always see what was the difference. And then you learn from that process, really. It's character building and also you have to really support a child. that they then have the believe to keep on going. And that's where I found that I didn't have that as a young performer. I need - we really believe in our clients, we're so close with them, that we can really work and create magic, you know. And every opportunity, look back at your self tape and learn from it and grow and to have that correction is just fantastic. Just celebrate every opportunity to be seen by a casting director because if you don't get it and you're memorable it's amazing - you've won anyway.
  

  What Do Young, Aspiring Actors Need To Think About?

  Personally for me, it's a strong headshot and I don't want to be catfished. I want to see how you look and your headshot has to be an impact to me. I don't want a flawless, airbrushed representation of you. I want those unique features, I want you to embrace what you look like and celebrate it. Absolutely document it in a headshot and have that star quality that we're looking for. Because we are sent hundreds a week and if you've got somebody that shows real magic on a headshot, you see that actually they're unique, they're mouldable and then it transfers into their showreel. That's what I'm saying as I don't want to be catfished with a headshot that when I come to a meeting with you on Zoom you don't look like the headshot. So just embrace what you look like, look at your features, look at your selling points and just totally believe in yourself. Because everybody is unique and beautiful and that' got to be celebrated and that's what we're looking for. We're looking for that different, special star quality.

Episode 4 / Rosemary Bashford, Co-Director of Agency Shannon & Bloom

Rosemary Bashford, Co-Director of agency Shannon & Bloom, talks about setting up an agency, advice for her younger self starting out in the industry and navigating tough times as an actor.

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How Did Shannon & Bloom Get Started?

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"I really wish that when I graduated I thought about being confident enough to communicate with my agent. I think that's just really important. I let myself feel small when I should have known what I wanted and who I was."

• READ THE FULL TRANSCRIPT

  How Did Shannon & Bloom Get Started?

  We met, Lauren and I and we are very different. We're really different, but it works beautifully because we're like professional soul mates - that's what we always say. So we knew that we both had really different skill sets and if we put them together it would be - magical. And it has been, we absolutely love it! So we created the business, we created Shannon and Bloom and we've been really lucky to work with some absolutely glorious people and still do every day which we're so grateful for. But we both come from performing backgrounds, we're both trained actors and I think in so many ways that's been what's made us successful.We've really enjoyed putting what we've learnt in our training and applying that to the clients that we work with and then also having the understanding of both sides as well. But you know, we started the business, every single day is just unbelievable, we love our job, we just say - Lauren, don't we say all the time how much we love - Absolutely we love - love my life! We love it. We love it. We love our life and we always just say we're so lucky to do something that we really enjoy. But yeah, the beauty of it is that Lauren is just such a people person and she is - everyone loves her, she can really - she can sell ice to a snowman! Which is brilliant for me, I'm like can you call them and just persuade them and she's like "Yeah, no problem." Done. And then I'm more like the tech side of things so together it works really beautifully.

  What Advice Would You Give Your Younger Self?

  I would say, Rosie, hun, sweetheart - know what you want and know what you need from your relationship with your agent as well. I think it's really important. I was really lucky, I was signed to a fantastic agency and then when I created Shannon and Bloom with Lauren we spoke about what was really important for us and communication id the main thing for us. We want people to be able to, if they need to, pick up the phone to have a chat to us, we want them too...we have WhatsApp groups with everyone, every single client has a group so if one of us is busy or in a meeting the other one can get back to them.So communication's really important to us and I really wish that when I graduated I thought about being confident enough to communicate with my agent. I think that's just really important. I let myself feel small when I should have known what I wanted and who I was. And also with that in mind casting as well. I needed to know what my casting was and - not put myself in a box - but know where I excelled. And I feel like now that I'm on the other side of things I can see it for other people. It's always hard for yourself, but that's why you need to be confident enough to say to your agent, "Where do you see me?" You know, "What do I need to work on, what skillsets do I need?" You know, if you're someone who really looks and enjoys doing kind of action films we need to work on like the stunt credits or we ned to work on just going on a combat course. Or whether you love working with accents? Really push yourself in that, get an accent coach or even do it by yourself on YouTube but really apply yourself and get that accent reel done. So basically, just applying yourself in the area in which you think you'll excel, basically.

  How Should Actors Navigate Tough Times?

  Yeah, it is. The bottom line is it is really tough. And there are a lot of people who want to make it. If we're talking about actors particularly, lots of people want to. There are thousands of unrepresented actors as well, so there's loads of people from different angles of the industry trying to make it. And what you really need to think about is what makes you special. That's not going anywhere. You are completely different to everyone else in, you know, whether it's your looks or your talent or your skillset or your personality - everything. No-one is you hold onto that in the rough times and excel in that in the great times. You just gotta keep going and if you feel your motivation fading on you, that's also ok. You know, no-one can be motivated all the time. But just do what you can with what you've got, basically.

Episode 3 / Alex, an Actor and Agent with 1984 Personal Management

In this episode, Alex, an actor and agent with 1984 Personal Management, talks about how co-operative agencies work, navigating the process as an actor and an agent at the same time, the ideal actor/agent relationship and the importance of authenticity in headshots.

