I just saw a documentary on Netflix called “That Guy Who Was In That Thing” which is about a number of instantly recognizable character actors and their paths to get to claw their way to the middle. ; )
The documentary is thoroughly engaging by being both entertaining and thought-provoking. There also happen to be a number of parallels between performing in the film/television industry and performing in the music industry. The subjects spoke at length about the difficulties that come with the ebb and flow of work that their careers take. They talked about how they were (and are) out of work for years before they get a few gigs or hit a streak of work and all of them had stories of other parallel jobs that they worked while trying to make a living acting and tales of losing gigs for any one of a dozen reasons.
Two things grabbed me right away.
1. The subjects spoke at length about how the number of actors out there willing to work for less has caused many of them to make less money than they did before. The thinking being, we don’t have to pay you that anymore because there are 10,000 other people who will kill to sit in that chair for less money. The number of parallels with this and recording musicians (and performing artists) was striking. I’m paraphrasing here, “You realize that they don’t need you to fill the role, they just need to fill the role.” Does this sound familiar to anyone performing and/or recording music out there?
2. Musicians might actually have it easier than actors.
Here’s my thinking behind this. Actors need vehicles to act in. So the model they use is basically variations for Advertising / Televison / Film. For a TV show, this might mean
- auditioning for a pilot with hundreds of people
- getting a callback with maybe 50 people
- getting a second callback with 20 people
- doing a test with 5-6 people
- having a series of negotiating calls made to see what you will cost them
- testing in front of the studio executives this will limit you to a group of maybe 3 people
- if chosen, you then shoot a pilot
- the pilot then has to get picked up and
- then you hope that the series doesn’t get cancelled after the first few episodes
The interesting thing to me was that this paralleled musicians and major labels. The thinking was for years that you had to be in a band and signed to a label to have a career. Online distribution changed that model forever.
Having said that, artists on labels are/were the only people getting tour support. (They’re generally the only people to also get tour support via sponsorship. )
For actors, working with studios means you get to keep your SAG card. You get to keep your benefits and the SAG card is key to the audition process (and the securing of roles).
It doesn’t say it directly in the documentary – but some of these actors slogging it out in endless auditions seem to be afraid that the new (up and coming) actors are just getting pulled from YouTube.
I don’t think it’s the case for major films – and won’t be for a while.
Studio legend Tommy Tedesco once related a story where some MI students went with him on a session and one of them said, “I don’t understand. Someone who’s been playing a year could play that part.” And Tommy said, “yes. that’s probably true.”
The student pushed it more and said, “But you make triple scale, why do they pay all of that money to bring you in when they could get someone to do it much cheaper?”
Tedesco replied, “Because when you spend 50 or 75,000 on a recording session with an orchestra, you don’t want to lose money because some guy might screw up his part. You’re going to get the best players on the session to make sure that absolutely nothing goes wrong.”
Again, I’m not knocking YouTube – but a YouTube performance doesn’t mean you can handle the rigors of any gig that comes your way. While it might get you an audition, in and of itself, it’s never going to give you traction if you don’t have the skills to back it up.
Here’s what bugged me about the documentary.
No one talked about going DIY.
No one talked about making their own films. Writing and staging their own plays. Starting their own companies. All they talked about was a variation of the formula:
Get call from agent + audition + a dozen factors MAY = a gig.
It’s easy to view a music career like this. Waiting for a shot – the right moment, the right contact – to make a big pay out. It’s the lottery mentality to which I say, “sure, put a couple of bucks in and see if you get lucky, but putting your life savings in it probably won’t pay off.”
Those development contracts like Joan Crawford were on back in the day are never coming back to the movie houses. Those days of getting signed to a label and having a carer carefully cultivated over multiple releases are never coming back.
Elvis already left the building.
While I’m fully in favor of seeking out opportunity – by and large you make your own opportunities and the formula for that is:
Do really good work + Do it frequently + Affect, motivate and/or move other people = being the go to person for “that thing”.
If what you do services a niche audience, you might not get rich but it’s probably the best way to build a long-term career.
Thanks for reading!