On April 13, 2011, I sat down with Lindsey Setting, Contracts Manager for the Talent Casting, Booking and Contracts Department of a well-known central Florida theme park. Having been in this role for over 2 years now, Lindsey has had plenty of experience negotiating contract terms with professional, in-park entertainers and she knows how to walk away with a successful new hire or extension for the company.
Allyson: What are the types of negotiations that you deal with on a daily basis?
Lindsey: I do contract negotiations with performers – actors, singers and dancers – represented by the [Actors’ Equity Association] union. I also negotiate with agents of some of the performers.
Allyson: How do you deal with negative emotions received from those you are negotiating with?
Lindsey: It’s really a case by case basis. I just focus on the positive and let them know if I’m not able to give them exactly what they want that it doesn’t take away from their value. I stress that it has nothing to do with their performance, just that it’s all we can do right now. I also do not promise anything in the future. If the performer continues to push for more then that’s where I have to give them a bottom line.
Allyson: How to things such as “role” and “status” play into your negotiations?
Lindsey: “Role” and “status” go hand-in-hand for us. If the performer has a higher skill-set/status, we may have the ability to offer them more. If the role we’re casting for is hard to fill (such as a singer, dancer and puppeteer combination role), we may negotiate higher to get someone with that extensive skill-set, because we have to compete with the outside [entertainment] market as well.
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| Lindsey Setting |
Lindsey: Yes, it’s very important to maintain a good working relationship with the performers, especially when we need to move them around to other shows [in the parks]. If we have a good relationship with them, they’re more likely to do so. If a deal seems less favorable to the performer, I explain to them the variety they can be involved in with a move, or a new show here, and get them to look at the bigger picture. It’s always important to be respectful. It’s so on-going with us, unlike outside areas like Broadway. We want to maintain a good relationship with the cast in hopes they’ll stay if offered in the future.
Allyson: How do you persuade someone to accept a job if they are on the fence?
Lindsey: I always put it on their shoulders and tell them they have to do what’s best for them. If we don’t pressure them, 9 out of 10 times they’ll come back to us [and accept]. This is where we also have to reiterate the positive and sell the stability of the company (i.e. a year-long contract with full benefits). We have to get them to see the strength of the offer and that it’s more than their pay, and it truly is their decision.
Allyson: What advice would you give to someone just starting out as a negotiator?
Lindsey: Use common sense and keep it focused on the individual even if they bring up another candidate or another performer’s contract. If the performer asks for more money, always ask them for a number – how much more they were thinking. If they have a high request, don’t give it to them right away but say something like “I’m pretty sure we’re not going to be able to reach this, but I’ll do what I can” [and then talk it through with the team before getting back to the performer]. When talking with an agent instead, be especially prepared [with numbers and data] before calling, in order to minimize the time spent going back and forth between you, the agent and the performer. Also if you say “that’s it,” stick to it. You don’t want to lose your credibility for the next go round.
