In the simplest cases the Client calls the Model Agent\u00a0directly, tells them what they need, the agent selects someone who
\nis right for the job, and the deal is done. In the most complex, the\u00a0Casting Director calls every Model Agency in town, they end up\u00a0with hundreds of comp cards and then hundreds of applicants in a\u00a0complex recursive process, and everybody in the chain feels they\u00a0get to make a decision. When that happens models will be looked\u00a0at, photographed, discussed and sent home. They may be asked\u00a0back for another look. Someone may decide to hire them and put\u00a0them on hold, while someone else decides they aren\u2019t right, and\u00a0substitutes other models. It can be frustrating when there are so\u00a0many people in on the decision.
\nMost of these people (Model Agents, Clients, Photographers,\u00a0Ad Agencies, Casting Directors, sometimes Stylists) have the
\npower to keep a model from getting the job. The model needs to\u00a0understand who these people are, how they affect her career, and\u00a0learn how to make each of them part of her team.\u00a0If you haven\u2019t gathered it already, modeling is a team sport.<\/p>\n
Your First Call from the Agency<\/strong> Before and At a Go-See<\/strong> After the Go-See<\/strong> The Shoot<\/strong> Getting Paid<\/strong> In the simplest cases the Client calls the Model Agent\u00a0directly, tells them what they need, the agent selects someone who is right for the job, and the deal is done. In the most complex, the\u00a0Casting Director calls every Model Agency in town, they end up\u00a0with hundreds of comp cards and then hundreds of applicants in […]<\/p>\n","protected":false},"author":43,"featured_media":13897,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2166],"tags":[2330,2331,2332,2333,2328,2325,2335,2326,2329,2327,2334,2336],"class_list":["post-13896","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guide","tag-3-introduce-yourself-to-everyone","tag-4-do-not-discuss-rates-or-terms","tag-5-shoot-what-was-booked","tag-7-releases","tag-active-retired","tag-complex-casting","tag-getting-paid","tag-how-modeling-jobs-work","tag-makeup-artist-present","tag-portfolio-pictures","tag-sign-the-voucher","tag-your-first-call-from-the-agency"],"_links":{"self":[{"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/posts\/13896","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/users\/43"}],"replies":[{"embeddable":true,"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/comments?post=13896"}],"version-history":[{"count":1,"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/posts\/13896\/revisions"}],"predecessor-version":[{"id":13898,"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/posts\/13896\/revisions\/13898"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/media\/13897"}],"wp:attachment":[{"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/media?parent=13896"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/categories?post=13896"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/map.model.world\/directory\/wp-json\/wp\/v2\/tags?post=13896"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nThe first time you will hear from your agency about a job is\u00a0when you are sent out on a \u201cgo-see\u201d or \u201ccasting.\u201d For you, this is
\nthe beginning of the process, even though the creative team is\u00a0nearing the end of their efforts on an ad. Selecting models is one\u00a0of the last things that happen before a shoot, and even a lot of the\u00a0casting process may have taken place before they ever get to\u00a0calling you.
\nWhen you get that call you need to call them back quickly.\u00a0Jobs may arise and be cast in a matter of hours. Sometimes
\nclients select several models for a single assignment, call them,\u00a0and give it to the first model that calls back to confirm. If you\u00a0don\u2019t have a way (beeper, cell phone, good answering service that\u00a0will track you down) to find you quickly, you run the risk of\u00a0losing a lot of jobs you otherwise could have. You might even\u00a0lose your agency.
\nSo, what do you need to do in that call? Make sure you get\u00a0all the information you will need for the go-see. Your first\u00a0problem is whether you even want to take the job (sometimes you\u00a0may not). So you need to know:
\n1. What is the job for? Who is the client and what is the product?
\n2. When is the shoot?
\n3. Where is the shoot?
\n4. What does it pay?
\n5. What will you portray, and how will it be used?
\n6. Does it require wardrobe that you don\u2019t have?
\nIf you get through all that, don\u2019t have any conflicts or\u00a0objections, you need to know about the go-see itself. You should
\nask your agent:
\n1. Where is the go-see?
\n2. When is it?
\n3. How do I need to be dressed to play my role? (For commercial\u00a0models.)
\n4. Who should I see at the go-see?
\nAll of the questions above relate directly to that job and\u00a0should be asked if the agent doesn\u2019t volunteer the information.
