Quotes of All Topics . Occasions . Authors
I got an agent when I needed one, when I had a contract negotiation for the first time. I was doing the Second City E.T.C., and I got invited to audition for the last season, it turns out, of 'In Living Color.'
I met my agent when I was 10 years old on a family skiing vacation. He asked if I was interested in acting, and I had been doing school plays. A couple of years later, I called him up, and I started auditioning.
When it was clear I couldn't stay in New Orleans, I went out and created what would end up being the best opportunity for myself. I asked my agent to set up a call with the Warriors. I knew they could use a big.
I am the closest of all to my wife, who is in and of herself a change agent and has committed to impacting the realities of homelessness - and making sure I get out of the house every day to do what I have to do.
Fighters no longer manage themselves: they have a whole team behind them. A fighter has a manager, an agent, a Hollywood agent - they got this and that. And on top of that, they've got their whole team of coaches.
Peace and commerce with foreign nations could be more effectually and cheaply cultivated by a common agent; therefore they gave the Federal Government the sole management of our relations with foreign governments.
Maybe self-publishing is going to be an extra step added to publishing. Maybe what's going to happen is you self-publish a book, someone notices it - an agent? - and it goes from there into the traditional sphere.
I had brought up from Chile a contract agent whose cover was that of a newspaper publisher in Santiago, a young, very talented man, named Dave Phillips, who later on carved quite a career for himself in the agency.
It's a weird thing when you spend your life trying to find these great scripts and great parts. You are reading scripts, you are traveling the world, you are hassling your agent. You are trying to find that script.
We had gone out on the road in 94 and 95 for a three month American tour, and we realised, as did our manager and booking agent at the time, that we have really exhausted it, and we can't make money at this anymore.
We basically got a call from our agent that said we were on the list of directors that Marvel was interested in talking to about 'Captain America 2.' First of all, that was thrilling, having not lobbied for the job.
My agent sent me the script and I loved it. I wondered how they would turn me into a chimp. My agent said it would probably not entail to much time. Just some hair and make-up. I found out that it was not so simple.
I had been doing summer stock every summer while I was in college. We did a showcase, like most good conservatories do - monologues and things that agents and casting directors come to see. From that I got an agent.
One FBI agent told us early on that on Monday morning, they would get to the FBI office, and all the agents would talk about 'The Sopranos', having the same conversation about the show, but always from the flip side.
I had a traditional interview based on a phone call from an agent. He says there's a show and they would like to see you and its called Dallas. With very little knowledge I go over to this meeting at Warner Brothers.
I was surprised that my wife thought it was a good idea, then again with my agent, another woman, then my editor, another woman - in spite of the fact that all three of them reacted positively I still have this fear.
I was approached by my agent, who said they were interested in me for 'Mr. Robot'. Then I binge-watched the show, and I was like, 'Uh, I would like this. Show me how I'm gonna fit in there, but yeah, I would love it.'
As a young actor, I played a lot of 'exotic' parts and was stuck with the tag 'sultry.' I had to refuse such parts if I were ever to play anything else. It did the trick, but my agent feared it made me harder to cast.
When I was 23, I was quite possibly the worst real estate agent in New York. I was working for my mother's agency in Chappaqua, and no one was buying houses. In eight months, I made zero sales. I rented one apartment.
For a very long time, I thought everyone I met through the process of getting an agent and a publishing deal had made a mistake. When they agreed to pay me for the book, I thought they would ask me for the money back.
I always wanted to play with Kobe Bryant. I used to tease him all the time. Every time I was a free agent, I was like, 'What's up, bro? You got a chance to get the pit that you need. You feel me? This is your chance.'
I talked to my agent and said that, basically, I'm the Taylor Lautner of TV. We both have our shirts off a lot. And we have the same agent, so we goof around about it. I'm waiting to open a script and see my shirt on.
I've been called a spy of Israel since 1996, and since I made my documentary film in 2000 the FBI has investigated me as an agent of Iraq. The FBI has also opened up an investigation into my wife calling her a KGB spy.
I started working when I was very young. I got an agent when I was 12, and fortunately was employed consistently from that point on. So I didn't really go to a conventional high school. I was tutored on sets and things.
If you were to ask my agent, they would confirm this: I'm drawn to locations. What really drew me to 'The 4400,' aside from the fact that it was sci-fi, was the fact that it was shot in the city of my dreams: Vancouver.
