Archive for the ‘Los Angeles’ Category

Breaking down gatekeeper blockades

June 16, 2017

Hi Dave – No, I’m not a comic. However, I’m a WGA screenwriter with a total focus on comedy screenplays. Can you tell me how to contact comedians’ agents without running into blockades? I mean the blockades typically set up by the gatekeepers of those agents. Best – HK

“Someone will get back with you. Yeah… right…”

Hey HK – The bigger the comedian (think celebrity) the bigger the agency blockade will be. When you make a call without prior personal contact or a great reference, plan some extra time for holding, transfers and a final request to leave a voice message and “Someone will get back with you.”

Does anyone really know who that “someone” is? I doubt it because they rarely call back without the prior contact or reference. And unless you left a voice message with a great pitch (offer) that includes the opportunity for a lot of potential $$$’s (yeah, I’m jaded) you’ll spend a long time sitting by the phone waiting for that return call.

HK and I traded a couple emails and I remembered a past FAQ And Answer article about dealing with gatekeepers (the person who answers phone calls and forms a human blockade to keep you from speaking directly to an agent or celebrity). Except the suggestions in that article are different from the answers you’re looking for since it concerned comedians getting past gatekeepers to book paying gigs.

This week’s question is about contacting comedians and agents that would be interested in a screenplay.

But the theory is the same. You have to be SEEN and involved in the SCENE.

I know through experience from working at the LA and NYC Improv clubs (talent coordinator) that a lot of valuable entertainment industry contacts are made by networking. It’s being part of the scene. Not only did I get to work with many great comedians, but I also met a lot of agents, managers, producers and writers just by being in the clubs during shows. They’d come in to watch the comics, and then socialize (network) in the restaurant or bar areas after the show. Sometimes they were there because the comedians they already represent were performing, or they were looking for new talent.

On the lookout

And believe me a good agent or manager is always on the lookout for new talent. Some of them may claim to have a full roster and not accepting new clients, but if a performer simply blows them away and the agent or manager sees a good career opportunity for both of them, it’s their job to pursue it. That’s good business sense.

Now, to get back to today’s specific question…

I’ve also seen this with producers and writers looking to interest comedians and agents in a particular project. For instance, when I worked in LA I remember getting a LOT of calls from television and film people looking for comics that fit a specific “type.” The casting call could be for male or female, tall or small, fat or thin, black or white – or for whatever the TV or film part called for. They wanted to know if any comedians fitting the desired “type” would be on the show that night or if we could put together a live showcase (audition) during a future show.

That’s why you can sometimes go to a comedy club in LA or NYC and see a number of comedians in a row who are similar in type and only do a few minutes (3-5 minutes is norm) of material. They’re showcasing (auditioning) for someone in the audience.

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After the showcase you can usually find everyone – comics and business execs – networking in club’s restaurant or bar. Business cards are exchanged and meetings are scheduled for agents and comedians who are right for the project.

The ones selected for these meetings and potential projects should have no problem getting past any gatekeepers. They’ve made a personal contact.

My point is that the comedians were SEEN because they’ve worked hard at becoming part of the SCENE. They were known by the club bookers as someone who fits what the writer, producer or casting person is looking for. That’s why the comics were called in for the showcase. It’s rare (in fact I’ve never seen it happen) that a booker will call in a comedian he’s never seen perform and knows nothing about for an important industry showcase.

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It’s the same when you’re looking to hire talent or get them interested in a project such as a screenplay. Quit a few newcomers (amateurs) with stars in their eyes will jump at a chance to “be in a movie!” But the comedians who’ve been around for a while will not be so naïve. They understand it’s a business (at least they should). They might listen to a pitch if it’s from a reliable or known source (friends in the biz are always throwing ideas at each other) but if they’re really interested and have decent credits, they’ll probably have an agent you’ll end up pitching to before any deals are made.

Hang up and make the scene!

So basically in your case, I’d forget about battling the gatekeepers by cold calling and scope out the comedians in person who you think would right for your screenplay. Become a part of the SCENE by going to the clubs and checking out their live performances. You might even discover a comic you’ve never heard of and further discover he’d be perfect for your film. Don’t be too aggressive (as a talent booker, that’s what turned me off the most). But take an opportunity to network after the show. Be professional and don’t come off like a stalker (you know what I mean) when you tell the comic about your project.

If the comedian is interested he can get you past any agency gatekeeper with one phone call requesting his agent talk with you. If you meet the agent and he thinks the project is right for his comedian client, he’ll have his gatekeeper set up a meeting.

Sound too simple? It’s really not and I shouldn’t make it sound that way because there are a LOT of people in the entertainment industry who practice the art of schmoozing. I assume that’s where the phrase, “Let’s do lunch,” was developed. But remember one thing:

No one would be doing it if it didn’t work.

If you’re already a known name with a big number ($$$’s) gatekeepers are no problem – you’ll get through. For everyone else (assuming talent and experience are already a “given”) it’s all about networking and contacts. Be part of the SCENE and there’s always a chance you’ll not only be SEEN but also HEARD.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers.

