 |
|
|
|
 |
 Given the current economic turmoil, our distributors are working in a very tough sales environment. We want to make this year’s annual distributor conference extra special as a way to reward them for their hard work and generate some excitement that will see them through these tough times. One option we’re considering is booking a high-profile celebrity or public figure to appear at the event. However we’ve never worked with a marquee name before. I’m certain it will be well received, but I’m also fairly certain there are unique things we need to know about working with a “name.” What can we do to be sure everything goes smoothly?
|
When booking a celebrity, we always advise event planners to be flexible. We ask event managers to tell us their event theme, outline their goals, describe the type of talent they are looking for, provide their budget parameters, and describe their audience demographics. Then we can tailor specific celebrity recommendations to those needs.
Once you’ve settled on a short list of names within your budget’s reach, it’s negotiation time. Here are some tips for increasing the odds of booking the celebrity you want:
 Be reasonable. There are so many demands on our clients’ time that you have to be realistic about the time commitment you are asking them to make. Asking a celebrity to make a speech and then attend a post-speech reception, for example, is reasonable. Asking a celebrity to participate in activities from dawn until dusk, however, typically results in a rejected offer.
Remember, it’s all in the timing. Don’t try to book someone 18 months in advance. Most celebrities have no idea what their schedule looks like that far out. Three to six months is typically an ideal lead time.
Cut to the chase. We often receive heartfelt letters and solicitations inviting our clients to speak. While these missives are moving and well meaning, they aren’t necessary. Celebrities are pressed for time, so the best way to grab and hold their attention is to be concise in your invitation. Simply tell them what you want and what your offer entails. Then, outline the proposed schedule of events.
Don’t change your mind. Late changes will backfire. If you have a signed contract that says your celebrity is to appear in the evening, for instance, but then just prior to the event you ask for the celeb to appear in the morning, you’ll probably be out of luck. So be thoughtful about your schedule when you make your offer. Then stick to it.
Provide options. If at all possible, give the celebrity flexibility in terms of choosing a date. If you are planning a three-day event, for example, offer up three potential days and times when the celebrity might appear. Such flexibility greatly increases your chances of a successful booking.
 Peter Jacobs,
agent, Creative Artists Agency
Los Angeles, CA
As the event director, you likely have a clear messaging and content strategy in mind for your program. But when working with high-profile speakers, you can’t — and sometimes, shouldn’t — always try to control their message.
For our customer event, CA World, we’ve taken both a hands-on and hands-off approach to tailoring a celebrity’s message to our event’s content direction. Our speakers are often world-renowned business and political leaders, and we’ve found that the need to tailor content to the event really depends on the individual celebrity. With some speakers, we do ask them to create some type of topical alignment with our audience. With others, we simply give them the microphone and let them go.
In 2008, for example, we had the opportunity to listen to Jack Welch, arguably one of the best CEOs ever, share his unique insights on the current state of the economy — a topic with immediate relevance to our business. Another year, we had the privilege of hosting Henry Kissinger, who offered his political and historical view of the world in an absolutely mesmerizing speech that had no direct link to our messaging at the time. Had we tried to tailor his content to our event, I think his speech would have seemed “forced,” and the evening would not have been nearly as compelling as it was.
Content ownership is another essential negotiating point when working with any prominent speaker, celebrity, or high-profile businessperson. Keep in mind that top-tier speakers have a very keen interest in protecting the content of their speeches. After all, speeches are the means by which a large number of these individuals make a living. So avoid the rookie mistake of asking for things that you are fairly confident the speaker won’t agree to, such as posting the celeb’s entire speech online.
That said, we do try to negotiate content ownership rights on two fronts. First, we always seek permission to use a short-length version of the speaker’s keynote address on our Web site for promotional purposes. Second, because we want to bring the CA World experience to all of our employees — 90 percent of whom don’t travel to the event — we ask for permission to rebroadcast the entire keynote internally. We’ve found that most keynote speakers and their agents are more than happy to allow us to do so.
 Bob Millin,
vice president,
event strategy,
CA Inc., Islandia, NY
During the contract negotiation process, the speaker’s management company or agent typically will provide you with a standard boilerplate contract that it uses for all of its clients. This contract likely will be supplemented by several contract “riders” that are specific to the individual speaker you are booking. When you enter into this phase of your negotiations, here are five tips to keep in mind:
1. Protect yourself. If you or your company have a thematic line that positively cannot be crossed — for example, profanity, politics, or sexual content — be sure to write it into the contract. Doing so will provide you with some means of recourse should the presenter veer badly off course.
2. Beware of vague language. Specify clauses such as the appearance duration (for example, write that the commitment includes a 20-minute keynote followed by a 30-minute meet-and-greet with photos, not simply “keynote and personal appearance”), and spell out important details such as transportation arrangements, accommodations, and security responsibilities. If there is language in the talent’s contract or rider that is vague or open to interpretation, ask for a written definition before signing anything. The famous tenor Luciano Pavarotti, for example, once had a rider requiring that no distinct smells be allowed anywhere near the artist. The intent of the clause was to ensure that no food was allowed within a certain proximity of the singer or his dressing room, but the language was unclear. In this instance, the event manager would want specific details such as the number of feet required and which smells, specifically, were not allowed.
3. Rely on legal counsel. Never sign anything until you have run the contract through your legal department. When big dollars are on the line, you want to ensure that someone who makes a living vetting contracts takes a look at yours before you sign it.
4. Follow the contract. Once a signed agreement is in place, follow the contract stipulations down to the last detail. If a contract clause is not adhered to or is overlooked by you or your event producer, it could cause the performance to be suspended or even cancelled if not rectified. For example, you may never know why the talent’s rider specifies only green M&Ms, but if you have agreed to them, you are responsible for providing them.
5. Cover your bases. Finally, make sure you have negotiated an “extended performance clause” that includes the rates the performer or speaker will charge if asked to continue the performance. When a performer or presenter has the house “rocking,” he or she will usually agree to keep going. But if you don’t have the rates negotiated beforehand, you will pay top dollar for the extra time.
 Todd Simon,
vice president,
business development,
MC², Atlanta, GA
|
|
|
|
|
 |
 |