A talented footballer comes over, his family depends on him, and if his agent or club don't treat him well, he might not succeed, and then he feels he's let everyone down. For years, African players have been exploited.
I always tell people this when they're looking for an agent - they should love your work. You are entitled to work with someone who believes in you. Why do business with someone who is ambivalent about you and your art?
Don't do a hard sell or try to tell the agent that you're going to be a bestseller or the next John Grisham. This goes down very badly. If your work is good, then they are skilled enough to know this within a few pages.
I was quite frustrated by school and found solace in going to the drama studio, doing stupid voices, and being an idiot. I then went to Guildhall School of Music and Drama and signed with a great agent in my third year.
The Why's of suffering keep us shrouded in a seemingly bottomless void of abstraction where God is reduced to a finite ethical agent, a limited psychological personality, whose purposes measure on the same scale as ours.
If I were surrounded by angels who were purely rational and had no inclinations at all, I couldn't do anything for them. I couldn't make them happy; I couldn't make them sad, I would be entirely useless as a moral agent.
Having gone through what I went through, watching my family be torn to shreds and my children suffer immensely, I can't be the agent of doing that to someone else. I can't be the agent of causing someone to go to prison.
The best source for finding an agent is called Literary Agents of North America. It's a complete list of agents, not only by name and address, but by type of book they represent and by what their submission criteria are.
A nonfiction author has to bring a platform with him - radio, a TV show or some kind of recognizable vehicle to help launch them. And the agent is really necessary to represent all of the business interests of the author.
I was a cop in the Las Vegas Police Department in 1957. I was very young when I joined. But then I became a federal narcotics agent after that, in Vegas, and that propelled me into my future to fight the drug traffickers.
I want to do acting as much as I can. When you're on contract with a show, you can't really do other shows. It's hard to do film. I haven't had the opportunity to even audition much for films because I don't have an agent.
The NCAA model is outdated. If Steve Serby's a great player in high school, and an agent wants to represent you and wants to advance you money as a loan based on the fact that you're gonna be a high draft choice, so be it.
I play-acted and started performing, which just logically led to doing it in school, which led to studying it in college, which led to auditioning to the showcase in New York. And then I had an agent, and I was an actress.
I did a play called 'On Golden Pond' in a dinner theater in Maine and then went to New York for a talent competition having put together a three-man juggling routine and some one-liners and I got myself an agent from that.
There's no slow build anymore where you get a little part, then you get a little better part, then a better part, until one day your agent calls you us and says, 'guess what, you're a movie star,' and you say, 'Thank you!'
When my book was first sent out to publishers, my agent told me to buy a lot of ice-cream and wait. So I bought a gigantic amount of ice-cream, and huddled by the freezer eating it and shaking, hoping someone would like it.
From the moment I became a free agent, the WWE opportunity was the one I wanted. Obviously, there were strong plays made by some other companies, but in the end, when WWE offered me an opportunity, I could not turn it down.
Every officer, every deputy, every agent we lose is one too many. It's a loss to our organizations, of course, it's a loss to our community, and most importantly, it's a devastating loss to the loved ones they leave behind.
It's funny, 'cause it seems like just yesterday that I was the youngest player just starting out. But now there are young players all over the league, and they'll ask me questions about playing overseas or finding an agent.
Active creation is conceived as a transitive action in which there is always presupposed an object about which the agent is concerned; it is virtually but not formally transitive because it makes, not presupposes, an object.
When you're doing a film, your agent and manager spend hours - days - talking about contractual obligations. If you turn up for work and ask for a peeled grape on top of foie gras but you don't get it, you can't get annoyed.
I came to New York when I was eighteen years old, and the first audition that I ever went to was this huge cattle call at the Equity building where I had gone two days earlier to sign up - I didn't have an agent or anything.
We as artists are actively encouraged - by other authors, your agent, publisher, and society - not to think about money, strategy, how to manage your career, how to create a brand, because we're supposed to focus on the art.
In 1911, Edgar Rice Burroughs, having failed at everything else, decided to write a novel. He was then in his mid-thirties, married with two children, barely supporting his family as the agent for a pencil-sharpener business.
Acquiring an aggressive, honest, and communicative agent with actual relationships in real-live New York publishing houses is, in my opinion, the single most important move that a writer who aspires to be successful can make.