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Tom Wagner
Posted: Tue Oct 18, 2011 12:30 am Reply with quote
Joined: 14 Dec 2007 Posts: 597 Location: Long Island, NY
How intertwined are your personal and professional schedules? What takes precedence? Do you basically tell your agents, "Don't book me for Thursday the 5th from 3:00 to 5:00 because I have a dentist appointment"? How much access do your agents have to your personal schedule and how much input do YOU have in your professional schedule?

Thank you.

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CB
Posted: Tue Oct 18, 2011 6:45 pm Reply with quote
Joined: 14 Dec 2007 Posts: 905 Location: HERE!
Tom Wagner wrote:
What takes precedence?...How much access do your agents have to your personal schedule and how much input do YOU have in your professional schedule?
It can be a bit of "tug'o'war" between the two - with such little advance notice these days. But then, that can make it more flexible for personal appointments booked well ahead of time, as no last-minute booking can be expected to reliably work. Problem is - production groups have taken to reserving blocks of time for the better part of a year in advance; and with multiple series roles, that can leave a voice actor on standby status for each particular series nearly all week long - leaving no possibility of personal appointments whatsoever.

While it all works out through complaint and negotiation, it has surely become an unreasonable, counterproductive practice that I find no legitimate excuse for. It shows a lack of confidence and respect for the value of professional talent, when agents are so shamefully submissive to unreasonable whims and thoughtless "snap of the fingers" planning, preparation, and scheduling on the part of inexperienced studio bosses who've never been shown just how much time it takes to develop and bring together all the elements of an efficient, smooth, and productive professional session; and it forces everyone to fall all over themselves to meet the arbitrarily short deadlines, only to require doubly-expensive "fixit" work later. There is a false notion that "getting there first" is the only way to secure the job; when ill-planned auditions and sessions that demand "instant service" almost always need re-doing, and are often re-cast in the process.

It should be obvious - that whenever our agents are resolute about our rates and availability, our perceived value to any project goes up. When it's harder and more expensive to get someone to show up at a session, the greater the assumption becomes that those more exclusive and elusive performers must be especially desirable - whereas even a dazzling talent may not be taken for "anything special" if they're embarrassingly eager to agree to any assignment instantly. Slow and steady DOES win the race. Overeager agreeability only assures permanent "doormat" status in this business. It's about time to reestablish sensibility in this profession, because the way things are becoming clearly isn't doing anyone any favors.
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