The Act of the Entertainment Producer By Danny Bergold Booking - PowerPoint PPT Presentation

The “ Act ” of the Entertainment Producer By Danny Bergold

Booking Entertainment for Special Events OVERVIEW & INTRODUCTION TO EVENT ENTERTAINMENT

OVERVIEW 1. What is event entertainment and why is it important 2. How entertainment can help to get the greatest ROI from your event 3. The process of booking entertainment 4. Tips to reduce the overall financial impact of entertainment 5. Onsite Management 6. Introduction to presenting name entertainment 7. Common mistakes and things to remember when producing entertainment 8. Entertainment vocabulary

What is event entertainment?

What is event entertainment? Any live performance experience presented at a private or public event.

Event entertainment

Why is entertainment a “ need to have ” and not a “ nice to have ” element at your event? Communication tool • • Reinforce event themes • communicate messaging • reveal information • educate

Why is entertainment a “ need to have ” and not a “ nice to have ” element at your event? Creates a “ wow ” experience • • Incredible talent • Outrageous production value • Innovative concepts Evokes emotion • • By telling relatable stories • By activating the senses Hugely impactful •

How to determine what type of entertainment will work best for your event? Determine event objectives • Determine event flow • Determine event parameters • • Budget • Time restrictions • Date restrictions • Venue limitations

How to determine what type of entertainment will work best for your event? Guest details • • Age range • Ethnicity • Professional level • What is planned before / after • Venue details • Load in / load out • Electrical power capabilities • In house production support • Exclusive suppliers?

Booking, Producing and Managing Entertainment INDENTIFYING OR SOURCING EVENT ENTERTAINMENT

Identifying or sourcing entertainment Talent Direct Non-Exclusive Exclusive Supplier Supplier

Talent Direct Exclusive Supplier Non-Exclusive Supplier Pros 1. Often the most 1. You receive the most 1. Focused on client competitive performance competitive pricing. relationship. fee available. 2. Broader access to 2. The most wider range of 2. Ability to provide knowledgeable option. information quickly. about the 3. Not biased. experience they 3. Very knowledgeable 4. Production about the acts they provide. expertise; reduces represent. risks. Cons 1. Artists first, business people 1. Your partnership ends once the booking 1. You often pay a premium is done and you are responsible for Second. to work with them. producing the act and managing them on-site. 2. Often lack necessary 2. They are in the business of booking not Marketing and promotional producing entertainment, therefore, their Material. objectives aren ’ t necessarily aligned with your event. 3. Do not include on-site 3. Performance fees are typically slightly Management. higher then direct talent ’ s to accommodate for booking agency commissions.

What questions should I ask a non-exclusive entertainment supplier before agreeing to work with them? What kinds of acts/shows have you and/or your company • produced in the past? Do you have a particular specialty, ie bands, cirque acts, • Broadway, etc? Do you book exclusive acts, non-exclusive acts or both? • Do you own technical equipment? •

What resources are available to identify/source talent directly?

Vetting Entertainment Live performance • Marketing or promotional material review • Communication • Industry associations or certification • Testimonials, reviews, letters of recommendation • Speak to someone who has worked with them •

Booking, Producing and Managing Entertainment BOOKING ENTERTAINMENT

Budget Elements of Entertainment Kris, pan through document: “ Sample Entertainment Budget ” Performance Fee • Travel Expenses • Performance Management • Technical Production • Hospitality Expenses •

Pricing Local acts vs. national • Custom entertainment • Name Acts •

The Process of Booking Entertainment Step #4 Step #1 Go to Place a contract hold Step #2 Step #3 Make an Negotiate offer

Placing A Hold Placing a hold is a regular practice, however, it is not • expected. You must ask for one. If placed over the phone, follow up to confirm in writing • Request 1 st right of refusal • Confirm the length of your hold if limited •

Make An Offer Submit verbally or in writing • Follow up a verbal offer in writing • Include as many details as possible • Provide an acceptance deadline • Include any/all special provisions • Make a fair offer within your budgetary parameter •

Negotiating Artists usually prefer negotiating deal points rather than losing • the opportunity to perform Don ’ t take advantage of or appear to be taking advantage • of an entertainer. Relationships are everything in this business

Contracting Request a contract • Review contract thoroughly • Consult your attorney with questions • Make changes/adjustments • Initial and date all hand written (redlined) changes • Sign contract and request a counter signed copy •

Performance Rider An extension of the artist ’ s contract • • Travel Requirements • Production Requirements • Hospitality Requirements • Any and all additional requirements or limitations What is purchaser responsible for? • • All of it unless otherwise negotiated and stated in contract

• Kris: pan document called “ Sample Performance Rider ”

Insurance Require your entertainers to carry their own insurance policy • Name you as additionally insured • Many venues require proof of insurance • Consult your attorney or insurance provider •

Miscellaneous Items to Consider Set and ready • Late start, overtime • Continuous performance •

Booking, Producing and Managing Entertainment TIPS TO REDUCE YOUR ENTERTAINMENT ’ S FINANCIAL IMPACT

How to reduce your entertainment ’ s financial impact on your event? Performance Fee • Reduce length of performance • Reduce number of performers • Eliminate costume changes • Airfare • Offer a buyout price • Rent a car instead of flying • Ask them to drive their own car •

How to reduce your entertainment ’ s financial impact on your event? Overnight accommodations • • Offer a buyout price • Ask talent to share rooms • Bring talent into town early on performance day • Book rooms nearby, at less expensive hotel Ground Transportation • • Use a company car/employee to transfer talent • Use taxis instead of car service • Rent talent a car rather than car service • If talent is flying in from various airports, book all flights to arrive at approximately the same time to avoid multiple transfers

How to reduce your entertainment ’ s financial impact on your event? • Production • Book a venue with built in production capabilities • Use natural platforms in your venue to eliminate stage rental • Eliminate lighting in a naturally lit room • Eliminate sound system when performing in a small to medium room with good acoustics

Booking, Producing and Managing Entertainment ONSITE ENTERTAINMENT MANAGEMENT

How to best prepare yourself before arriving on-site? Final communication before arriving on-site • Confirm performance details • Confirm on-site hospitality requirements • Confirm talent arrival times • Confirm arrival details including parking nuances • and talent entrances Confirm load-in/out logistics including loading • dock location

How to best prepare yourself before arriving on-site? Collect necessary information • • Talent arrival time • Talent contact information, including cell phone number • Vehicle information (if applicable)

How to best prepare yourself before arriving on-site? Have necessary paperwork on hand • Client contracts • Entertainment Contracts • Production schedule • Run of show • Contact sheet •

The Golden Rules of Managing Talent On-Site 1. Provide dedicated, experienced talent mangers 2. Have necessary communication capability 3. Provide required hospitality requirements 4. Manage expectations 5. Treat talent with respect but remember they work for you

Booking, Producing and Managing Entertainment INTRODUCTION TO NAME ENTERTAINMENT

Producing Name Entertainment Sourcing/identifying name entertainment • How do I determine which talent agency to work with? • Obtaining availability & Pricing • Making an offer • Negotiating • Contracting • Performance riders • On-site management •

VIP Meet & Greets Include expectations in initial offer • Clear logistics with artist ’ s production manager prior to • performance Create a clear plan • Manage expectations of both the artist and the VIPs • Have security standing by • Be prepared to pull the artist in case of any unforeseen • challenges

Additional Tips Hire an experienced • entertainment producer. Deposit payment stipulation • Consider bands who are • traveling or are on tour

Booking, Producing and Managing Entertainment CLOSING & FINAL TIPS