The Timothy Dalton Chat Group's
Frequently Asked Questions


  • How to write to Mr Dalton
  • Where do I purchase Tim's project of....?
  • What do Agents do and how do they differ from Managers?
  • What steps are involved in producing a movie?

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    Writing to Timothy

    Would you like to write to Mr Dalton?

    Timothy's fan mail is handled in London and here is the address if you would like to write to him:-

    Mr T Dalton
    c/o Independent Talent Group
    40 Whitfield Street
    London W1T 2RH
    England
    UK

    PlEASE NOTE: That as from September 3rd 2007 ICM London changed its name to Independent Talent Group but they still represent Timothy so we can still write to the same London address above.

    You can also write to Timothy at the following address in LA but I have been told that the fan mail is usually forwarded to London by ICM Partners but you can use either address:

    Mr T Dalton
    c/o ICM Partners
    9th Floor
    10250 Constellation Blvd
    Century City
    Los Angeles
    CA 90067
    USA


     

     

     

     

     

     

    Where can I buy Timothy's project of.......?

    If you would like to purchase Timothy's project of Star Crossed Lovers
    then go to PBS Great Performances Website.

    It does not say at the PBS Great Performances Website but the price of Star Crossed Lovers is $24.95 plus shipping. I would very much like to thank Karen for this information.

    If you would like to purchase Timothy's project of Sins
    then go to Videoflicks.com. I would like to thank Atsuko for this information.


     

     

     

     

     

     

    What do agents do and how do they differ from managers?

    The Information presented here has been taken directly from the AFTRA Homepage.

    What is a "Franchised Agent"?: A "franchised agent" (which includes International Creative Management) is a person, firm or corporation that has entered into an agreement with AFTRA under which they agree to abide by certain rules and conditions when dealing with performers who work within AFTRA's jurisdiction. In most cities, AFTRA members are required to deal only with franchised agents for the purpose of securing and negotiating employment contracts.

    How does an agent become franchised?: In order to receive and maintain a franchise from the union the applicant must demonstrate that the agency is a legitimate business, registered with the state or city when required, that, among other things, maintains proper office space, surety bonds and client trust accounts. The agent must also demonstrate a thorough knowledge of the entertainment/agency business.

    When and how much should I pay my agent?: No franchised agent may charge a higher rate of commission than 10%. In some cases, an agent must negotiate your fee above the minimum scale, or in other words, "scale plus 10%" in order to collect commission on a job. This rule may vary according to the local area in which you work, or the collective bargaining agreement you are working under. Always check with your local AFTRA office for specific rules. An agent may only receive a commission when and if you receive compensation for your employment. Agents may not charge up-front fees of any kind. They may not require you to attend a specific school or use a specific photographer as a condition of representation. If the agent does have some suggestions on these subjects, you should be supplied with a list of several schools or photographers.

    What if my Agent wants me to sign a contract?: Franchised agents are required to use only the standard form contract or a union approved contract when signing clients. Be aware that an exclusive contract generally means that all work obtained while the contract is in effect is subject to commission by that agent. You may obtain a release from the contract under certain circumstances. All terminations must be in writing.Please copy the AFTRA Agency Department on all terminations and include the name of your new agent.

    What if I find myself in a dispute with my agent? Contact your AFTRA Local and ask to speak to a staff person familiar with the Regulations Governing Agents. Disputes between an AFTRA member and a franchised agent, that have not been resolved informally, may be submitted to arbitration for resolution. The cost of arbitration is usually less than going to court and is generally concluded in a short period of time. An arbitrator's decision is final and binding on both parties. But remember, not all conflicts must end in arbitration. Many conflicts can be resolved through consultation with your AFTRA office and through good communication with your agent.