\nBut one of your obligations is to get off the phone quickly. A\u00a0complex casting call may require your agent to call 50 or more\u00a0models in a hurry. She doesn\u2019t have time to chat or deal with\u00a0other issues; she would rather not have to give you detailed\u00a0directions to the go-see. That\u2019s why you bought all those maps!\u00a0You have just been given privileged information. You\u00a0should not share it with others and you should not take other\u00a0people along with you to either the go-see or the shoot (unless you\u00a0are a child and need an escort).<\/p>\n
\nIf you get a call from more than one agency for a go-see, the\u00a0general rule is that you should tell the casting director (and each\u00a0agency after the first) that you are going for the first agency to\u00a0call. That is standard practice and should be accepted by all\u00a0agents. There are some exceptions: if you are called by several\u00a0agencies and one of them has a preference clause in your\u00a0agreement with them, you should tell the casting director you are\u00a0represented by that agency regardless of what order the calls were\u00a0received in. You should also tell the other agencies who call you\u00a0that you, since they may know that they called you first. Another\u00a0exception is if an agency gets a \u201cname-request\u201d from the client\u00a0specifically for you. In that case you should accept the go-see for\u00a0that agency, even if you got a call earlier (not a name request)\u00a0from some other agency.
\nBring your portfolio if you have a good one; leave it at home\u00a0if you don\u2019t. If you have a wide selection of portfolio pictures,\u00a0make sure to include some that show you in the role this job\u00a0requires. Do not include pictures that may be inappropriate for\u00a0the client (e.g. don\u2019t take a portfolio full of lingerie shots when\u00a0\u201cyoung mother\u201d is being requested.)
\nYou should arrive near the beginning of the go-see period.\u00a0The mechanics of the selection process favor those who are first
\nseen. Don\u2019t let an opportunity slip away because you chose to go\u00a0at 5:45 for a go-see that runs from 4-6 PM. Yes, you were \u201con\u00a0time\u201d, but as a practical matter you may be \u201ctoo late\u201d.\u00a0When you are at a go-see you are being evaluated for a\u00a0particular role that the client wants a model to play. Your agent\u00a0should give you the details if he knows them, although all too
\noften the casting director hasn\u2019t told the agent and you are on your\u00a0own to figure out what they want. If it is for \u201cyoung mother\u201d or\u00a0\u201cexecutive\u201d, \u201csporty\u201d or \u201cactive retired\u201d or some other type you\u00a0need to put yourself in that frame of mind and remember that you\u00a0need to project that persona from the moment you open the door.\u00a0The photographer or client needs to be able to visualize you as\u00a0what they need to shoot \u2013 you should give them all the help you\u00a0can. That means to dress in a way appropriate to the role, and\u00a0take on the demeanor of a person in that role. You still need to be\u00a0courteous, but always while acting as the person they are casting\u00a0for.
\nWhat counts is what you look like, not how old you are,\u00a0except in special circumstances. If there is a data sheet to fill out,
\ndo not list your exact age or birth year. Rather, list an age range\u00a0appropriate to you in the role you are being asked to play (for\u00a0instance: 27-32) and if birth year is required, select a year in the\u00a0middle of that range. Some exceptions include people under 18\u00a0(who should indicate exact, true data) and ads for tobacco or\u00a0alcoholic beverages, which require that the true age of the model\u00a0be over 25.
\nMany times the sign-in sheet asks for your personal contact\u00a0number in addition to your agency phone number. Many agencies\u00a0have a policy that you should not give this out, both to protect you\u00a0and to protect them. You should ask your booker about this\u00a0before you get sent out on your first go-see. Normally if there is a\u00a0reason for the photographer or stylist to have your direct contact\u00a0information (sometimes there is, but later in the booking process)\u00a0it will be given to them by your agent.\u00a0Sometimes a photographer will attempt to renegotiate the\u00a0terms of the deal (different start\/stop times, different pay rates,\u00a0additional usage of the pictures) either at the go-see or later, when\u00a0you have been booked. In all cases you should decline any such\u00a0request and refer the question to your agent. Frequently these\u00a0seemingly innocent questions have the effect of costing you a lot\u00a0of money. It is your agent\u2019s job to recognize that and to protect\u00a0your (and their) interests.
\nA photographer or client may ask to book you direct, not\u00a0through the agency that sent you to them. That is unethical and
\nthey know it, but they might ask anyway. In all such cases you\u00a0should politely decline and report the matter to your agency as\u00a0soon as you can. Models who accept such offers may get that job,\u00a0but agencies who find out about it will drop the models
\nimmediately.\u00a0Under no circumstances should you sign a release of any sort\u00a0at a go-see. If asked to do so, politely say you have to call your\u00a0agency for permission. It is best to allow the agent to take on the\u00a0\u201cbad guy\u201d role when this kind of thing happens.
