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notes
e a note from agency owner, Linda Teglovic Congratulations on being represented by the first and only West Coast agency devoted entirely to body parts. As a talent represented by Body Parts Models, you have something extraordinary. BPM spends a great deal oftime sorting through potential models and their parts to find one of you. The mere fact that a professional company will pay a premium rate to use your part in its production or print advertisement is really quite special. Inside the BPM Model Handbook, you will find valuable information that will ready you and the agency to have the best possible working relationship. For this reason, you are encouraged to read the BPM Model Handbook at your very earliest convenience ... and certainly prior to any communication with the agency, accepting go-sees or castings and arriving on set for job bookings. Keep the BPM Model Handbook, the Agency Directory and the Contract Cheat-Sheet handy at all times and reference them often. Congratulations again ani! working with you l
YUf':lr.nmf':
tn thf': f':xciting world of body part modeling. I look forward to
Linda Teglovic Owner Body Parts Models, Inc.
images from Linda's portfolio
completing your
statistics form
One of your first responsibilities as a Body Parts Model is to complete a statistics form. The statistics fonn contains critical data that enables the agency to match you and your part to ajob and, most importantly, provides all the possible methods to contact you when the job is booked. Regardless of your part division, you are required to fully complete the statistics fonn. You would be surprised how often a production company wants to know the inseam for a hand model or how regularly a wardrobe stylist asks the dress size for a foot mooel. Where do I get the statistics form? Most often, you IN.iil be presented this fonn and other important paperwork at the time of your parts photo shoot.
tips for successfully completing your statistics form ZED CARD NAME This is the professional name that will be listed on your zed card and the name clients will use to identifY you. SAG Models - Use the name you have registered "\Vith the Screen Actor's Guild. Non Union Models - Select a name you will use for your career. Choose at least two names as that is required by SAG when it comes time for you to join. If your last name is difficult to pronounce or spell or is extremely common, then you might consider using your first
and middle names as your professional name or consider an alias.
gency or a late booking, we want to be able to reach you (and expect to be able to reach you). Primary Number - Circle your primary phone number (where you will take all bookings, a number you check regularly for messages). Additional Numbers - List three additional numbers (employer, husband or lNife, parents, roommates or friends). Do not list a boyfriend or gilfriend as that could change. Ifwe Catlllot reach you at your primary phone number, we will messages Wlilfi 'ill your contacts in an attempt to ensure the info gets to you. Texting Let us know if you can accept text messages. We lNill often
cell phone, consider purchasing an inexpensive pager IN.i.th service.
PHONE NUMBERS Timeliness in reaching you can mean booking or losing the job. Four Numbers - Though we realize many people use only one phone number (generally a cell phone), we still require four phone numbers. In case of an emer61 Body Part Models Handbook
EMAIL More than 90% of the agency's communication is via email. You must provide an e-mail address that you check often. If you don't currently have an e-mail account, get one.
UNION STATUS If you are Non Union, be clear about the number of SAG vouchers you have and your eligibility. If you are unsure, find out by calling SAG at (323) 549-6769. Learn more about vouchers in your handbook section titled " What About Joining SAG."
HOBBIES & SKILLS The more information you can provide, the greater advantage you will have to book ajob. List anything you do well or unusual, especially any skills that even remotely involve your represented part. Hand Models - I ... shuffle cards, cook well, was a bartender, have excellent hand IN.liting, know sign language, play an instrument, toss pizza dough, knit, have puppeteer training, drive a standard transmission. Can you crack an egg lNith one hand? (yes, this skill \Vas needed for a commercial.) Foot Models - I ... tap dance, can stand on my tippy toes. Can you pick up a milk jug lNith your toes? (yes, this skill was needed for a movie.) Every Model - Are you right or left handed? Give this section a lot ofthought. Your hobbies and skills should incorporate your represented part. We do not need to know your interests in reading, birdwatching or critiquing fihns.
SKIN. EYE, HAIR & COLORS Be creative! Don t tell me your hair is brown and your eyes are blue. Instead, tell me your hair is malted cocoa and your eyes are cobalt. Describe all your colors as if you were an item listed in a catalog ... sell me IN.ith your color illustrations. For creative ideas, go to an art store and browse chalk colors, visit CoverGir1.com or peruse your favorite box of Crayola Crayons. Skin Colors - Use cosmetic foundations to get ideas. Your skin color should be creative , but more importantly it should be descriptive. Instead of saying your skin is fair, describe it as alabaster. Eye Colors - Use eyeshadow names, a thesaurus, or just see your surroundings. Hair Colors - Check hair dye names to find a close match or get ideas. elairo! is available at any grocery store. RING SIZE Ring size is not measured by inches around. See a jeweler and use her tool to determine your left ring finger size (in quarter increments, 6, 614 , 6\1;Âť. The fit should be comfortable, leaning more on the side ofloose than snug.
SHOE SIZE Use N aturalizer brand as a standard. Learn if you are narrow or lNide. Naturalizer is found at most Bloomingdale's, Macy's or Nordstrom department stores.
GLOVE SIZE Glove size is taken by measuring (in inches) the length between the tip of your middle finger to the break in your lNfist (hold the palm up lNith a flat hand). Next, hold your four fingers together and measure the circumference around your knuckles. The larger of the two measurements is your glove size.
size. You might need to go to a department store and try them on. Shirt size - neck and sleeve length (i.e 15\1;>" / 32"). Again, consider going to a department store to find your true fit. Jeans size - waist and inseam (i.e 32134 ).