    What is the difference between an Agent and a Manager? Although both agents and managers function similarly at times, a simple distinction between the two can be made by observing that agents negotiate and service employment contracts, while managers are supposed to engage in career direction (i.e. advising clients on the presentation of artistic talents, introducing clients to agents and casting directors, etc..) and the overall management of the artist's career and business. Unlike agents, AFTRA does not franchise managers. Therefore, AFTRA cannot regulate the fees they charge. Although your Local office may be able to answer general questions, AFTRA cannot arbitrate or resolve disputes involving managers. In some states, persons who secure employment must be licensed as talent agents by the city or state in which they are doing business. There are sometimes exceptions for attorneys, and certain fields of work are granted exemptions under various state laws (Sound Recordings in California, for example). Always do your homework and investigate the reputation of a manager, talk with other colleagues and check out references. A good manager should understand your concerns.

    Now that I know some of the rules, how do I get an agent?: There are hundreds of talent agents of various types and sizes out there. Finding the one agent that is right for you is a formidable task. It involves dedication, persistence and a game plan.

    Targeting Agents: Determine what your interests and needs are. Then, target those agencies on the AFTRA Franchised Agents List. You may obtain this list by calling your AFTRA office. Also, ask your performer friends about their agent and see if they can put in a good word for you, or refer you to another agent.

    Get Involved: Performers often find agents through friends and fellow performers. Get involved with activities that will put you in touch with other performers, such as workshops, membership meetings, casting showcases and special seminars. Agents want experience. Get involved in a play or showcase and send invitations to your targeted agents. Check the trades for casting calls, and contact casting directors directly.

    Submit Appropriately: Tailor your resume to the specific area of representation in which you are interested (i.e. - If you are looking for a commercial agent, list your commercial credits first). Always keep your resume current and remember to include all union affiliations. Submit appropriate photos. Commercial agents require different types of photos from theatrical agents. If you have a film or tape of yourself you may want to submit it either in addition to or in lieu of a photo. An audio demo should generally not exceed three minutes. Always send your submission to a specific person at the agency. Indicate in your cover letter that you are seeking representation and state why you would like to be represented by them. Keep notes of the agents to whom you submitted your pictures, as well as the date of submission and any response or comments. (Several articles in the AFTRA Magazine have been devoted to the process of finding jobs.)

    Interview your Agent: Now that you've got the interview, make the most of it. If you've done your homework you will already know his/her reputation in the industry, connections, background and possibly some clients. But it is a good idea to check these out again. Ask questions. Interview your agent. Your agent works for you and you work with your agent. The ideal relationship will be satisfying and beneficial for both parties.

    AN IMPORTANT NOTE: Don't call your agent just to shoot the breeze. Although you may have a great relationship, they are generally very busy people and we've been told it really gets their goat.


     

     

     

     

     

     

    What steps are involved in producing a movie?

    1. Movies Rumoured: Whispers and rumblings are heard about a 'new' project. Sequel? Book adaptation? Remake? Perhaps a long-stalled project has been linked to a hot star who is a fan of the source material and interest begins to build...

    These are projects that have been speculated about, perhaps by Hollywood to ascertain if there's interest in the project, or by the fan base speculating about the feasibility of such a project, or hinted at by the original creators that these projects will eventually come to pass. Examples include episode one of the new 'Star Wars' trilogy (which only was announced to have entered Stage 3 development in 1994), Forrest Gump 2 and so on. Some go on to eventually become movies (such as Terminator 2), others remain enigmatic or near-impossible to get made.

    2. Script Stage: The script has sold to a production company, or a production company is developing a script for their property. One or more writers have set about trying to construct the framework for the picture: characters, storyline, scenes and scenario. Little or no additional detail - such as signed contracts to work on the project by stars or directors - has been officially announced. Essentially the project remains 'work-in-progress' for the moment...