\nAfter all those \u201cdon\u2019ts\u201d, what should you do? Be outgoing,\u00a0cooperative, friendly, expressive, but within the role you are
\ntrying out for. There will be lots of people at the go-see whose\u00a0looks qualify them for the job. The one who gets it will be one
\nwhose personality shines through \u2013 that the team feels they will\u00a0enjoy working with.<\/p>\n
\nWhat happens after the go-see? Most often, nothing. The\u00a0number of models sent by agencies greatly exceeds the number
\nwho will be hired, so mostly the casting director will tell you they\u00a0\u201cwill let you know,\u201d and then you will never hear from them\u00a0again. But sometimes something better happens. You may be\u00a0called back (you made the short list) one or more times, you may\u00a0be put on \u201chold\u201d (or \u201coption\u201d), or you may be booked.
\nA call-back is just another go-see for the same job, but this\u00a0time knowing that somebody liked you well enough that they
\nwant to see you again. It isn\u2019t time to break out the champagne,\u00a0but it is time to start getting optimistic. Your agent will advise\u00a0you of anything special you should do to prepare for the call-back.\u00a0If you are put on hold, you have a good chance of being\u00a0booked. That means that the client has selected you for the job\u00a0but the job itself still may not happen, or may be postponed. A\u00a0client may also select more people than they really intend to use;\u00a0you may be the first, second or third choice. Sometimes your\u00a0agency will know that, sometimes they will not.
\nIf you accept the \u201chold\u201d you give that client a \u201cfirst right of\u00a0refusal\u201d on your services for that time slot. If something else
\ncomes along, you can have your agent call them and ask if they\u00a0want to book or release you. They are obliged to do one or the\u00a0other. If the \u201chold\u201d hasn\u2019t been released within 24 hours of the\u00a0shoot it is customary for you to be paid for the job even if you\u00a0don\u2019t do it.
\nBeing \u201cbooked\u201d is the brass ring you are in this business to\u00a0grab. It involves an offer to your agent for your services, which is
\nrelayed to you. If you accept, you are obligated to do the job.\u00a0The client is also obligated at that point, and once the time for the\u00a0job nears you may become eligible for cancellation fees if the job\u00a0doesn\u2019t happen.<\/p>\n
\nYou have been booked, the appointed time is near, and you\u00a0are about to have a lot of fun. You should be relaxed and enjoy
\nyourself \u2013 you are about to get to do what models all want to do.\u00a0But some rules apply at the shoot that you should be aware of \u2013\u00a0both to protect the amount of money you are about to earn, and to\u00a0make the client want to have you back again:
\n1.Be prepared<\/strong>. For men this means having a haircut, ideally\u00a0about a week before the shoot. For women it means have
\nyour hair attractively styled in a manner consistent with the\u00a0shoot. For everyone it means knowing before you get there
\nwhat role you will play. Unlike fashion shoots, most\u00a0commercial shoots require you to have appropriate\u00a0wardrobe (a small selection of clothing and shoes that fits\u00a0the role you will play). It should be clean, pressed and\u00a0ready. Even if you have been told that there will be a\u00a0makeup artist present, bring your own makeup. Get a good\u00a0night\u2019s sleep!
\n2.Show up on time!<\/strong> This is the most important rule of all. If\u00a0you are late, you are liable for all the overtime you just
\ncontributed to. At the huge hourly rates of other models,\u00a0the photographer, stylist and others, you really don\u2019t want
\nto have to pay that. \u201cOn time\u201d doesn\u2019t mean the time\u00a0scheduled \u2013 it means 10-15 minutes earlier, so you have a\u00a0chance to get ready for the shoot. At the appointed time\u00a0you need to be able to step out on the set, ready to shoot. If
\na makeup artist is provided you can be made up \u201con the\u00a0clock\u201d \u2013 but sometimes a scheduled makeup artist is\u00a0cancelled, and you need to be prepared.
\n3.Introduce yourself to everyone.<\/strong> Or at least to everyone\u00a0who seems to want to meet you. These are people who can
\nmake you look bad or good, who may or may not want to\u00a0hire you for the follow-on TV commercial that goes with\u00a0your print ad, for instance. Do what you can to help them\u00a0look good and they will return the favor.