Bicep - inches around lNith a relaxed (not flexed) ann.
CLOTHING SIZES
SHADED AREA ON LEFT
List your U.S. sizes, not European sizes. Use Guess brand name as a standard. Guess can be found at most Macy's, Bloomingdale's and Nordstrom department stores. Inseam - Measure along the inside of your leg from the middle of your crotch to the bottom of the ankle bone. Women - Your measurements include chest, waist and hips. Chest measurement should include a cup size. If you are unclear on exactly how to take proper measurements, ask an alteration person to measure you. Many dry cleaners have a person who does alterations on site. Please do not exaggerate on the measurements you record on your Statistics Form. As long as the agency has your true measurements, your booker will know when to fudge. Men - Pay special attention to providing the correct sizes. Suit size - Your suit jacket size does not al-..vays correspond to the suit pant
The shaded area on the left side of the Statistics Form that lists the multiple parts divisions is for agency use only. Please do not mark your o\VIl divisions.
If any of the data on you r statistics form changes (mailing address, email, SAG status, etc.), you must email the agency as soon as the cha nges occu r. Keep us in the know! linda@OOdypartsmodels.com
Body Part Models Handbook I 7
moael parts m our most obvious role as a parts model is to be available for castings and bookings. However, there are several other things you should know to make sure we start off on the right foot (pun intended) and in order to be the mcxlel parts mooel "With Booy Parts Mooels.
V
MODEL PICK-UP BIN
MAKING CHANGES
INJURIES
The Mcxlel Pick-Up Bin is a large silver mailbox located at 2023 Coldwater Canyon in Beverly Hills on the outside of the only side gate and is accessible 2417. Use this bin to both pick up and drop off items for the agency. Picking Up - All checks lNill be placed in the bin for mooels to pick up at your convenience (we \Yill email to let you know once the check from ajob is ready for pick up). In the case of rain, your checks might be temporarily moved inside the agency. Dropping Off - If you drop something into the bin, please email us at linda@bodypartsmodels.com so that we will know there is an item in the bin to be retrieved.
Keep the agency informed of changes! Appearance Changes - All models must let us know about things such as extreme weight changes or new tattoos. Face models (skinlneck/ears, hair, eyes, lips, smile) must check IN.i.th the agency prior to cutting or coloring hair. We must know and communicate to our clients that the look on your zed card might be slightly different from the look on your casting. Never surprise the client or the agency lNith unarmounced changes. Contact Info Changes - Immediately inform BPM of home or email address changes: linda@bodypartsmodels.com. It's extremely important that we have correct info - we might need it at a moment's notice.
If you injure your represented pari, let the agency know as soon as possible. Regardless of how minor you think the injury to your part is (this includes paper cuts for hand models), take a photo of the injury and email it to the agency at linda@bodypartsmodels.com.After reviewing the location, visibility and extent of the injury, the agency will determine if we can present you for work (if the injury does not significantly affect a job) or if we need to wait until your represented part has healed. If you anive to a casting or job lNith your represented part injured IN.i.thout having first notified the agency, you lNill be suqj ect to immediate removal from Body Parts Models.
81 Body Part Models Handbook
COMMUNICATION WITH BPM General Communication - The best \Yay to communicate"\Vith the agency is bye-mail. If you must phone the agency, keep in mind that most of the business day is spent negotiating bookings and coordinating castings for you, so the agency may not have time to talk at that particular moment. Calls From The Job Set - If you are onsetorinstudioandneedtospeaklNith your agent immediately, please DO NOT
CASTINGS / AUDITIONS Getting There - Ahvays anive at least 10 minutes early. Map your location in advance. If you are running late , call the agency. BPM IN.iil contact the client on your behalf - do not disturb the casting session by calling directly to ask for directions or to let them know you are in traffic. On that note, we all know what traffic is like in L.A. , so prepare for it! See the "My Division Is ... " section of your handbook for guidelines to prepare
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ourrepre-
serrted part for castings.
hesitate to call. First, try the agency number. If you carmot innnediately reach someone in the office, please use Linda Teglovic's personal cell phone number. In all emergency cases or IN.i.th questions from the set, Linda's cell is your 911. Returning Calls From The Agency If you are called or texted by the agency, call back or reply innnediately, two hours at the latest. Emergency castings and last-minute job bookings do happen, and your timely response is important.
BOOKING OUT As soon as you know you will be Wlavailable or oui o/town/or any given day(s), inform the agency via email If you do not book out, the agency lNill assume you are available and lNill continue presenting you for jobs and castings that take place while you are mvay. Do not put the agency in the embarassing situation of informing a client that we didn't know you were unavailable when they call for a casting, callback or booking. Remember the agency is often coordinating bookings 2 to 3 weeks in advance of the job date. The earlier you book out, the better. Book Out - Send an email to linda@bcxlypartsmcxlels.com IN.i.th the words BOOK OUT and your absent date(s) in the subject line. Soft Book Out - If you need to book out but would like to be called for especially good opportunities or direct bookings (a client calls for you specifically), then list your booking as soft. To softly soft book out, send an email to linda@bcxlypartsmcxlels.com IN.i.th the words SOFT BOOK OUT and your absent date(s) in the subject line.
