Fine Art Posters Nyc
Entertainment Publicist and You: 13 tips to help freelancers maintain a working relationship with customers Celebrity
Working with celebrities at press tour, the movie posters, TV talk and feature designs are so coveted and lucrative work on differentials advertising and fashion parades. After a while, you begin to notice that we are seeing the same artist names over and over again in the credits. The question arises, how I can be down?
Like some people who see a painting in a museum and say, "Oh, no one could have done that." Artists often observation smugly that could have chosen that outfit or fact "hair" or "makeup."
Do you want some latest news time? Apart from the occasional "Well, I just want the makeup to be good" or "I like a stylist who brings a lot of clothes for the shoot" not one of the publicists we spoke with mentioned nothing about the technical makeup and hair when asked why, and how to choose the independent artists work with celebrity clients of their high falutin '. In the end, it was less about the art as regards to proper etiquette. Marleah Leslie, Ron Carter and Jefferson took Lisa a time to give you a heads up about working with celebrity clientele.
"It's a comfort level," says Marleah Leslie, the company Marleah Leslie & Associates in Los Angeles represents some of the biggest stars in Hollywood. His client list includes Jim Carrey, Marie Osmond, Tim Allen, Ricky Martin and Celine Dion. "Our job is to make the client look good. If I find someone who likes my client and understand our job, then make a Rolodex card for them and keep on file. If you are really good, I will use to other customers. "
Ron Carter has been a publicist in the music business for 13 years. He has worked with Michael Jackson at Motown, Polygram Tony Toni Tone, Chaka Kahn at Warner Bros., and Tamia, and Quincy Jones at Qwest where he is now Vice President of Advertising. "The relationship issues, "says Ron. I hope some agencies and personal relationships I have developed and cultivated over the years gives me good
Lisa, a former Director of Artist Relations at Elektra Entertainment, whose priorities were Missy Elliott, Natalie Cole, Yolanda Adams, envogue and Björk said: "I have tried with the agencies. I like people who are nice and work with me. From your favorite agency, says, "The people had not really big." When I was pregnant were so thoughtful, I sent a baby gift, and I even got a pilates gift certificate from one of the owners. She stresses the importance of finding people can work within your budget and support to think that many independent designers are paid entirely too much.
Crystal: Why is what advertisers are always asking who the artist has worked before?
Marleah: He says he knows how to behave around celebrities. And I do not mean that the way it sounds. In this case, the behavior means knowing when excused from the room. We had a situation with Jim Carrey during a press conference in a hotel when Danny DeVito was halted for some time even to say hello. They are friends. The makeup stayed in the room all the time. She did not know exit. You gotta know when to give them their space. Celebrities talk about personal things or business that is not their business.
Ron: It's credibility we seek. I tend to stick with the same agencies that have given me in recent years. Cristal, Celestino and Perroneau are three that I really like. We are always on the line, rolling the dice if you will. I'm looking to reach a winner whenever I can and using people who know it can offer.
Lisa: I know who have had experience in different situations. I want to be independent and knows how to move into a whole, being able to eat from the craft services table and do not require more attention than the celebrity. That's why it's important that we have worked in business for a while.
Marleah: We ask that the artist worked with celebrity, because it will ask us. It gives them (the artist) credibility with our customers.
Crystal: no one gets fired for buying Xerox, or the hiring of Pat McGrath, right?
Marleah: Exactly. If I hire a makeup artist free sheet of life and he / she does a great job, the question becomes "Why hire this person?" If you hire an artist with a name and put the leg as well, is just an artist than having a bad day. It is not fair, it's just the way it is.
Crystal: How to find people if an artist you usually work is quiet, or if you need someone from the city?
Ron: I ask my resources [Agency] and then trust them. For example, I have a relationship with a photographer. His name is Arnold Turner. Everyone in the business (music) knows. I've been working with Arnold for more than 10 years. I have not got to be there. I would be, but Arnold knows what I want from a meeting of advertising or the photos you need of an event. When I can not be there I can send one and I know what I'm going to get. That's the same reason, asked Celestina or Crystal or Perroneau. I can trust their recommendations, including if an artist who has never worked with before.
Also see the letters received by mail. I'm an easy person. I return all my phone calls. If I get a card ZIP (promo / comp card) with a follow-up phone call can not reach her the next day, but generally will return the call a few days. If the card is striking, I'll call you! If I like what I see, I'll call in his book. Just do not send me any unsolicited portfolios. I do not want the responsibility.
Marleah: I go to my agenda first, and then I reach out to agencies. Not that many callers. Overstretched. I have my favorites and my agenda for people that meet my criteria. They are team players. It will listen to what the client practice (celebrities) and I have to say, and that the label needed that goes along with the work with high profile people.
Lisa: Well, for example, Missy Elliott likes Billy B for makeup. If available I will ask her recommendation. If these people are not available in the first place to my favorite agency and go from there.
