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Ask An Agent

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"If I Had Babies To Sell, Who Knows?"

BM: Hm. There are a couple of thing. There's knowing that someone's really, really good, and there are casting people that are just plain crusty. They'll say things like, "I don't know. Can they really act?" Stuff like that. And I go, "Why do you think I took them on?" So that's the frustrating part. And sometimes it takes a while to break through that and get the person in the room. That's the worst part -- when you know someone's really good and they just can't get a break. They get close on a lot of things, and they just can't get it. And, you know, having to call someone and say that they did the test deal and it was down to two people and they didn't get it. That's hard, you know? You have to say to them, "But look how close you got! I have a guy who did theatre for ten years, and only recently started to do well in film and television, and he almost got a lead in a series! And he was crushed! But I was like, "Look how far you've come! You got to this place and you almost got a lead in a series." But, you know, that doesn't pay the rent.

WC: You think about how the actor's life is all about rejection, but the person who has to relay that rejection is you, and that's crappy.

BM: It's tough, you know? Especially if they haven't worked for a long time. You really, really like them. I sort of made a deal that I would never take on someone that I didn't like. Because I know there are agents that take on people they don't like, but they just make lots of money for them. But I can't do that. So I like all the people I represent. So to have to call them and give them bad news...oh, it's very painful.

WC: What do you love the most about your job?

BM: Well, just the opposite -- when you get to call someone and go, "Your life is about to change. You're about to be paid a ridiculous amount of money to do something that you love to do." I mean, there's no better feeling than that. Or when you get to call someone and say, "You've just been nominated for this big award!" The feeling is unbelievable. It's huge. And that really is what makes up for all the bad stuff, and the screaming on the phone at people, at bad producers. I had a producer who wanted to close a theatre for the night and pay everyone's ticket, everyone who was going to go, so that he could have the actor for his movie for that night. And the National Arts Centre -- which was the theatre -- was like, "Um, we don't really do that? So we're hanging up now?" So when you get to say stuff like that...even the little things, like when you've been pushing someone to get in the room, when the casting director's all like, "No," and then they finally see them and they call and go, "Oh my God, they're amazing" -- that's huge. So, yeah. It's good stuff.

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Mondo Extra

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Mondo Extra
Ask An Agent

Episode Report Card
Grade It Now!
YOU GRADE IT
"If I Had Babies To Sell, Who Knows?"

BM: Hm. There are a couple of thing. There's knowing that someone's really, really good, and there are casting people that are just plain crusty. They'll say things like, "I don't know. Can they really act?" Stuff like that. And I go, "Why do you think I took them on?" So that's the frustrating part. And sometimes it takes a while to break through that and get the person in the room. That's the worst part -- when you know someone's really good and they just can't get a break. They get close on a lot of things, and they just can't get it. And, you know, having to call someone and say that they did the test deal and it was down to two people and they didn't get it. That's hard, you know? You have to say to them, "But look how close you got! I have a guy who did theatre for ten years, and only recently started to do well in film and television, and he almost got a lead in a series! And he was crushed! But I was like, "Look how far you've come! You got to this place and you almost got a lead in a series." But, you know, that doesn't pay the rent.

WC: You think about how the actor's life is all about rejection, but the person who has to relay that rejection is you, and that's crappy.

BM: It's tough, you know? Especially if they haven't worked for a long time. You really, really like them. I sort of made a deal that I would never take on someone that I didn't like. Because I know there are agents that take on people they don't like, but they just make lots of money for them. But I can't do that. So I like all the people I represent. So to have to call them and give them bad news...oh, it's very painful.

WC: What do you love the most about your job?

BM: Well, just the opposite -- when you get to call someone and go, "Your life is about to change. You're about to be paid a ridiculous amount of money to do something that you love to do." I mean, there's no better feeling than that. Or when you get to call someone and say, "You've just been nominated for this big award!" The feeling is unbelievable. It's huge. And that really is what makes up for all the bad stuff, and the screaming on the phone at people, at bad producers. I had a producer who wanted to close a theatre for the night and pay everyone's ticket, everyone who was going to go, so that he could have the actor for his movie for that night. And the National Arts Centre -- which was the theatre -- was like, "Um, we don't really do that? So we're hanging up now?" So when you get to say stuff like that...even the little things, like when you've been pushing someone to get in the room, when the casting director's all like, "No," and then they finally see them and they call and go, "Oh my God, they're amazing" -- that's huge. So, yeah. It's good stuff.

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Mondo Extra

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