o become a great chess player, you have to train yourself to think three moves ahead. This mindset applies to almost everything in life, including your acting career. As the writers strike rages on, talent agencies have stopped considering new talent. So if you're at the start of your career, this is the worst time to be looking for an agent. That means you need to stop thinking like an actor and start thinking like a chess player.
If you don't have a substantial résumé, you're going to need a decent demo reel to attract an agent when this strike finally ends. Luckily, student films by graduating seniors are about to start casting, and you can use that to your advantage. I've been to several student-film festivals, and I'm telling you, these movies look incredible. Because these are industry calling cards, the students invest a lot of money in them. So this could be a viable way for you to get great footage for your reel.
The trick is to be selective about which student films to pursue. Try to target senior projects and grad films. That's it. You don't want to get involved with any movie that's being produced by freshmen, sophomores, or juniors. As a former film student, I question the experience and maturity level of anyone younger than a senior. Back then, my primary concerns were girls and Donkey Kong, not making great cinema. Also, movies by underclassmen don't always need to be completed for the students to receive grades. That's bad news, because you're thinking three moves ahead, and you need material by summer. The good news is that senior projects and grad films must be finished on time or the student doesn't graduate. Another incentive is that students want their work screened at the school's film festival, which is usually attended by industry types. And don't forget, these students are going to need a finished movie to get a deal after they graduate. These are all good signs that the film's going to get done.
Now you're entering what chess players call the middle game. If you book a part, your primary concern is getting a copy of the finished movie. The biggest complaint I hear from actors about student films is that the talent never received the copy they were promised. Well, that's a definite problem, so here are two agent-style moves that will guarantee you a positive outcome.
Every student filmmaker has an adviser who's overseeing his or her work. Get that person's name and number, then make the call. Explain how you're so excited to be working with his or her student but you're concerned about getting a copy when the movie's done. Will the adviser be willing to help if there's a problem down the road? Collegiate types are usually very agreeable if you treat them with respect.
You must have a signed contract with the student. You wouldn't work on a professional movie without one, so how is this any different? If the student objects, walk away; something's not right. If the student agrees, then write it up yourself. There's no need to waste money on a lawyer. The contract should have everyone's contact information and three specific deal points: 1) the promise of a copy of the finished film; 2) an approximate delivery date; and 3) an invitation for you and a guest to attend the first public screening and the school's film festival. Once everyone signs this agreement, send a copy to the adviser who's overseeing the project. That should seal the deal.
You won't get the footage until summer, but you're thinking three moves ahead, so that's not a problem. And who knows? Maybe the young filmmaker will grow up to be the next Spielberg and end up using you in all his or her movies. Wouldn't that be a terrific endgame?