"I'd love to produce a vehicle for Katie," Luber says. "But now she has just launched her show. When there is a hiatus, we'll talk about it. Producing for a client is always an option, but it's not necessarily the only reason to take on a client. In this business, there are no rules. If we want to produce a vehicle that will enhance or change an actor's image, that opportunity will be there. Of course, some actors are more proactive than others and write their own material. Others may have an idea for a script [or even write one] in which they will not star. But the script becomes another potential source of revenue." The manager-producer is potentially useful to any of these artists, including those who are totally focused on acting, he continues. Indeed, from Luber's perspective, "actors who are first and foremost actors are those I most want to work with. I am a manager first and a producer second."
Other manager-producers Back Stage spoke with echo those sentiments, though particular manager-producer styles may vary. So do the kinds of clients they are seeking as well as what they do for them. Bruce Smith, a manager-cum-producer (of Omnipop Talent Group) whose clients are mostly comics, admits he especially enjoys representing hyphenates: actor-writers, or actor-producers, for example. "They are self-starters and not waiting at the phone for someone else to give them the audition that will change their lives," he says. Further, as a hyphenate himself, it's simply comfortable to work with a like-minded artist. Besides coming up with ideas for projects or guiding his clients' work to fruition, Smith occasionally writes for or co-writes a piece with his client. But on any given project he tries to provide employment for as many clients as possible. He maintains his company is like a theater troupe whose members help one another. Smith says he has pitched 10 to 12 pilots, but he is best known for producing "Halfway Home" on Comedy Central for his client Oscar Nuñez, who went on to star on "The Office."
Sticking Points
It should be noted, though managers may serve as producers in pulling together a project, they may or may not get a producer's credit. Those we spoke with insist their purpose is to elevate their client's status in the marketplace and provide a measure of protection, which is especially useful for clients in the developmental stages of their careers. For starters, there are fewer traditional studio and network projects in the works, which means it's increasingly difficult for actors to find employment. Job opportunities, especially in television, are further diminished as movie stars take roles that, in flusher economic times, would have gone to journeyman actors. At the same time, the advent of online and digital programming offers the actor a platform to display his talents that will help bring him into the mainstream system. These days the actor is best served if he can create a project that reflects his talents; and that's where the manager comes in as a guiding hand and possible producer.
Precise numbers are not available, but a growing number of managers are also producers. Indeed, the chance to produce is a major plus for managers, some of whom were previously agents and not allowed to produce. The possibility of earning big bucks is seductive, not simply as managers, who may charge up to 20 percent (though usually it's not more than 15 percent), but also as producers. Wearing those two hats is not illegal and neither is double dippin—taking fees for both roles—says Clinton Ford Billups Jr., national president of the National Conference of Personal Managers. Legality is based on the contractual agreement, he emphasizes. "Usually, these things are discussed and covered when an actor and manager enter into a contract," he says. "They can become sticking points when a manager suddenly becomes a producer and the contract has not addressed that." Still, at least among those manager-producers Back Stage interviewed, none is a double dipper, insisting if he takes a producer's fee, he does not take a manager's fee as well.
Though most assert it's a win-win situation for everyone, Danielle Del of D2 Management says, "The idea of manager-producer is tricky. I have been named a producer on clients' projects to protect their interest and the fact that we may have chased material. However, a real producer is just that, a producer. And a manager is just that, a manager. Most prolific producers are no longer managers, even if they started as one or they open divisions within their companies that allow for it."
Smith contends it boils down to who is being served: the manager-producer or the client? "I'm doing something for everyone," he says. "My motivation should never be brought into question and look bad under the microscope."
The 'Hungry' Manager-Producer
Henry Dittman, a Smith client, has worked with him on two pilots. One is based on a sketch-comedy character Smith created and the other is an original sitcom. What's unusual is that Smith has served as a co-writer in addition to being Dittman's producing partner. A steadily employed actor, Dittman has his sights set on being a regular on a TV show and believes the best way to achieve success is by creating material that demonstrates his talents. Ideally, one of his two eight-minute pilot presentations will become a network series. But even if that doesn't happen, he is hopeful the right people will see him and perhaps cast him in something else. Among the services Smith has provided are shopping around the demo pilots, getting feedback, and reworking the material on the basis of what has been suggested. Dittman says Smith is a creative artist in his own right, but equally important, "He doesn't walk into a studio or network with a project he knows is flawed."
Sirena Irwin, who has been represented by Smith since 1997, recalls he was always a hands-on participant in his clients' careers, especially those who generate work for themselves. Irwin directed her first short in 2000 and more recently co-created an idea for a pilot. "It's a workplace comedy set in an S&M parlor," she laughs. "We had been working on the idea for a couple of years and then brought it to Bruce and said we wanted him to sell it. He came on in the beginning to help us stay on point. Every time we wrote a draft, it went by him and he gave us notes. We decided it should be an 18-minute piece that shows a story arc and something about each character. Now we're shopping it around. We all directed so we will each take a director's credit and Bruce will take a producer's credit too, but that doesn't really sum up his involvement. He also keeps his eye open for roles for us in other clients' projects as well as outside his client base."
Irwin is not concerned that other clients—and their projects—will take precedence over hers. Pragmatically, she suggests no one person can equally serve everyone at the same time. "You just have to feel that your representation is excited about you whether you are third or 20th on his mind."
Tamala Jones, who is best known as Lanie Parish on "Castle," points out that her manager-producer, D2's Del, keeps her client base small so that she can represent each one with care and avoid feelings of resentment and competition among the actors she represents. Del's special area of expertise is pulling together, producing, and even distributing independent films that feature her clients. "The first project we did together was 'Nora's Hair Salon,' an independent film a friend of mine wrote," says Jones. "Danielle stepped in as co-producer and brought others into the project, though not all the actors were her clients. We just finished another film, 'Thirty-Five and Ticking,' where she pulled the cast together, was a producer, and played a role in distribution. She's an amazing human being and plays fair. She sees your potential, where you are, where you can go, and finds the right projects for you, whether or not she's the producer."
Interestingly, when Jones first came on board with Del she did not know Del produced. Indeed, her goal was simply to find projects that showcased her talents and without typecasting her. Del helped her land an audition for "Up in the Air," and she was cast in a scene with George Clooney, though she received no credit. "I was willing to take smaller roles that my manager thought would be good for me." Jones recalls. "Not every actor would be willing to do that." And not every manager will go to bat for a client with that much conviction. Jones' advice to actors is to only sign with a manager who is hungry enough on behalf of their careers.
Cara Castronuova, who is best known as one of the trainers on "The Biggest Loser," retained the services of New York–based manager Seth Greenky of Green Key Management four years ago after she had won boxing's Golden Gloves twice and wanted to segue way into action films and fitness programs. As it turned out, Greenky was instrumental in her landing her "Biggest Loser" gig, but equally important, he helped her navigate the audition process, which was totally new to her, she says. "He's also gotten me a ton of meetings and pitched lots of ideas for me." To date, Greenky has a number of projects in various stages of development, including fitness-oriented projects for Castronuova and an action flick he has written. In the best of all possible worlds it will feature Castronuova, since she was the inspiration. Still, he admits, "It's a Catch-22. You need a track record or a huge star to break through." Nonetheless, if a project is unique it might catch someone's attention, as one of his sitcom projects has. "The manager is in the fortunate position of knowing producers, which may be the first step for the manager who also wants to produce," Greenky says. "After all, no one produces alone today." And, by extension, that's good news for the client too.
No one disputes the manager-producer is a growing career trend. How it will ultimately inform the actor's life and the entertainment industry at large remains to be seen. Stay tuned.