Zed Cards - Take your BPM zed card. If you are out of BPM zed cards or if your card is currently being prcxluced, then you IN.i.ll still need an agencyapproved temporary headshot or zed card to leave behind IN.i.th your photo for all castings on which BPM sends you. The agency can provide you lNith a temporary zed card and a BPM logo sticker Contact the agency for these. DO NOT ever leave behind another agency's card unless Linda has approved for you to do so. In the rare case that you are allowed to leave behind a card labeled lNith another agency's contact information while attending a casting on which Body Parts Models sent you, you may be asked to cover the contact info lNith a BPM sticker. We do not want to confuse our clients about who represents you for parts mcxleling.
hold the entire 24-hour period. A 1st Hold is just that - the first hold you've been placed on for that date. If the client does not book you, the agency lNill notify and release you from the 1st Hold. 2nd Hold - Ifthe agency calls to place you on hold and you have another hold (either through a different agency or BPM), then you "Will be placed on a 2nd hold "With our client. This allows you to keep both holds alive and our client lNill simply select back-up talent should your first hold become a booking. If our client does not book you, the agency lNill notify and release you from the 2nd hold. Challenging A Hold - If you are on a 1st Hold "With BPM, but another agency calls you for a booking (not a hold), then you will challenge the hold "With BPM. At this time, we will notifY our client who must immediately decide to change your hold to a booking or release you to work the other booking. Important: If you take another booking "Without first challenging the hold "With Body Parts Models, you will be innnediately released from your contract "With BPM.
AVAILABILITY, HOLDS & CHALLENGES It is very important that you/amiliarize YOlffselj with these terms and how they apply to yow parts modeling career. Availability - When the agency asks your availability, we are doing so because we \Vlli11 to doubly confirm that your book out calendar is current before we submit you for a casting orjob. If you are available for a date, you must be available for the entire 24-hour period. We carmot tell a client you are available until only 5 p.m. If you are called for availability, the agency IN.i.ll not call back unless you are placed on a hold. We will not call to release you from availability. lst Hold - When the agency places you on a 1st Hold for a date, you should Body Part Models Handbook I 9
•
my divis Ion
•
IS
•••
abs, anns, back, body double, butt Clothing - Arrive wearing clothing that can be easily removed. Women should wear boy shorts with a black tube top or a bikini without dangling strings (Cosabella g-string for Body Doubles and Butt models) with a sports bra and heels. Men wear a Speedo or briefs. Hair - Women should wear hair in a ballerina-style bun pulled away from the face and shoulders allowing for an undistracted view of skin and body.
Skin - Skin is very important for these divisions. Arrive at castings well-moisrurized. No glitter. Shine should be a nude shimmer created from great skin with plenty of moisture. Nurture your body's skin and keep it looking beautiful all year fOlUld. Bliss (www.blissworld.com)andClarins (www.Clarins.com)makeexcellentbodyproducts. Makeup - Facial makeup should be minimal. Conceal tattoos or marks using using body makeup. Consider a lesson from a professional makeup artist to learn techniques. Ifa casting director can see your tattoo, you risk thejob. Namie's Beauty Center (818655-9922) carries body makeup used to cover tattoos, scars or markings. Nails - Manicures and pedicures should be completed with a nearly clear color such as Essie's Mademoiselle or Ballet Slippers (www.Essie.com). Jewelry - Please leave alljewelry at home. On The Job - Take your body double kit (see page 12 for details) and products to moisrurize and conceal imperfections. Sally Hansen Airbrush Legs is available at drugs stores in nail care. M·A-C Face and Body FOlmdation is professionally color matched to your skin. Afterbody makeup is applied with gauze, buffcom starch into your skin until the product is no longer visible on the surface to create a sheer shine like pantyhose.
eyes, hair, lips, skin/ neck/ears, smiles Makeup - Makeup should be light and classic. The clients wants to see your features llllcovered, free of heavy eyeliner and drawn-on lips. Consider taking a basic makeup lesson. Hair - Maintain your hair to appear exactly as it does on your BPM zed card. Unless you are ahairmodel, showyourface beautifully on castings with your hair worn in a simple ballerina-style bllll. If you are a hair model, wear your hair as it appears on the front of your zed card. Hair models with color-treated hair should never ever (this means not in a million years) have roots showing! Skin - Since your represented part includes your face, treat it with the utmost care. Just as hand models get manicures regularly, you should get facials regularly to maintain your part Find a good facialist that you trust or ask the agency for recommendations, many of which are in your Agency Directory. Work with your facialist to develop a regime best suited for your skin type so as to preserve your healthy and youthful skin. Sllllscreen, a hat and Sllllglasses are a daily must. Even lips can get subumed and dehydrated if they are not protected.
unusual parts Every model in the Unusual Parts division is different. Still, the primary rule applies -maintain your body parts. Speak with the agency for specifics regarding your llllique part Snow White, paw model 10
I Body Part Models Handbook
feet, hands, hands & feet Manicures - Manicures, manicures, manicures. You should always be manicured. Be professionally manicured regularly and often (once a week is ideal), but learn some techniques to maintain your hands, nails and cuticles at home between manicures in case you are called to a lUsh casting. It's not llllcommoo for the agency to giveyou two hours notice or less to be seen for ajob. Hand and foot models must always maintain their parts with manicures and pedicures.