\n4.Do not discuss rates or terms.<\/strong> If someone on the set brings\u00a0these things up, politely refer the question to your agency.
\nNever change the terms of a shoot without your agent being\u00a0involved.
\n5. Shoot what was booked.<\/strong> But no more than what was\u00a0booked. If you are doing a TV commercial and someone\u00a0asks to \u201cjust take a couple of still shots,\u201d call your agent\u00a0immediately. Never put yourself in the position of having\u00a0to be the one to say no, but don\u2019t allow any shooting beyond\u00a0what was booked without your agent\u2019s approval. If you do,\u00a0you may give up rights to thousands of dollars worth of\u00a0usage fees, especially if the photographer asks you to sign\u00a0his release.
\n6.Sign the voucher.<\/strong> When the shoot is over you should fill out\u00a0the portion of the voucher that shows how much time you
\nworked and the rights being purchased at the time of the\u00a0shoot. Time is computed from the time the shoot is\u00a0scheduled to start (if you were ready on time) until the last\u00a0shot is taken. Lunch and other breaks are included in the\u00a0time. When the shoot is shorter than what was booked, you\u00a0get paid for the booked time. When it runs longer, you get\u00a0paid for each 15 minutes extra that you worked. Use a little\u00a0common sense in this \u2013 good relations suggest that a 62-\u00a0minute shoot shouldn\u2019t be billed at an hour and a quarter.\u00a0Sign the voucher, have the photographer or client\u2019s\u00a0representative sign it, take one copy for yourself and one for\u00a0the agency. Leave a copy with the photographer or client\u00a0rep.
\n7.Releases<\/strong>. The voucher you just signed is a release, and no\u00a0additional release is normally necessary. Nonetheless if you
\nare given a separate release, make sure that the usage and\u00a0duration specified on the release is the same as on the\u00a0voucher. If it is not, cross out any portion that is different\u00a0from what the voucher says, write in the voucher\u2019s usage\u00a0restrictions and duration, and sign it. If the photographer\u00a0objects to you making changes to the release, politely ask to\u00a0call your agent. Never sign a release that has different\u00a0usage or duration from what is on the voucher or you may\u00a0be signing away thousands of dollars in future rights\u00a0purchases. Even better, if the client or photographer\u00a0presents you with any document to sign, make sure your\u00a0agent sees and approves it before you sign it.<\/p>\n
\nThat is what it\u2019s about, right? You\u2019ve made all that investment,\u00a0done the right things, finished a shoot, the client loved you. So\u00a0you\u2019re rich!
\nNot so fast, Bucky! You may have just earned a very hefty\u00a0paycheck, but this isn\u2019t quite the time to blow your money on a
\nnew car. There is this little, tiny problem. Your agency might\u00a0pay you immediately after the shoot is completed, but most will
\nnot. Much more likely, your agency will collect the money for\u00a0you, and will pay you after the client\u2019s check clears (after taking\u00a0out his commission of course — he has to make car payments too).\u00a0But we missed a few steps along the way.\u00a0You have to take the completed voucher back to your agent, who\u00a0uses it to compile an invoice for the client. If we get the next-toworst-\u00a0of-all-possible worlds, the agency sends the bill to the\u00a0photographer, who forwards it to the ad agency, who sends it to\u00a0the client. They take their usual 30 days to pay the invoice from\u00a0the ad agency, which then eventually pays the photographer, who\u00a0waits until his rent is paid and sends a check on to the model\u00a0agency, which waits for the check to clear before paying you. It\u00a0isn\u2019t always that bad — sometimes the client can be billed directly,\u00a0and sometimes they pay promptly on receipt of the bill. But don\u2019t\u00a0count on it. It is much more likely to take 45-90 days from the\u00a0shoot before anyone gets any money.\u00a0And there is the (fortunately rare) worst-of-all-possible-worlds:\u00a0the client doesn\u2019t pay. He may go bankrupt, or simply be unable\u00a0or unwilling to pay for any of a number of reasons. When this\u00a0happens the agency will help you collect if that is possible, but\u00a0that\u2019s all they will do. If they don\u2019t get paid, you don\u2019t get paid.\u00a0A wise model spends money only when she knows she has it.\u00a0This business can be tremendously lucrative, but it can also be a\u00a0feast-or-famine nightmare; even if you just did a huge job for a\u00a0national corporation, it\u2019s best to remember:<\/p>\nNo extravagance before its time!<\/strong><\/em><\/span><\/h4>\n","protected":false},"excerpt":{"rendered":"