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There are stars or "names : Feature performers and extras or "omnies." A number of different guilds represent the various categories, each with its own code and standard player contracts. The talent negotiator should be familiar with all of the differing codes and contracts.
\\ hen dealing with the over-scale ir 'name" talent performing in a elevision show, an experienced negotiator should have a dossier on the itar's track record. What has he
A negotiator
.should be a magician with
a flair for abnormal
psychology
one lately — and for how much? )id his performance rate raves, boos, 'r something in between? Was the \ ci all show good, bad, or what?
He should obtain the full scoop on
le star's commercial as well as his
i-nnal wants and deeds. Is he a
unedian with "immortal longings"
> play "Hamlet"? Does he encour
ze or shy away from dialogue?
ig parts or cameos? What kind of
Ming has he had in the past; what
nd does he dream of for the fu
re? What are his preferences in
;e way of maids, Cadillacs, chauf
urs. valets, makeup man, hairdress
. villas, flunkeys, stooges, and syco
lants to hold his hand and pat his
o? What are his tax headaches?
' When negotiating drifts from bour
'ii and bonhommie to reality, use
is information to formulate your
oposal, then cut it in half as your
Bl offer. Sometimes, the hiring of
-tar's wife, friend, or in-law as a
I 'layer or "consultant" reduces the • i B asking price ... or providing 1 Be quarts of iced champagne for 1 disposal after the day's shooting. I J tnent in the form of a Riviera va« ion may solve many problems.
I he most important thing to rei mber is : don't try to make the deal yurself — not unless you are a pro
sional negotiator, or endowed with
irt of stone, a brain of steel, the
"union of a Bridie Murphy, and
1 abilit) to awaken to 3 a.m. phone
1 s alert, alive, and alacritous. If
: do. you may lose your hat, bjches. and umbrella. Even the P s sometimes do! ^
NSOR
17 july 1961
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