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1984 is a Co-Operative. How Does That Work?

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"I would say that if you're scared to message your agent, there might be an issue there. Because it should be someone who understands what you want to do, how you want to do it, and how you want to be marketed for it..."

• READ THE FULL TRANSCRIPT

  1984 is a Co-Operative. How Does That Work?

  Of course. So, a co-operative agency, the basis of it is it's an agency full of actors who act as agents for each other. It ranges from agency to agency, but between kind of 15 and 30 actors and the idea is a few of you are in every day acting as that day's agent for the rest of the actors in the co-operative. And obviously there's some months of training and there's some bits of the industry which are harder to understand than others, but I'd say the advantages are it's hugely beneficial to be able to see what comes out. I feel like as an unrepresented actor, you get a dribble of jobs from what Spotlight gives you, and you're kind of lost in the dark about where are all these Netflix jobs going? Where are all these West End jobs going? I have no idea. And to be able to see them come out and see how they're advertised and then through being an agent for other people, seeing how the process goes from you submit someone for something, then you get a self tape, then you get an audition and a recall and a pencil and a job. That whole process. It demystifies the whole thing and it can really get rid of a lot of paranoia. The other massive plus I would say is just have the control over your career and that's so so important to be able to - I think no-one should know how to market yourself better than you and be able to come into a group of people who understand what being a jobbing actor is like and talking to them and being like this is what I'm brilliant at. This is what I'm less good at. This is the kind of work I want to be doing. And knowing and going into the office and seeing how you're being submitted for things and being able to verify that yourself. It's not only a massive weight off your shoulders, but it liberates you to be able to be like, okay, if I go and do a workshop at this, if I train in puppetry, I then know exactly how to tell the people, okay, I'm now great at puppetry and put me up for those jobs. So, I think it's a level of control over your career that other agencies might not be able to offer.
  

  Is The Process Easier To Navigate As An Actor & Agent?

  Definitely, I have to say I don't think it's for everyone because you have to give up some time. So me, like so many members of the agency, we have kind of freelance jobs that we're able to balance around it because we work night shifts or we work weekend shifts. So you know, if you've got a traditional 9 to 5, it's quite hard. And also just for some people, they like the idea of having one person who fights their corner for everything and understands them. And for some people that is perfect and I totally get that. But I think for some people who don't feel like they have that person or people who know them as artists and understand them as artists, to have a group of people who you can draw on for their experience. The stories that you hear, the anecdotes, it all builds up to kind of help your understanding of this very nefarious industry that can feel like a fog at times. It yeah, it demystifies it. It clears the fog.
  
  
  How Should The Relationship Between Actors and Agents Work?

  Yeah. I think it's I think it's a very interesting topic the actor agent one especially recently given news about some agents not acting in their clients' best interests and my instinct would be it's different for every actor and agent, of course it is, some people are naturally much more we fire WhatsApps back every day, some people are much more like if I need to tell you something I'll tell you something and that can work however it is but I would say that if you're scared to message your agent, there might be an issue there. Because it should be someone who understands what you want to do, how you want to do it, and how you want to be marketed for it. And if you're sat there hovering over your phone being like, "Oh, if I send this message, am I going to get dropped?" I wonder if - I'm not sure that's perfect. In the same breath, texting your agent every day, don't. Just don't. Especially agents who have you know beyond 20 or 30 towards 50 towards a 100 clients. You pestering someone like that will not endear you to them. It should be I think, you hear this from casting directors as actors, in terms of give me something that's actionable, that's targeted. It's not just being like oh any good jobs come out today because then you know the answer will be like "Yep I'm doing my job". But it's the stuff kind of every now and again if you see something come out that you're like, right I know you've seen this but I am perfect for it. Please get me in that room or like oh I'm not sure this kind of came in on the fringe but I think it could be a great fit. I think it's those marginal things of trusting your agent to do their job because they're very good at their jobs. So many agents are fantastic and I prioritise traditional agents as well. They are committed to that job and they are fantastic at it. But in the same breath it's just giving them a little nudge now and again just to be like just in case you didn't know that's me, that's a bit of me. So I think it's something you work out with every agent and every actor but just, you know, a balance of trust from both parties is very much needed
  

  What Makes A Good Headshot?

  I'd say. Don't try and be a character because when the casting director, when you walk into a room the casting director will see you. And if you've put on a face, so to speak, they will immediately see like, oh, that's not who I picked in the headshot. So, it's got to be you. And obviously, you've got space on your Spotlight to have more characterful shots and full body shots. And I think those can be very helpful because there are some jobs that need certain things and those can help. But your main headshot, just have it be you. Don't over complicate it. Just your face, your head. And it's very interesting to see when submissions come into our co-operative immediately, you can almost tell the ones who have really thought about that and have just kind of, and you see them and then you click on their showreel and it's like "That's them" for their showreel. Whereas some people you're like "That's two different people!" So yeah, just be you for the main one and then have fun with the other ones.t goes here

Episode 2 / Fran, Director at Apex Management

Fran, Director at Apex Management, talks about the importance of actors headshots, how to choose the right photographer for you and how to approach the industry today.

