I have 4 decades experience working in the industry and good quality, interesting work has always found it's way to me and from 1980-2005 I worked consistently without an agent and was offered plenry of opportunities and accomplished some of my best work, winning 2 of my 3 BAFTA nominations.
I've had 3 agents, my first sadly passed; a shame because we got on well andhe understood what I do and CAN DO and the direction I wanted to go in, whichis essentially feature film/HETV to support storytelling by designing cohesivelooks and nuanced details for a convincing throughline.
Subsequent agents have not understood at all what I can do nor have they cared. They're only interested in plonking you on a long running project and forgetting about you. I've given up on agents.
I still love my work, I'm still careful and passionate about delivering quality work in a timely manner and have the experience and on screen evidence to prove it. The work is not always about what needs doing as what doesn't need doing, being confident about this is the way to save much time and money - I have a couple of interesting examples I could share in a meeting.
I enjoy so much standing by in a focused, quiet way on scenes of good dialog with fine actors. For me that's the magic of movie making. Co-creating thin convincing character and or transformational looks are what I do best especially with wigs, ageing or postiche (beards & laid on facial hair).
Work found me by my reputation for always delivering on budget (or just under - Producer Malcolm Craddock called me especially to set up "Hornblower" for exactly that reason) or I've been sought out for a very imaginative or novel approach (Producer Julie Gardiner called me for "Casanova" for that reason) or for thin realistic work (Producer/Writer Lynda La Plante hired me for the first 3 "Trial and Retributions") to do just that. Maxine Peake put me forward for "Funny Cow" which is one of my favourite results ever.
I've worked with a great variety of directors including the elusive auteurProducer/Director's Stanley Kubrick, who told me in person on my last day,"You did a great job.", (not bad considering he fired the first twochief make-up artists within the first 4 weeks). I've worked with quiet gentlesouls, bombasts like Michael Winner and Menachem Golan and a plethora of TV film and episodic tv hired guns some of whom had a vision they shared to achieve their distinctive style within a franchise.
Directors varygreatly. Some tell you nothing and ask you nothing, some show you apicture for the tone of the whole picture, some are very specific but after the tone is agreed, I'm nearly always left pretty much to my own devices as a "safe pair of hands" and it's important to be that also for your team, especially the younger members.
So regarding representation, I've put myself in the hands of the Universe and The Law ofAttraction because people who get that principle are the kind of filmmakers I want to co-create and hang out with.
I often scan the usual sources to find out what's in development or pre-production and make approaches, some of which get through, or I am called directly. I know after all these years where I am able to do a good job and I'm sure producers and directors who know what they're looking for can pop my name in the hat if they have seen and like my work. Shall we meet?