BACK STAGE WEST
August 07, 2003
by Rob Kendt
Agents tend
toward hyperbole about their prize clients, but in the case of 23-year-old
Kristen Bell, you can't blame her agent, Mitchell Gossett of Cunningham Escott
Dipene, for his enthusiasm. She just wrapped a lead in David Mamet's next
movie, Spartan, and is
appearing in the long-running musical Sneaux! at the Matrix, and, raved Gossett,
"There's not a single door in Hollywood that she can't open."
A Detroit native
who moved to New York after high school and started working on and
Off-Broadway, Bell has been with CED since she was 12, first with its Chicago
office, then with Mara Glauberg in its New York office. Last year Bell appeared
in The Crucible on
Broadway, but it was a previous gig--the Off-Broadway production of Reefer
Madness--that convinced
her to move West. Specifically, it was Reefer director Andy Fickman, who also
helmed Sneaux!.
"Andy
Fickman convinced me that I would basically be insane not to move out
here," said Bell in a recent interview. "I moved out here and it's
been the greatest thing I've ever done."
Indeed, less than
two weeks after she hooked up with Gossett at CED's West Coast office, she
booked a meaty guest spot on The Shield; a week later landed a recurring role on a short-lived WB
series, The O'Keefes,
and the following week nabbed a lead in a Hallmark MOW, King and Queen of
Moonlight. She's since
booked parts on American Dreams and Everwood, and looked at several test deals last pilot season.
As her reputation
has spread, Gossett has had little trouble getting her in the door.
"She has an
enviable emotional range, combined with a unique innocent beauty, and theatre
training," said Gossett to explain her popularity. But it's more than
that, he said: "It's her instrument itself, the whole package--it really
attracts people. People get connected. It's not, 'Oh, hire her.' People love
her; people say, 'We've got to have her back.' Whenever she works, she creates
a base of fans that will serve her well in her future career."
Gossett doesn't
hesitate to use the word "star" about Bell, and he explained what he
means: "Someone whose talent is coddled, developed, and cared for. We're
always looking to secure employment for clients; with a star it's the right
kind of employment, not just taking a job. A star doesn't just audition; she
meets people who will be attracted to her talent to develop things around her--to
hear her voice and see her when they read a script. She's the kind of actor you
feel comfortable about putting into a room with a studio head or a network
executive, and you'll be confident that she can represent herself."
What is Bell's
secret, we wondered?
"You have to
walk into every audition as if you already have the part, and you know it; if
they don't know it, that's their problem," Bell said. "That is the
only way you will get it. If you go in and you're very meek and apologetic,
it's not as appealing. There's something very sexy, very attractive, about a
person with confidence. Not arrogance, but confidence. So you give yourself
that little pep talk before you go in."
Hard-to-get can
also be attractive: One key to Bell's impact so far has been her clarity about
what parts she does and doesn't want.
"She's true
to herself and true to her talent," said Gossett. "A lot of actors in
her position get so much advice--that's good, but it's like with an acting
teacher: A great acting teacher can teach you 10 things, and if you can come
away with two things that work, that's a good ratio. You've got to take what
will work for you, not just go down so many obvious roads that other actors
have gone down and lost their way."
This kind of
attention is likely to keep Bell with CED, a mid-sized agency, for the
foreseeable future.
"I hate when
I hear my friends talk about, 'I can't talk to my agent,' or, 'I'm scared to
call my agent,'" said Bell. "I'm like, 'What? Who are you talking
about?' You've got to be able to talk to your agent. Personally I don't plan on
switching [from CED] anytime soon. Being with a huge place like ICM or CAA is
ridiculous if you don't have a good relationship with your agent."
About two years
ago, actor Matt North had the moment all actors dread. A network audition for a
sitcom pilot had gone well, but as he left the room, one suit piped up.
"Someone in
the sea of faces said, 'Can you do that scene again, just more peppy?' "
recalled North. "And I said, 'With all due respect, I'm just not a peppy
person.' They loved that; they all laughed. But that was the audition I was
like: I can't do this anymore.
