With several years in the business, both as a Broadway actor and now an agent, Josh Sassanella talks about the disconnect between agents and their clients. This is an issue that has been in the industry for years yet, barely anyone addresses this topic. If the relationship between the agent and the actor is strong, then the more likely you both with succeed when working side by side. Unfortunately, this is not the case sometimes and both parties reach a dead end. Let’s take a deeper look into my interview with Josh:
So I remember in your e-mail you said something about, you know, the disconnect between actors and agents. Can you elaborate on that a little bit?
People are being let go because their agent that they didn’t know they were with got let go. The inability to contact to get with their agents, that these distances between an email and then a response and then some people who didn’t get responses, like I met with a young lady recently who was signed with a man and JR, who in a year submitted her for ninety-eight pages of breakdowns. NINETY-EIGHT PAGES. You know, things like that. And so when I hear those stories I go, what is happening? Where’s the disconnect? And I think all in all, as somebody who advocates the way that I do for my clients, the thing that I’ve noticed is that there are agents who are aware of not only the benefit and the damage that they can do to somebody’s career but there are agents who were only aware of the benefits. And, you know, it’s a funny thing to say when you’re somebody who interviews and sometimes really loves an actor that they don’t necessarily get to sign. And then maybe sometimes leads to another sphere or whatever. So make sure you sign with the right agent and you have a good connection with them otherwise, not signing is better than signing with the wrong agent.
When I was asking Josh this question and he said that actor got submitted for ninety-eight pages, my jaw dropped. I was stunned that this was the case because, there was CLEARLY some sort of disconnect. When agents submit for roles, they need to be specific for what their client’s type is, not submit them for everything under the sun. He stated that “you’d be surprised at how many horror stories are like that.”
The next question veers away from that topic. Next I was curious to see what Josh’s take on what he looks for in a headshot and resume. I found his response to be interesting:
You know, it’s a crazy world we live in right now. Actors do such a good job of putting their talents out there and making their material. I’ll say that when I meet with somebody and they give me their headshot and resume, that’s rarely the most important part to me. If I’ve got somebody who I think is fantastic and I’ve gotten them on YouTube and found their videos and they have done a good job of putting enough out there for me, I think they could possibly start their own business. The interview part of it, is what’s on your resume and if you know what’s on there. So a headshot and resume is good, but isn’t the top decider whether I take an interest to you or not.
Josh and I then discussed what is important about the client-agent relationship and what is important to him besides just the talent:
I find that the IT factor is sprit vs. talent. And, you know, I pride myself on being able to find that in the interview and just getting to know somebody, as much as like really sitting down and having an audition and doing like a little coaching session and giving feedback and things like that. You know, it all plays a role in it. So in my opinion, who they are and whether they have a good head on their shoulders and really see this business as something that they have to do no matter what, is important. As being somebody who, you know, started as an actor and then found all these other avenues to be creative, it’s such an important part of me to know that the people I signed, aside from their resume, are just good humans who are artists and see themselves doing nothing but pursuing a career in this awesome business of show, you know?
I was curious to see Josh’s take on self-taping. Here’s his spin on it:
You know, it’s funny that you say that because I just produced a video for our roster of self-tape tips. Change what clips get auditions and what don’t. Ultimately, I think the production value. There’s a balance that you can find. I think if Denzel Washington gave you the best monologue you’ve ever seen in your life in his apartment with just a phone, he’s still gonna get the audition. It’s ultimately execution vs. having the set up in the 4K video and all that stuff. You know, when I deal with my clients, I’m like don’t set up your lighting until you know that we both agree that your work on that material is ready to be shot. It’s all about your performance and whether, you know, you can get that to translate to the video versus, you know, how much money you spend to get it shot.
The interview I had with Josh was informative and his wealth of knowledge is something that all aspiring actors should listen to. I enjoyed talking with Josh, especially during this uncertain time, and I hope to connect with him in the future.