Colors - Men should ask the manicurist to buff their nails flat with no shine. Women should be polished using a color that matches the natural pink of your own nails. Most models should use Essie Ballet Slippers (#162). However, your best color is dependent upon your own skin col Of. Some other good options are Essie Mademoiselle, G.P'I. Coney Island Cotion Candy, O.P.I. Rose Petals, O.P.I. Sweetie Pie. Of course, you should try these colors to see which, if any, is the most natural for your nails. For darker skin tones, try Hi Maintenance by Essie. Shoes - Foot models, when you go to castings or arrive for a job booking, you should wear loose-fitting slippers or Ugg-style shoes that do not leave any lines, marks or impressions of your feet. Just prior to walking in for a casting, put on a nice heel with an open-toe to display the foot beautifully. Sunscreen - Remember that the Sllll beats down on the tops of hands and feet causing visible tan lines from sandals and rings. Protect your skin. It's the job of a foot and hand model. Keep a small bottle of Sllllscreen in your purse, in the glove compartment of your car ... and use it! Self-Tanning - Never use self-taooing creams or spray tanning systems. If you absolutely must tan for a personal event (wedding, etc.), use Clarins taooing products and an exfoliating scrub to remove all color from your hands following application. Be certain you are exfoliated and well-moisrurized prior to using these products. Clients often select parts models because the skin tone shown on their zed card matches that of the actor or model the represented part is replacing. Cutting Nails - Maintain your nails at the length shown on your zed card. Ifa production wants longer nails, they will apply acrylics on the set. In this case, the agency will manage any extra compensation and the removal of the acrylics from your hands. You should be open to having the length of your nails changed often as it is not llllusual for a production to ask hand models to cut or trim nails for ajob. Permission to cut is always obtained through the agency. Call before this happens. Nails should be square with a slightly filed edge. Long, round nails are no longer in fashion. On The Job - You are ALWAYS required to get a manicure prior to arriving on set for a booked job. Take your own hand/foot model nail kit with you on set for job bookings. See page 12 for nail kit contents. In addition the polishes listed for the kit, also take a bottle of the color polish you are wearing on set. Know the popular colors of the season and have a shade in your kit. Take a small insulated bag that can keep a bag of frozen peas. The bag of peas can be used to cool down and calm veiny hands. Hand models are also required to take long and short sleeved black and white t-shirts on alljobs. This is not considered a billable wardrobe, but rather a requirement for a parts model. Often times productions have manicurists on set, but sometimes they do not. Be prepared with your nail kit.
threading may be an OJiion to consider. Tannlng- A big no. You are a model, a Hair Removal - Shaving is net recom- blank canVcl'l. If your represented 1xxly mended due to risk of razor bum, bumps port has the right shape and look for a and cutting your represented part. Time job, the makeup crew will tan you if they penoitting., waxing two days priet to ajob !Kl desire. aherwise, you are to always is the ideal OJiion. Because waxing can be the exact same skin tone as appears on cause redness or irritation, select a trusted your zed card phetoo. teclmician or see the agency directory for Jewelry - Earrings should be posts (no recommended salons. Hair removal. dangling). The fewer accessories, the creams (that you have te!ted before) are better. A wedding ring is okay, but ctherexcellent choices for last-minute job:; or if wise !tay away from rings, bracelets and your skin doesn't react fuvorably to Wctches. The client wants to see your they should waxing. If you have lnmsually sensitive olUanding body ports skin, or dark, thick hair, a teclmique called not be diruacted by bling.
Wardrobe - Unless !tated differently by the agency, wear a simple, elegant, non-tirreatening outfit to cartings. Allow the client to see your represented part without being di.strncted by a fushion staement. If you will remove c1cthing to reveal. your represented part, your c1cthing should net cause crea.es in skin (no pants lines arOlmd your waist, nO !KlCk marks on your ankles). Unlike an acting audition, the clients are net seeking personality or individual. !tyle. lrutead, they are seeking the perfect 1xxly part for their connnercial. or magazine ad. Show them that perfect body port. Body Part Models Handbook I 11
legs Create the "wow" look on)KJW' casting. You should be remm'kable.
(U'(!
all about legs and they
Makeup - Prepare your legs for a casting in the same way you would prepareyour face. You wouldn't attend a facial cream casting withoutfrrst concealing even the tiniest of impetfectioos. Treat your legs the same. One good product to consider is Sally Hansen Airbrush Legs available at most drugs stores in the nail care aisle. MA"C Face and Body FOlUldatiOl1 (j:lrofessiOl1ally color-matched to your skin) is another great option. You can also use com starch to create a sheer shine. First apply makeup or touchups, then follow with com starch. With a large makeup puff, simply buff the com starch into your skin lllltil the product is no longer visible 011 the surface. Nivea Body Silky Shimmer Lotion can also leave your legs nicely moishirized with a hint of nude shine.
Shoes - The shoes you wear into an audition are more important than you might think. The right shoe can enhance the length of your legs and bring out all the right rruscle tone. The wrong shoe can ... well, you get it. Never wear a shoe with an ankle strap. Wear ptunps or candy-style shoes with a 4 to 5 inch heel. The heel should be slender or a stiletto .. never wear a chunky or wedge heel. Wardrobe - Wear a dress or skirt ... exceptionally short to show as much of your fabulous legs as possible. Even if you have been in to see this client before, asstune this is the vet}' first impression. Never wear pantyhose to casting.