For details about upcoming comedy workshops at the Chicago and Cleveland Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

The comedy police

February 27, 2017

Hey Dave – I was at an open-mic last week. A comic went on stage and “called out” another comic who had gone on before him for stealing jokes. He did this from the stage. But afterwards he couldn’t prove it and no one else could remember hearing the jokes anywhere else before. We think he was wrong and he handled it wrong. Any thoughts? – D

Hey D – I always have thoughts. And when they’re thoughts about comics or speakers stealing material, they’re never good thoughts.

Keystone Cops

There oughta be a law!

What a jerk.

Wait… let me rethink. We might have two jerks here. Allow me to think out loud – or at least in LOUD writing.

JERK #1:

This honor goes to the comic who “called out” the other one from the stage. First of all, as he admitted later, he had no proof for doing this. Maybe he thought it was funny to be on the edge – which can sometimes be very funny. But in the situation you described, it’s not funny when it’s at the expense of someone who is also using an open-mic to become a better comic (the purpose of doing these).

Of course this is assuming the first comic actually didn’t steal any material.

The comic who accused the other should’ve talked with him off stage and not dissed him in front of an audience. A little courtesy is due, unless that comic is known for stealing material. In that case I’d say go ahead and trash him. I’m sure most comics will agree.

But without proof and only working off a hunch, the more professional way is to take that person aside and talk with him – privately – about it. This is a topic in my book Comedy FAQs And Answers with Bill Engvall answering the question.

Bill talked about the comedy police.

"Hey, I've heard that joke!"

“Hey, I’ve heard that joke!”

Basically, when you think a comic is stealing material, mention it to him/her – off stage. In other words, honest comics will police each other. They’ll warn each other if another comic is doing the same joke or bit. But if the warned comic continues with it – then there could be repercussions.

I’ll give you an example of that in a moment, but in the meantime…

The comic may not even realize he/she is doing it and has actually written a joke too similar to a joke someone else is doing.

I’ve seen it happen…

Two comedians – one in NYC and the other in LA – wrote the same joke. They didn’t know each other and as far as I know from talking with both, had never even played the same clubs. But the one in LA was booked for an appearance on the television show A&E’s An Evening at the Improv and did the joke.

I know because I was standing off camera at the time.

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After the taping I mentioned it to the other comic in NYC and he immediately told me he had to stop doing the joke. The comic who did it on television was now the owner because of the audience exposure. He never felt the other comic stole it from him because they weren’t in the same comedy circle. He felt bad because the joke was based on his appearance, but then again it worked that way for the other comic also.

The bottom line was that he understood how the business works. He could never do that joke again without a member of the comedy police calling him out on it.

So it’s possible a comedian might be doing material too similar to someone else and not realizes it. The best way to handle it is without grandstanding in front of an audience. Tell that comic after the show and give proof. If he continues – then everyone can trash him.

Just like the following…

JERK #2:

Navin R. Johnson

“The Jerk” not “a jerk.”

If a comic or speaker is stealing material and is caught, a wise move is for that comic or speaker to NOT do it again and to start writing. Otherwise they risk suffering the consequences.

Here’s what I mean…

There was an open-mic comic in NYC when I was starting out. He was a nice guy and it didn’t hurt his standing with us that he ran a popular open-mic where new comics could get stage time.

He wasn’t any better than any of the other comics just starting out. They were all working on creating material and trying to figure out how to deliver it on stage. Every once in awhile someone would come up with a good joke or bit – which would become a keeper in his or her set.

This guy was also developing his act, but every few weeks he’d travel to Florida where he told us he was a headliner. We knew his family lived there, but he always said he went for work and visiting his family just meant he had a place to stay for free.

But the headliner part of his story never seemed right.

If that was true, the Florida comedy scene must have been really hurting and a smart move would’ve been for all the other new comics to move there for headlining gigs. Of course I’ve learned from first hand experience that’s not true (and yes, that was a positive shout-out to all the comics I met at my Tampa workshops last year!). Other possibilities were that he had friends booking clubs or was delusional. We just couldn’t figure out which.

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Then a real headliner from NYC told us what was going on. He had just played a club in Florida and our “friend” was opening for him. He was doing the best bits he had stolen from the open-mic comics playing his open-mic club.

Say what?!

The reaction was worse than getting “called out” from on stage. Let’s just say no one would play his open-mic anymore (he lost it) and no one that ran an open-mic would give him stage time. Word spread around the NYC comedy scene and eventually I’d heard he had moved back to Florida to pursue his floundering comedy career. Actually I heard he was parking cars, but I have no proof to call him out on that.

But I do have this proof…

A few years later I was the talent coordinator for the TV show A&E’s An Evening at the Improv in LA. He called – out of the blue – and tried to play the friend card with me for an audition. To make a short story even shorter – he didn’t get the audition.

Stooges Police

We don’t need no stinkin’ badges!

Chalk another one up for the comedy police.

So I guess to answer your question, yeah – I think it was wrong for the guy (jerk #1) to call the other comic out from on stage. If he really thought there was an issue of stealing, he should’ve have talked with him in private. The other comic may not even have realized it, but if there’s proof he should stop.

If he did steal, a warning from a member of the comedy police should convince him not to do it again.

If you’re already part of your area comedy scene you already know what a small world it really is. If it’s obvious this comic is stealing and continues to do so, the word will get out and it’s doubtful anyone would ever want to work with this jerk. Odds are better he’ll be parking cars somewhere before he ever has a chance to “own” anyone else’s jokes on television.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers.

For details about upcoming comedy workshops at the Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.