Crystal: That brings me to my next question. Tag, what kind of errors do artists to work with celebrities?
Marleah: Do you have any time? I have some stories. Artists have to understand that this is a job. We are doing our work and the work has no room in it to flirt, gossip, or requests special.
I have clients who are single, handsome and rich. None of that is a signal for the artist to begin to flirt and insinuating himself into the life of celebrity. Cost him his job. It is unprofessional. You can not draw your attention, but never to hire again. When I talk to the agencies that make it a point to avoid know to send an artist who would ask for an autograph. That will also get canned. The celebrity not to be rude, but let me know (although I was not present) the next time you need someone book and listed the names of the artists who simply must find someone else. Dissent usually sounds something like "No, let's try somebody else. "It's very innocent. and very clear!
Give them their space, especially if you're with them all day. Stay close, so nothing goes wrong, but in the background. Do not go overboard with the talk.
Lisa: There is no dividing line that an artist should not cross. The celebrity I will not say they need space I'll just say, "We have to use someone else." And that's it!
Ron: Do not be friendly artists and begin leaving. Are your customers. During a period of time can develop a personal relationship, but should never be targeted. If you are invited to hang out, that is one thing, but never invite yourself. And be careful not to cross that line of professionalism. The first time you are asked to do their hair, makeup or hair outside of a professional relationship and what you can be the beginning of the end. Maintain a professional relationship and I respect you.
Crystal: What about working with new people?
Ron: I have some leeway with the new [recording] artists. If I see an artist's portfolio and I like, I'm usually able to give them a shot. . . If they are good. I am flexible.
Crystal: Why is it so difficult get work with celebrities and artists?
Marleah: They come with their own people. Pamela Anderson is one of my clients and has a team that likes to use. Unless something is I do not feel the need to mess with chemistry.
Ron: Even new artists recording people who want to use. The promises they have made to your stylist who helped them out when buying their agreement or friend who took off his clothes for them. If I really I do not think the person of the artist [the recording] wants to take on board is adequate for photo shoots then I suggest you take a look at other books, but Ultimately the decision is theirs. I am open to working with new people, but not always in my control.
Lisa: Everyone has relationships and people feel comfortable with. Not always want to rock the boat. The client is vulnerable, because that is when it comes to the press. It helps to have people around you that comfortable. We like to know what we're going to get.
Crystal: What are the qualities you look for in an artist?
Marleah: For makeup and hair, I'm looking soft and natural, not that they are pancake. With stylists, I'm looking for someone who is creative and can bring a lot of options. That means that more than four eyes. We have the photographer and stylist to get the ideas. I just want to bring a stylist as clothing all you can carry. I want a lot of options. A lot of people hire Phillip Bloch, because he always seems to know what is happening. Remains up with trends and can get almost anything for his client.
Lisa: No attitude from the artist or the agency. And I do not want I have to pay an artist a star. I'm working on a limited budget and want to work with people who work with me. When it comes to makeup, we often find us recruitment men over women, who seem to know better contour. With fashion stylist, I appreciate it when you need not ask me for my credit card to pull the clothes.
Ron: I'm looking for trends that are reliable and creative with good attitudes.
Crystal: What do you think was coming?
Lisa: Send a link to your website, or leave your details. Do not assume that I will have time to sit there with you. Only you have to leave. Make sure the cards in the same or color copies for me to do if I like what I see. I like having the time to look in the book at my leisure, while the artist is not sitting there waiting for a yes or no.
Marleah: Send a link to your site. Call and ask if you can send through his book. First Call, which may be outside the city and the book just sat there. I am always open to view web links, books. Send e-mail early letters, if you have one and follow up with a request to present his book.
Ron: E-mail a link to your site web, send a card. Follow up with a phone call and request to submit your book for review.
Do not you dare … ..
13 THINGS NEVER TO DO, SAY, OR ASK FOR JOINT
1. Forget that it's a business relationship.
2. Ask them to take photos with you.
3. Ask for an autograph.
4. Bring your friends and family for a meeting.
5. Smoke.
6. Gossip on any person.
7. Too friendly.
8. Ask them to sign their immigration papers.
9. Ask them to be a spokesperson for his favorite charity.
10. Ask for their phone number from home.
11. Try to include in your personal life or activities unless you are invited, and then not carry out their welcome.
12. Exit the hotel room after your business is complete unless we ask.
13. Flirt.
If this article was helpful, and would like more information about working behind the scenes in print, video, film and television, picking guide – (323) 299-0500 "Crystal Wright book> Hair Makeup Style & Fashion Career Guide. The book is available in the beauty industry all stores, including Alcone New York, Naimi frends, Nigels and Beauty Emporium Answers film in Los Angeles, and more. Click here for a link to the search for the "Career Guide" in your area, or title = "Order Career Guide Online "> Order.
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