Nail Kit • • • •
nail clippers non-greasy moisturizer cotton gloves (hand models) wash cloth with ice or frozen peas • polishes: clear Ballet Slipper Pink or Mademoiselle (by Essie) a deep burgundy a true red a color of the season (know the popular trends)
• nail file • nail buffer • slippers or Uggs with perfectly clean lining (foot models) • short and long sleeved black and white t-shirts • you r BPM zed card
Pedicure - A pedirure is part of preparing your legs for castings and job bookings. Men should ask the manirurist to buff their nails flat with no shine. Women should be polished using a color that matches the natural pink. of your own nails. Most models should use Essie Ballet Slippers. However, your best color is dependent upon your own skin color. Some other good options are Coney Island Cotton Candy, Rose Petals or Sweetie Pie by G.P'I. or Mademoiselle by Essie. For datker skin tones, tty Hi Maintenance by Essie. Of course, you should test these colors to see which, if any, is most nahiral for your nails.
Body Double Kit • • • • •
everything from the nail kit nude Cosabella g-string body glimmer lotion black and neutral 4" pumps your BPM zed card
• • • •
robe slippers nipple pasties energy bar
All Models Take your BPM zed cards to all castings and bookings. Your zed card is the best marketing tool you can have. Give it out on sets. Clients will call BPM to request you just because you gave them a way to remember you at the right time! 12 I Body Part Models Handbook
Foc tips 00 how to maintain and pre;entyoor part at castings and j ob bcdcings., reference the legs and foot divisioos. The client oc the agency will give yoo w ...drobe directioo prioc toyoor bcdced j ob. Remember that yoor persooable character and !mile are as iIll'crtant as yoor beautiful fed. SiIll'ly put, yoor role as a Shoe Show model is to help the client sell shoes to buyers.
b I a)o .
booked •
Hey, congrats on the job! There are several things you need to know and do once you have booked ajoh. This section of the BPM Handbook is very important as it outlines and details your responsibilities that come from booking ajoh.
TALENT BOOKING MEMO As soon as BPM and the client have finalized negotiations, you "Will be emailed a Talent Booking Memo. You "Will be asked to review the booking details and agree to the terms in aretum email. You "Will not be confinned for the job until your Talent Booking Memo is received. Booking Details - Your booking details will include the following: • Talent Name & Booy Part (some of you
are represented for more than one body pari, so its important that you know which pari to prepare with manicures, waxing, etc) • Booking Date (immediately put this into your calendar) • Job Description (read thoroughly, ask questions ifyou have any and be prepared) • Call Time (do not be late) • Address and Map (make cerlain you are comfortable with directions, plan for trqffic) • Contact Name & Phone (do not use this number to contact the client (you are late or lost, contact BPM andwe will reach the client on your behalf) • Rate + Agency Fee (amount to be written on contract, detailed on the next page) • Rate - Agency Fee (amount to be paid to model, remember the agency collects 10-200/0 from the production company and 10-200/0 from the modep • Additional Brings (you might be asked to bring items such as a nail kit orwanirobe) How to Confirm Your Booking - After you have reviewed your booking details, confinn your job by sending a reply IN.ith the followllig words in the email1xxly: "I agree to the terms and conditions in the below booking sheet." Signed, NAME. Your typed name "Will constitute a signature for the agreement. Body Part Models Handbook I 13
CONTRACTS Once you are on the job set, you will be given a contract for the job. If the job is Union (&4G), then your contract will look similar to the sample on the right. There are three steps you must complete. 1. Rates & Fees - Always IN.lite your rate and agency fee in full dollar amount. Never simply -write the words "scale,"
"scale and a half' or "double scale." Instead, -write the numbers $492.90 + 10% OR the amount quoted to you by Booy Parts Mcxlels. If there is no pre-marked place on the contract for you to -write your rate, then -write it next to the box checked Hand Mooel. Please do not forget about your agent in each place on your contract where your rate is -written, the amount should always be followed by "+ lO%." Your agent \Villiove you for this! Most clients pay for manicures (hand mcxlels), pedicures (foot mcxlels) or other fees incurred by the mcxlel in preparation for a job. If BPM negotiates reimbursed fees for your job, you must -write the dollar amount into your contract in order to be paid. Usually, this amount is IN.litten in "Allowances." Note that any reimbursed fees are NOT subject to the agency 10%.
Exhibit A-2 Standard Screen Actors Guild Contract Date
,20_
Producer, Extra Performer Comme rcial title Etc ... Category & Type ~ommercial Extra Performer Hand Mode l $445.30 + 10% D Stand-In (wrile your rate In dollar am D Photo Double for example, double scale Is
nt here
890.60)
Adjustments D Wet, Snow D Hazard D Make-up
D Other Allowances (Check if applicable) D Flight Insurance D vehicle @17.20 D Wardrobe (non Eveni ng Wea r )
D Props D Other fee $ $25 ~e-fee, Extra Performer aut horizes Producer to make pay ment to Extra Performer as fo llows ,
~o Extra Performe r at To Extra Performer clo Body r~j..f0d.e4- at 2023 Cohl.<o"",,,,"C~"&Wtiy fal4·go21O (Addre"",,) Special Provis ion""
Al.h .nteg-r"CLt"""1..OrlK wifl.. 00. pa.i.t{., at (insert your rate in dollar amount here)
plM¥ 10%
This contract is subject to a ll the terms and conditions ... etc .... Produced By'
Extra Performer: (Signature)
(Signature)
2. Payment Location - The section of
14 I Body Part Models Handbook
the contract that askswhtfeto ::mdpaymerthas Vivo options. Oteck the option that states "To Paiorrner do" and cOfllJltte the ~ction "With Body Parts Models info. The agrucy's mailing adch"ess is 2023 Colchvater Canyon Dr., Beverly Hills, CA9021 O. Ifyou receive a check from the c1irut at your home address by accicHtt, 00 NJT cmh it. Plelli£ !:ring it to the agrucy.
