Webster’s:
administration, n., the managing, executing, or carrying into effect of a plan; Synonyms for administrate: manage, control, direct, supervise, preside over.
My own definition:
administration, n., the choices you make regarding the enhancement of your career and your life, and seeing to it that you complete these choices, execute them, get them done.
I had some really good teachers early on in my career. None of them talked about this idea of administration. University didn’t talk about it, and I sure wish they had. I wish they could come up with a Life 101 course mandatory for all college seniors: It would cover credit cards, debt, real estate, some diet and health basics—like what refined sugar does to your overall health, compound interest, some basic relationship wisdom, including what alimony will do to you, plus taxes, financing a car, and career administration. You know, the stuff that actually counts.
For the actor, proactive career administration is a must. Actors famously romanticize the process—I’ll eat at this hip restaurant, or go to such-and-such a party and he’ll be there—the producer, the director, Steven, Jack, Brad—he’ll see me across a crowded room, remember the tape I sent him, and offer me a part right there, my career will be born.... It isn’t a bad vision, it just isn’t too likely. In the meantime, I prefer the saying about luck happening to people who take action. I talk about administration to get actors to be as alive, participating and knowledgeable in their careers as I’ve made them in their acting work.
There are plenty of bad actors out there pounding the pavement and wasting the opportunities they generate, while too many good actors—perhaps because they’re more creative or more artistic and tend naturally to shy away from the business side of life—simply don’t know how to get a job, or how at least to take some actions to make it more likely. Or they don’t know how to audition. Or they don’t get along with people. Or they’re constantly in a sweat about money. Or there’s some mindset that the agent or manager does this work and that’s it. But anyone who’s run a business knows what kind of hard work that is, and the actor is running a business: The marketing of himself and his talent in order to get work.
So once I have an actor who can demonstrate a consistent ability to act well, and who seems to have developed a good attitude—interested, open, cooperative, able to work well with people—that’s when I get interested in what that actor is doing about getting work in the profession. Are they doing what is necessary to get the job? This involves a whole range of activity, including:
•being knowledgeable about what parts are being cast for what projects
•having a good relationship with your agents so you’re all in agreement about what you should be reading for
•writing letters to the people you think can help move your career forward
•visiting and befriending casting people
•writing good thank-you notes after an audition or job
•knowing about fashion and how to look good
•getting the right hair stylist
•getting your promotional tools—the reel, the website, etc.—to be really top notch
•meeting people in the industry who might be a future connection for you
•getting your ass to art galleries, concerts, studying both old and new films, exposing yourself to the other arts, cultivating a rich life
In my classes you will find that actors have formed “support groups” or “admin groups”—wherein 5-10 actors will get together once a week outside class to check on one another, if necessary to inspire and cajole one another, regarding completing actions for their career. It has been a very successful tool—it gives the students a group of peers to whom they are accountable, and they inspire one another to make the right choices for their career.
Administration also includes handling the people in your life so you have the support system an artist needs really to succeed over the long haul. Trying to deal with the parents? You know the ones—they keep comparing you to Cousin Fred in Indiana who makes $200,000 a year as a lawyer? Hard to talk to them, right? First off, check to see if you have any outstanding obligations, financial or otherwise, as this may prevent you from resolving situations with friends, family, loved ones, or even in the profession. So, for example, if you can’t handle a problem with your parents, check and see if you owe them money, which makes you afraid to confront them for fear of losing financial support, or having to pay them back.
“Look, Mom, I don’t feel you’re supporting me with my acting. Now Mom, I know I owe you money. Here’s what I want to do: I’m going to send you $5 a week, because that’s all I can afford right now. I know it’s ridiculous, because at that rate it’ll take 20 years, but Mom, I need you to know that my heart’s in the right place. I’m going to pay it all back. I see you don’t believe me, huh? C’mom, Mom, I need your support in this....”
Obviously, not every situation necessarily requires a conversation like this. When you’re not getting encouragement as an artist from your family, that’s when I would say you could apply some administration by having such a conversation. Ditto with romantic relationships. But if a friend came to see your play and has a face that makes it clear he didn’t like it—well, as I mentioned before, I’m not looking to train delicate Fabergé eggs. You can’t be so fragile that every speck of negativity that comes your way becomes something you need to “handle.” So I’m talking about creating a balance between using a sense of administration to create a supportive environment for your continuing work and growth as an artist, and also developing a thick skin so your morale doesn’t spike and dive several times a day based on a wiseass remark or passing negative comment.
“I need to talk to you about something. Now don’t get upset and leave me or anything, but you never ask how my scenes go in class. It’s like they don’t exist for you, and I gotta tell you, it tortures the hell out of me....”
With your spouse or significant other, be aware of any fear you may have of losing their love or sexual affections. You may have a strong feeling of dependency that keeps you from wanting to confront these delicate situations. But unless you are free to handle them properly, without the fear of loss, your creative work will deteriorate.
And so this section of the book is dedicated to an actor’s specific administrative needs—at least some of the issues I’ve seen in my decades as a teacher. It’s difficult to emphasize how strongly I feel about the importance of an actor being on top of his administration, which provides for him the basis of a balanced attitude that can lead to success. Without this balance, the actor just cannot make it, because he’s too overwhelmed by the problems like money, he remains worried and insecure, not knowing what to do for his career, and so tends to give up. Don’t give up. Hang in there. Support and go after your dream. I’ve written another book, entitled Dreams Into Action, which was inspired by the troubles I’d observed in actors with regard to career. I suggest you look at that book as a companion to this as well. Here, however, I shall focus on some specific administrative issues, and I hope some tips will emerge that can possibly help.