"Was it
monumental? It wasn't, but that was the day I just realized the negatives were
outweighing the positives. I love everything about what acting can be in
theory, in those rare films and in acting classes, but acting in Hollywood, the
day to day of what a working actor goes throughÉ I just had to admit defeat. It
was a business decision. I was like a company going out of business." He
added, "It was one of the happiest days of my life."
A versatile
talent, North had written for Mother Jones, worked as a touring standup comic based in the Bay Area,
and played drums professionally in the Chicago area, near his home town of
Champaign, Ill. While this versatility gives him alternatives when acting work
is slow, it's also been a source of conflict in his search for representation.
When, in 1997, a
one-year holding deal for an ABC sitcom collapsed, he used the downtime to
write a screenplay that got optioned. But when he later sought management as an
actor, he found that managers also wanted to produce his screenplay--a practice
North frowns on. "The minute they become a producer, they're no longer
your manager, because they're acting in their interest," North said. One
company wanted to package his script with talent from its roster, and,
according to North, "Their casting choices were laughably wrong."
With another
manager he landed a dramatic lead in the HBO film Dirty Pictures opposite James Woods--an experience that
taught him "not to think about my 'type,' because nothing in my resume
would have prepared me to think I'd be cast as a right-wing Christian
homophobe." That manager, however, not only wanted a piece of North's
screenplay, he prevented other bidders from getting to it.
"I lost a
lot of opportunities from that," North recalled. "This was when I
decided, Fuck management. It's pointless. Managers only count when you have a
career to manage."
He signed on with
agent Joanne Halpern (who, ironically, recently closed her agency to work as a
manager) and soon landed a part as Jason Alexander's agent on Curb Your
Enthusiasm. Then came
that fateful "peppy" network audition and his decision to give up
acting for more writing and drumming. Acting work still came to him: While
playing drums with The Buxotics, he was noticed by L.A. rocker Andy Prieboy,
who cast North in the chorus of his cult musical about Axl Rose, White Trash
Wins Lotto--a credit that
may not loom large on his resume but which North considers "one of the
most fun experiences I've had."
Then one day,
while cleaning house, he came across three copies of his old demo reel.
"I popped it
in as a joke and I thought, Why not? So I flipped through a guide and found
three agencies that were small enough that they would pay attention to
character actors. I decided, I'm not going to spend any money; I'm going to
take whatever [marketing materials] I have left in this closet. I'm also not
even going to follow up with phone calls. If they're interested, they'll
call."
Agent Sid Levin
was interested. He looked at North's material, remembered his TV work, and
called him in. Levin signed North three weeks ago.
"Matt is
very versatile," said Levin, who with his wife, Patricia Levin, handles
just 60 clients. "He can do one-hour dramas, sitcoms, he can do improv.
And he's a smart actor, where he can create something in a part that most
people would overlook. And he's very believable. His self doesn't change in the
part--I think that comes across." What's more, they agreed on their
approach: "We both want the long-term, not the short-term. I don't go for
the quick buck." Which doesn't mean Levin is going to twiddle his thumbs
this fall season: "We're going to hit the boards hard and heavy, and he's
gonna work."
Levin's modest
size and approachability appealed to North, who advised, "If you can find
an agent who shares an understanding of what you will and won't do, and who
will behave as a manager, that's the best of all possible worlds."
Previous setbacks
have taught North to be realistic about his expectations--and wary of
over-thinking a career strategy.
"My strategy
is to not do 99 percent of the things managers tried to get me to do my first
five years in Hollywood," said North. "I knew when I stopped acting
that if I ever went back to it, I would think of it as a job skill, not a
dream. If a role or project comes along that makes it more of an acting
experience, like Dirty Pictures was, great. But those happen once every few years. A guest part
on Nash Bridges and Angel and Buffy--it's a job, it's not art."