quote:

Originally posted by Crazy Nut:
I am currently looking for commercial representation and received the poorly-written email, too. MZA got my info from LA Casting. I thought that perhaps an intern had written the sad, sad email and decided - what the heck - why not give MZA a try? I have a friend who is repped by MZA and is more than happy there.

I drove the nearly 70 miles (one-way) to the office and met with Katherine Spencer (this is the correct spelling of her name). I really liked her and got good vibes. She said that my picture was good, but that my head didn't take up enough space on the page. When I told her it was digital and I could crop it, she didn't seem to care. She said that "an agent" would be a better judge. We talked about how the agent/actor relationship is collaboration. It was a short meeting, but it felt productive.

Katherine asked me if I could come back in 2 days to meet with "the agent". I was told that I would need to send an email stating, "I will accept COMMERCIAL representation if offered," in order to be granted a second interview. Again, why not?

Two days later…
Upon entering the office I noticed a piece of paper with the following written on it:
"We will not be shaking hands today.
When you enter the office close the door behind you.
Please sit in the green chair closest to the window.
Do not move chair closer to the power agent.
You may swivel in your chair.
When you leave the office leave to door open behind you."

Okay...

Michael came into the lobby to make sure I had read - and understood - the rules. He followed me into the office and politely pointed out the green chair closest to the window, just in case I had forgotten the rules.

He said he thinks I have a good commercial look and he wanted to help me get "good" head shots. Just then, his cell phone rang. It had to be the loudest ring tone I've ever heard. He checked the caller ID and answered it…in mid-sentence with me. The conversation that, then, occurred seemed very rehearsed.

When the phone nonsense was over we talked about me a little bit – by we, I mean he talked and I listened. There was a sheet of paper stapled to my headshot…through my head. We talked about how I hadn’t taken a commercial acting class in quite some time and he pulled out another sheet of paper that contained a list of “recommended” acting classes.

Then Michael asked if I had done any union work. I have not. He said he knew a guy that could help me with my “non-union problem”. That’s right, for a substantial fee this guy would get me onto some sets as a union extra. He gave me his phone number.

I checked out of the meeting at this point.

Next we talked about my photos. Again, he talked and I listened. I needed 6-7 different types of headshots. He, then, magically produced – you guessed it - a sheet of paper with a list of photographers. Michael strongly suggested that I not stray from this list (of photographers I’ve never heard of) because, they he is assured consistency from these precious few photographers. I was advised to peruse all of the photographers’ websites to get ideas – even if I decided to go with the first or second person on the list. Of course, all of my classes and head shots should be completed before the first of the year so that I could be pounding the pavement in January. Then, it was over.

I stood up, didn’t shake hands, and left. That was it.

As I drove home I began to wonder…does he really expect for me to invest in new head shots tailored to his specific standards without a contract in hand?

I decided that I would not. I agree with the types of photos he wants me to get, but when I actually do sign with an agent, I want to have photos that he/she believes in. New headshots are not an investment I want to make every few months.

My feeling is…if he likes you – and you can deal with his personality style – you could do very well with MZA (as my friend does).

I, on the other hand, don’t deal well with the unethical types.