ses;;ion fee. So, if your session fee is ocale, we will recp..1eS: that integrations are paid at scale + 1(1)/0. If your session fee is double scale, wewill raJ.uest that inttgrations are paid at double ocale
3. Special Provisions - In this ~ction, any dtangesthat alterthe standard SAG contract a-e noted, including int€gntions. Apartsmodel may receive up to one integration per commercial. An integration is paid \\hen your footage from the ::hoot is used in an rutirely di:lftfrut commercial, allowing the production company to save both time and money. SAG &andards state that integrations are paid ~ ocale. Body Parts Models recp..1ests that integrations are paid at the rate of your
tional integmtion, it will be plid at the rate stated on this contract of ~nxrl your session fee indollaramount) + lfY'/o.
+ 1(1)/0. Because this recp..1est changes SAG's standard contract, the changes mmt be Mitten out in the Special Provisions area of the contract. Write as follows: "Ifthere is an addi-
N01E: Because this awlies only in case of inttgrations, your ses;;ion fee must still be listed next to the checked Hand Model box in orckr to be properlypaidforthat day. Special Provisions have nothing to do with your ::ession fee -list it to be paid!
make sure you know SAG's
most current scale rate
NO VOUCHER OR CONTRACT There will exist rare occasions when you will have neither a contract or voucher while on set. Because contracts and vouchers are an official way for tJle model and tJle client to agree on the nwnber of hours worked on a job, you will need to inunediaely email your total munber of hours to linda@bodypartsrnodlels .com as soon as you have completed your last day of work. even if there wa;; no overtime.
LET THE AGENCY DO ITS JOB
Spedal Provisions (continued) BecffilSe the Special Provisions section is normally reserved for making changes to a contract, Assistant Directors (ADs), Pr0duction Assistants (PAs) and other individuals working with you on ajob set may be lIIlfamiliar with the integration policy for parts models and may be hesitanl to sign off on your contract. Explain the integntion statement you are writing on the conlrnCt and note ilia neither you nor the agency are changing the contract, but nther that you are claritying the contract and how you should be paid in case ofintegntions . If your explanation is not wlder stood by the crew on set, ple ~e have them call the agency. (This, by the way, is one of those emergency sitrutions where it is okay to call Linda's cell phone if you are Wlable to reach anyone a the office.)
NON-UNION CONTRACTS But what iftJle job is Non Union or the contract does not look exactly like the sample in the handbook? If you have questions, phone the agency. Please do not guess about how to complete the contract. The importance of correctly filling out a j ob contract cannot be stressed enough.
RETURNING CONTRACTS Once you have been released from the job set, a copy oftJle contract should be in the agency office \VitJlin 24 hours. You can fax a copy to 3 10-273-5878, email linda@txxlypartsmodels.com or drop a copy in the Model Pick-Up Bin. If you choose to fax or email the contract, darken your handwriting so tha when the contrnct reaches our offices it is legible.
Aside from your con1rn::t or voucher, do not sign any other paperwork on set, including releases, "Without first consulting Body Parts Models. BPM -..vill read and approve all paperwork that you are ~ ked to sign. An important rule of thwnb: never sign anything without the agency's approval. You pay the agency (via commissions) to protect you in monetary negotiations. It's part of the agency's job.
contract
cheat sheet To help you properly fill out your Job contract, you will be given a "cheat sheet" contract to take with you on the job set. This is your personal sample contract and should not be shared with clients or non-BPM talent. If you do not yet have your cheat sheet, ask the agency to provide one immediately. Carry it with you to all jobs.
VOUCHERS W ard robe A1lowances - If you are on a SAG contract and are asked to bring w ardrobe, check the wardrobe box lUlder Allowances, the same area where you placed the manicure or pemcure fee . You will be reimbursed for each of your own outfits worn dwing your session. If you are eligible for more than one wardrobe reimbmsement, simply check the box next to wardrobe list the munber of outfits you w ore tJut day. The payer "Will calculate your total reimbursement based on SAG's ClUTent reimbursement n t e.
On some print jobs, you may not receive a standard contract. Instead you "Will receive an agency-issued voucher. The voucher is essentially a time card. B oth you and the client will sign it at the end of the day. Fill it out completely and retmn it to the agency inunediaely upon j ob compietiOIL The agency cannot generate an invoice (which gets you paid) until the voucher is in our office. If there is m ore than one BPM talent on set, consider desigruting one m odel to gather and retmn all vouchers to the agency.