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Why Do Actors Need Professional Headshots?

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"Remember you are the artist and every room that you walk into you're going to give something to somebody there. I think that's the kind of positive attitude you have to have, to allow yourself to go through it and know that amazing things are going to come your way."

• READ THE FULL TRANSCRIPT

  Why Do Actors Need Professional Headshots?

  I mean it's a great question if you think about it the headshot is the first thing that anyone in the industry sees about you so surely you want that sort of like best foot forward for yourself. An actor is an actor, you know, a writer is a writer and a photographer is a photographer. There are just so many fantastic tools that you can you can get and that can be used in a studio to kind of help you achieve that maximum look so when a casting director or director are scrolling through, your headshot kind of jumps out and and not only visually looks fantastic but says something about you that differentiates yourself from other people. So I think it's so important to be able to work with a photographer and a headshot photographer that understands who you are and why you're in the industry

  How To Choose The Right Headshot Photographer For You?

  Absolutely I mean it depends you know what kind of actor and what kind of person that you want to be and I think at the end of the day it's realising that we're all just people and like yes you have to sell yourself but what makes you unique. You have to kind of find that partnership with you and a photographer and a headshot photographer, so looking through people's work and sort of thinking well what does that picture say about them and how does that make that different from other pieces of their own work that means that they understand their client and knows how to work with them and knows what their needs are and how to make them feel safe and make them feel comfortable with what they're doing. Because we're not all naturals in front of the camera, it's kind of like Ready Steady Cook where it's like you have that sort of like bag with all these ingredients in and every single person makes something different and you kind of got to see what's for you and what you like. Because everyone is so different so you have to make sure that a photographer understands like all your special ingredients and what can kind of bring it to light.

  What Advice Would You Give To Actors In The Industry Today?

  I think all of it is about identity and remembering why you're here in the first place. If you wanted to do a corporate job you could do that but you're here because you have a passion and a love for something and at one point in your life you believed in yourself so you have to continue to believe in yourself and know that if you work hard and surround yourself by the right people things will work out and you have to have that hope because if you don't have the hope what is there? So just remember you are the artist and every room that you walk into you're going to give something to somebody there and I think that's the kind of positive attitude you have to have to sort of allow yourself to go through it and know that amazing things are going to come your way.

Episode 1 / Gabe, Director at Apex Management

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Gabe, Director at Apex Management, talks about the importance of headshots for actors and what makes a headshot stand out from the crowd. Apex focus on nurturing and supporting their talent and he covers both the role of an agent, well-being and why you need representation in the industry today.

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Why do headshots matter?

Note: View on YouTube for captions.

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"Each individual actor is an individual first and foremost. They are a human and so it's really important for me, as your agent, to create really safe spaces for you, make sure that you are equipped in every situation to feel that you can give your all without there being many barriers to entry."

• READ THE FULL TRANSCRIPT

  Why Do Headshots Matter?

  Okay, so you've got - I guess you've kind of got to imagine it from the casting director's perspective. So imagine that they're receiving thousands of submissions as they do. It's your kind of first real chance to stand out across maybe even you know 1,500 submissions. That small photo that would say a lot.

  What Makes A Great Headshot?

  So, I would say for me the the key thing is authenticity. So you know you should never be kind of portraying a character in your headshot. They should still be you. However with that being said I think they should have a glimmer of something a little bit I guess extra that will really pull the casting director's attention. I also think that something really important is your eyes. Your eyes tell a story and so being able to really kind of look not just look at the camera but look through the camera and try and convey some sort of story emotion is really really helpful from a casting perspective

  What's The Role of An Agent?

  100%. So I the way that I kind of see the relationship between an agent and an actor is that agent is almost like the portal to the industry especially during downtime we are the key to unlocking opportunities but also being able to go okay this is what's going on in the world. And so because of that something really really important to me is communication So being able to feel like I can pick up the phone and talk to you you can pick up the phone and talk to me and we can have a really open dialogue is is really important. That kind of also leads on to well-being So obviously as we all know the industry - it's a crazy industry - but being able to be open and frank and honest with your conversations really, really helps the well-being of my clients, of everyone that we kind of work with. And so that's really really important for me to be able to be open.

  Why Do Actors Need An Agent?

  So there are a few kind of key things I guess. Obviously you've got the logistical side. So we as agents, we spend our lives working. I always think you know we work for our our clients. We're there to unlock those opportunities and those opportunities that are sometimes harder to find and harder to come across. So that's a very key thing. On top of that as well like I say it's very very important to have almost your kind of right-hand man in the industry to be able to work together, feel like you're working with someone to achieve your goals so we can celebrate the good and the things that need to be worked on. Okay, so something that I find really really important is kind of noticing that each individual actor is an individual first and foremost. They are a human and so it's really important for me as your agent to create really safe spaces for you, make sure that you are equipped in every situation to feel that you can give your all without there being many barriers to entry.