When An Actor Says "I'm Sorry, But I've Just Been Offered Paid Work"

It's day four of a six day shoot. You have invested all of your energy in putting this incredible project together. You managed to get an incredible cast, the best DP in independent film and you somehow managed to score an office location for the shoot for free. Everything is perfect. And then your actor awkwardly says "Um, I've been offered a paid job tomorrow, and I have to take it." Actually, they probably don't say that; they text it, or email it, or tweet it. This is one of the big elephants in the room in independent filmmaking. But this elephant gets around, because absolutely everyone has experienced it. So, on the one hand, I'm inclined to go into the big question of -- what do you do in this situation? But I'd rather focus on the one who is creating this conflict, the one who is taking the paid job. Because it is to them that we really need to say; what are you doing?

Of course, the simple wisdom is 'pay them something' and 'get them to sign a contract,' and these things sound lovely - but people still walk out after four days to do something else. So firstly, before we go on, I hope we can all agree that this happens, and in fact - it happens quite often. It's very rare for the person leaving to go to a paid job instead and feel good about it. They will defensively say they have to or that they have no choice, but they will feel bad doing it and know they are in the wrong. You know this because they'll text you their excuse and you'll probably never see them again.

The two main reasons given are: "I'm sorry, but it's paid, and I'm so broke right now that I have to take it." The other one is "This is a great opportunity, the guy who was AD on that spin-off from that show who made that thing that used to be on NBC is directing it!" - this, of course, is especially true with actors who think it's their big break.
But it's this idea of a big break which is the troublesome thing--- because, the big break doesn't exist. Being in a commercial or having two lines in a feature film directed by someone reasonably established isn't a big break. Real acting, like real directing, isn't about a big break-- it's about constantly creating opportunity through your body of work. A big break, if it happens, is temporary, and fleeting. One minute, you're in a magazine as "The Star of 2007" and the next thing you know, it's 2010 and you've not had a job in three years. A real 'big break' happens once a year, and it happens to Kristen Stewart or Andrew Garfield. If David Fincher wants you in a movie - I understand. But if the paid job you're ditching your indie flick for is a yogurt commercial - you really need to think seriously about your priorities, and your career.

Let's imagine it's 2005, and Mark and Jay Duplass ask you to be in their independent film "THE PUFFY CHAIR." They're shooting it for $15,000; they can't pay you anything. The film is about relationships and it's mostly improvised. You get a role and it seems like fun-- you don't know much about them and you don't totally know if it will work, but you take the role.

And then two days into the shoot you get a call from your agent, if you have one; and they've got you a role playing a young parent in a McDonald's commercial, and they're paying you two thousand. What happens here is most people take the two thousand, and go do the McDonald's commercial.

Now, of course, on the shoot -- the Duplass Brothers would be pissed because you've monumentally fucked up their movie, which you know; so you keep avoiding them, meanwhile you do the McDonald's gig because you desperately need the money and you want to get that big break.

So now it's 2010. Five years have gone by and that two thousand is long gone. Would you rather have done the McDonald's commercial or starred in one of the best independent films of the last decade? Which one is the best for your career? Reality check--- if you're in this business for the money, or for stardom, you really shouldn't be wasting your time in independent films in the first place. If you want to be doing good, meaningful work -- do it now, and dedicate yourself to it.

There are two very different roads to be taken on the way to 'success' in this industry. One is financial; it involves stardom, magazine covers, and the hope that one day you'll be Johnny Depp or Megan Fox. The other way is to do projects that move you, inspire you, and challenge you. You can start deciding to do those right now, TODAY. You can find the writers and directors who are really trying to do something that is about having something to say, and about putting out meaningful art. You can align yourself with them and there's the hope that one day you'll be Mark Duplass or Patricia Clarkson.

Next time you are caught between the paid job, and the great job - it's really a decision about who you are and what you're in this industry for. ESPECIALLY when the two of them collide, and ESPECIALLY ESPECIALLY when you have already agreed to do the no-budget project.

This isn't an article about being pretentious or about being purely about art. It's about realising there are different things we can be chasing. And if you get too caught up in success, you're going to lose out on a lot of amazing experiences. I know a lot of filmmakers who have been majorly let down by actors for these very reasons. And more often than not, the filmmakers go on to do great work and the actor's are still chasing down jobs and struggling. A 'big break' to me is either a) Getting cast in a big franchise and getting stinking rich --OR-- b) Getting cast in the next 'Once' or 'The Puffy Chair." As an actor, you should decide which one you're after. And then go for it completely.

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