    An idea must be a script before it becomes a film, even if substantial changes occur during the shooting. At this level the finished film resides solely in the writer's (or reader's) mind, and no significant amount of money has been spent on developing the script into a feature film. Each script that successfully becomes a movie has its own unique story behind its development: some are sold by professional writers, some are properties or ideas developed by writers-for-hire, some are simply scripts aquired by studios that remain stuck at this level for years. Because of the high ratio of successfully-filmed scripts to scripts sold but unproduced (some say 5:1, others say as high as 10:1), we are primarily focusing upon scripts that have either sold or are in the processes of being sold by professional screenwriters.

    3. Development Hell: Money is spent by the production company developing the property, and forward development occurs on the project. The script is tweaked, perhaps re-written to whet the interest of a star. Names are bandied about - who fits this part, who can direct this genre? Distributors are sought. The project is trying to develop a financial cohesiveness, struggling to be approved by investors...

    The film is in its childhood at this point, usually just a sold script, sometimes even only an idea or premise, seeking funding or interest with a studio or investors to develop the property. This phase can last a relatively short period of time (weeks, months) or years and even decades (the 'Batman' movie took nearly 10 years from various concepts and scripts to the final 1989 version. The rights for 'Interview With the Vampire' were sold for movie development soon after the release of the novel, but took nearly twenty years before the movie got made. The favorite project of the Director of CA at this level is the beautiful treatment by Harlan Ellison for Asimov's I Robot. The difference between this level and the 'Script' level before it is the dissapearance of the writer(s) and the involvement of producers, developers, money and time spent on making the script into a theatrical reality.

    4. In Development: The project has attracted interest and funds are spent upon developing the idea further. Final script premise is being polished off. Pre-conceptual design work is taking place. More crew and actors 'coming aboard' project in this phase; positions are being solidified and officially announced. Tentative release date is announced, usually held to a 'ballpark figure' (such as "third quarter of '95" or "summer 1996", etc.)

    The early stages of 'In Development' can overlap with the 'Development Hell' stage - studios and trade journals have a different means to define when and where a picture moves into a "higher" category. For our purposes, this stage occurs when a picture has a pretty good chance of being made. Some films simply need a star name attached to the film to get pushed ahead - others need a total film budget worked out beforehand, with all major casting decisions made before the studio "moves ahead".

    5. Green-lighted: The project has moved to active production. All of the crew and stars have been selected, and principal photography is scheduled or commenced. Release date starts to become 'cemented' or fixed. Trailers, movie one-sheets and advance publicity shots for the film are released. Post-production work, additional filming, completed soundtrack and final special effects are added.

    The most detailed stage of a movie's development (pre-production, principle photography, post-production, re-shoots, editing, promotion, release date). For simplicity's sake, we use the umbrella term of 'Greenlighted' when a movie reaches any of these sub-stages.

    6. In The Can: Movie has been completed in its entirety, and is awaiting release. Release date may have been pushed back a short time (weeks) to a unscheduled future date (months), awaiting a more favorable window of opportunity for commercial success.

    Movies can be finished months in advance or days before the film's widespread release. A film moves into this stage when all the scheduled principal photography has been completed and post-production is underway/nearing completion. Films are sometimes held back because of scheduling delays but sometimes the waiting period extends into a very long time indeed - months turn into quarters, then it becomes...

    7. Vaulted: Extremely rare and unique to each show. The movie has been completed and has been awaiting release for a longer-than-average length of time. Shows that are 'bumped' more than six months ahead of their release date are placed here until a 'solid' release date becomes avaliable.

    Because of the high cost of movies, and the simple fact that studios make money when people go to see their shows, this practice only happens in very dire or extremely unusual situations. An example is Blue Sky, whose original studio, Orion Pictures, filed for bankruptcy. Although the picture was completed back in 1990, the movie sat in the vaults of Orion, awaiting the outcome of legal concerns first. A studio picked it up, distributed it, and released it in 1994, in which it garnished an Academy Award in the category for Best Actress for Jessica Lange. On the other hand, the ownership of rights to the Neue Constantine version of The Fantastic Four was simply bought out by Steven Spielberg's Amblin pictures, to make way for a future high-budget version of the film from Amblin.