INCOMPLETE CONTRACTS You have detailed :instructions in your handbook and a cheat sheet to help you fill out your contract. With all of this is in mind. please know it is at the mscretion of BPM to impose a $75 administrative charge associated with incomplete, late, inacCl.lJ(te or illegible conlmCts. If you have questions about your contract, you can always call the agency from tJle set. If you cannot reach anyone in the office, try Linda's cell. Body Part Models Handbook 115
ON-SET EXPECTATIONS
make certain your clothing is liVlinkle-free. Never take a friend on set IN.ith you. When you are on a set, you are at ajob. Professional behavior \Vill bring you back Never use a camera on set. Never ask to the set for more work at a later rute. celebrities for autographs. If you feel your work on set could be Unprofessional behavior may get you enhanced by the use of a t-stand or a fan, released from the set early, may lead to fewer and fewer jobs and can even result in please do ask if the materials are available. separation from Booy Parts Mcxlels. Always be alert and ready on set. Yes,
there is a certain amount of dmvn time. Yes, you can take a book to read. But when you are called out of holding and are in front of the camera, drop whatever you are doing immediately and assume your role
as mcxlel. Make certain a FA or an AD knows where you are at all times. You should take your cell phone, but it should be set to silent before you anive on
set and should remain that \Yay until you leave the set. Check your messages and make your calls only when you are on break. It is not encouraged th.a you take a laptop on set. However, if you do, ask permission prior to using it. If you are given a prop, keep it wrth you until a crew member retrieves it. Never lay a prop dmvn or leave it anyv;here on set. You are responsible if that prop disappears oris damaged. If you go to the restroom, if you go to lunch, if you go on a break . take the prop IN.i.th you. If you are asked to take wardrobe on set, 16
I Body Part Models Handbook
picked up from the Model Pick-Up Bin. If you have outstanding bills due to the agency Oayout fees, messenger fees, website posting, etc.), then these lNill be taken (IN.i.th your approval) from your paychecks until your agency balance is zero. Please direct questions about paychecks Because your represented part is so to our bookkeeper by sending an email to perfect, crew can sometimes forget that accounting@lxxlypartsmodels.com. part is real and belongs to a living person! If the materials are available, the directoris RESUME UPDATES :;enerally happy to accommcxlate. Every BPM model needs a resume. So Time is money. One minute on set can often a client wants to know more about a mean thousands of dollars. If you are the talent than just what is seen on your reason for delays or intemlptions, then you zedcard. Also, wrth the experience on your are costing the production money and you resume or reel, your booker can justifY an risk being dismissed from the set. In the argument for higher rates. same regard, if you are asked to stay later, Every time you work ajob that includes then you are making money ... so please your represented part, the job should be added to your resume. Then, email your updated resumes to the agency. If the resume exists as a Microsoft Word document, it can be changed at any time. Much of the information you lNilllist on your resume is found on your call sheets (save them from jobs). Should you need a refresher regarding jobs you have worked (in order to update your resume), send an email to our bookkeeper to see if we have a record IN.i.th the details you need. accounting@lxxlypartsmodels.com When creating your first resume for your represented lxxly part, please contact the agency so we may provide you IN.i.th examples of the format that is preferred by both the agency and our clients. The important info to retain from jobs: 1) Name of product (on commercials get the title of the commercial spot) 2) Production Company or Photographer don't argue regarding overtime. 3) Ad Agency The excellent reputaion of Body Parts 4) Name of celebrity, if you are doubling Models always hinges on the professional- for one 5) Exposure type (i.e. national print ism its models display in front of clients. Use a little common sense and always campaign, national commercial, PR. remember that you are in a professional, image forworldlN.i.de distribution) working envirorunent as the parts expert. 6) Because you lNill want to list all wellknmvn or respected directors and photographers that you work IN.i.th (for example, PAYCHECKS Payroll is handled by our agency book- "GerberFcxxls commercial directed by hv keeper. Do not call the agency to ask if Blitz"), we recommended that you do a bit your paycheck is ready. Once your checkis of research after learning the name of your processed, the agency lNill email you to director and/or photographer for each job. inform you the check is available to be An excellent resource: \V\V\V.imdb.com
..."""', ... _ , ......... """' . .... 1.. _
..
•••• •• •• ••
KINI
hands, abs
ADELE UDDO hands, hands & feet" feet" body double, skin/neck/ears
JUSTIN
hands •• ~
RACHEL ASTALOS • feet" hands & feet" abs, body double, legs
TEAR SHEETS / CLIPS
• •••••••••••••••••••
Every time you book a job, find out how and when you can obtain a tear sheet (print) or a clip (connnercial, television, film). It is your responsibility to learn who \Vill be able to provide you IN.ith a copy. It is also your responsibility to obtain said copy. Ask around on set until you find the person who knmvs what issue of the magazine your ad \Vill be printed in or what pnxiuction company you should contact for a copy of the commercial. Call sheets are a gcxxl source for gathering potential contact names that can assist you in obtaining tear sheets and clips. Email call sheets from each of your jobs to linda@bcxlypartsmcxlels.com. The info on a call sheet \Vill often times list the contacts who can help us find important tear sheets or commercial reels. In addition to your O\Vll copy of the tear sheets and clips you accumuhte, you should provide one copy to the agency. Tear sheets and clips, once gathered by the agency, will be used to create your online portfolio at \V\V\V.BcxlyPartsMcxlels.com. The agency will also use these materials to submit you for jobs as the clients often ask for samples of your work. Body Part Models Handbook I 17
what about joining
SAG
What is SAG? The Screen Actors Guild is a labor union for performers. Learn more about SAG online at www.SAG.com.
working on a Union j ob), especiall y if the voucher was earned while working for another agency. Each time yoW" status changes, send an email with an update . For exampJe, "I now have 2 SAG vouchers," or " I now have a 3rd voucher and am eligible to j oin SAG," or " Today, 1 paid my dues and joined SAG."
DUES Yes, as with any labor union, SAG imposes dues. Contact SAG for info .
WHY JOIN SAG ELI GI BI LITY If you are a Non Union parts model, you can earn SAG eligibility by working three days on a Union job cont.ract. This is called a Taft-Hartley. If the production company decides to Taft-Hartley you (allowing aNon Union model to work on a Union contract), then they are m OIletarily fined and must justify to the Screen Actors Guild why they chose to hire you. For tltis reason, it is a big deal for a model to be g iven a Taft-Hartley. Why would they elect to use a Non Union model? A production company will always first seek to use a model who is already a member of SAG. It means le ss work for them to cast a SAG talent. If they are rumble to find the appropriate 18
I Body Part Models Handbook
talent in the SAG pool, they will next seek talent from the Non Union pool. Once you have worked lhree days on a Union conlrncl (you will receive a SAG voucher for each day~ you are eligible to join SAG. Generally, illakes a minimum of30 days for the production company to file the paperwork with the Screen Actors Guild . After the paperwork is filed, you can call SAG to set up arrangements to join.
CONTACT SAG Main Line (323) 954-1600
UPDATE BPM
Membership (323( 549-<;769 Dues Info 549-6755
Body Parts Models should be continually updated as yoW" SAG status changes. There are multiple people in the office, so don' t asswne everyone knows you received a SAG voucher (after
Simply because there are more Union than Non Union jobs that come into our offices, parts models who are members of SAG generally have more optX)rttmities to work. If you have the 0PIXJrttmity to join SAG, do your research and weigh the benefits before make a decision regarding yoW" career as a model.
FINANCIAL CORE (FI-CORE) Learn about Fi-core (Wiki it). A model who Is FI-core is can work both Union and Non Union jobs. Depending on your desired career path, this cou ld be an option for you.
important terms AD Body Pats Models, then your HOLD will be The 1st AD (assist<Ilt director) assists the director CHALLENGED. Your first atd most immedi<te with prowction crtaiis, coordinates 1Il.d super- step is to call BPM with news of the second hold vises crew adivities, tracks the progress offihning The agency will then call the client 000 is holding against the JX'oWction scheciJle and lX"epares call you and initi<te a challenge. The client is <N;:ed to sheets. TIl e 2nd AD is the assistant to th e 1st AD. m<t:e a fmal decision to book or release you. AVAILABILITY
HOLD
When a client chooses potential talent for a job. The agen(}' may call to place you on HOLD. You the client may seek to le<ITl the AVAlLABD...ITY ire placed on hold because a dient is interested in of each potential talent trior to ma..:illg a fllla! booking you for ajob but has yet to m<t:e a fmal decision. lhe agency may call to check your avail- decisioo. If you ire released from hold by the ability for a pa1irnlar job date. If th<i h<{lpens, client, the agency will inform you of the release. there is no gua1Ultee tlnt you <re being booked for the job. TIl e agency will not call yoo back to let INTEGRATION you koO\V ifyou do not book the job. An mTEGRATION occurs vmen a JrOwctioo cornp<lly decides to use footage from your sessioo BOOK OUT and place it in an entirely sepaate commercial If you will he OUI oftO\\1J, if you are unavailoole spol P<I1s models are paid for integntions wlless becoose alOther agency booked 011 you on ajob, if otherwise noted in the contract. you have faoily in !omI, etc ... then you <I'e expected to BOOK OUT with the agency. But LIFT remember, it is your respoosibility as a talent to be A lift is using your session footage to mae the availoole for work. See page 9 for details. sane commercial edited to different time lengths. Pats models <re not paid for lifts.
I [
J
-
BOOKED The agency mall call to say you Yae! It mealS you got the job.
lI'"e
BOOKED.
BREAKOOWN A BREAKDOWN is a list or cOO1plete synopses of roles available to models. We post your zedca'd with LA Casting's breakdo'Ml setVices.
PA The PA (prowctiOll assistatt) is responsible for vaious jobs. The t.s.:s cal vay depending 011 the film or the need<; of the rest of the crew.
REEL A REEL is a collection of your previous 'MlIk, usually no more than 4 to 5 minutes in length.
CALL SHEET A CALL SHEEr is a list of talent lIId crew req.Jired for shooting scenes for the day. Call sheets list the prorilction name lIId impona n phone numbers. The call sheet has call times, shooting locations and add-esses, <lId details for paking. A new call sheet is isrued eoch shooting day of the shoot.
CALL TIME A CALL TIME is the schewled time at v.bich talent is to be on set.
CALLBACK If the dient .......... IISto see you again followingyour initial ca<i1 ing. then you may be invited ba:k to be seen again. Usually, the director or producer is presenl <t a CALLBACK.
CHALLENGE A HOLD If another agency attempts to place you onhold for the same date as your oment hold with
TEAR SHEET A TEAR SHEEr is a page actu ally tom directly from a public<tiOll . Tea- sheets can be advertisements, editorials or lI1ides in vmich your body pat ~ featured. See page 17 for details. VOUCHER A VOUCHER is ajob contract ooich selVes as proof that you 'MlIked, hours, breaks, etc. ZEDCARD A ZEDCARD is a model's i::tJsiness ca-d with photos of your represented pat, the agem.y's contact info atd stats specific to your division. Zedcard<; are also referred 10 as comp ca-ds or heaMJeets. If you are new to the In M try, we recommend you learn a few Ilnportant productlOil tenns, key words you WItt hear on ~et and duties of crew members. A good sourCl.' I~ Internet MOVie Database film SJlo sa , htt '//www.lmdb.com Glossary
Body Part Models Handbook I 19