The two jobs overlap more than either side likes to admit, and in day-to-day life an actor with both may struggle to say who did what. The difference is real, though, and in the US it is partly a legal one. Knowing it helps you decide which one you need, and spot the people claiming to be one while acting like neither.
Agent vs manager at a glance
| Talent agent | Talent manager | |
|---|---|---|
| Main job | Finds and books work: submissions, pitches, auditions, negotiating deals | Shapes the career: strategy, materials, choosing roles, finding the right agent |
| Licensing (US) | Licensed in California and New York; may be franchised by SAG-AFTRA | Generally not licensed as an agent |
| Typical commission (US) | Commonly around 10% for union work | Often 15%, sometimes 10% to 20% |
| Client list | Often large | Usually smaller, more hands-on |
| Who needs one | Almost every actor seeking union screen work | Some actors, at some stages |
Commission figures are common US norms. They vary by contract, by kind of work and by country.
What does a talent agent do?
An agent sells. They read the day's breakdowns, submit clients for roles, call casting directors to push for auditions, schedule those auditions, and negotiate money, billing and terms when an offer comes in. A good agent also knows which casting offices like which kinds of actors, and spends their relationships carefully.
Agents tend to carry more clients than managers, so the attention you get can depend on how much you are working. That is the business, and it is one reason some actors add a manager. For how to find one, see how to get an acting agent.
What does a talent manager do?
A manager advises. They help you decide what kind of actor you are going to be in the market, which headshots to use, which classes to take, which roles to chase and which to turn down, and which agent fits you. Managers usually have fewer clients, return calls faster, and are often the person an actor talks to most.
Managers are also often the ones who take a chance on newer actors. Some build careers from the ground up and use their relationships to get a client signed by an agency. That development work is the strongest argument for a manager early on.
The legal line: who is allowed to find you work
In California, the Talent Agencies Act says only a licensed talent agency may procure employment for an artist. A manager who procures work without a license risks having the management contract voided by the state Labor Commissioner and having to give back commissions. That is why, in California, managers typically work alongside an agent, who handles the negotiation, even when the manager made the first call.
New York also licenses agencies, and its rules treat managers somewhat differently in the details. Other states vary. You do not need to master the law, but you should know that in the main US markets an agent is the person legally set up to get you hired, and a manager is not.
Many US agencies are also franchised by SAG-AFTRA, which means they have agreed to the union's rules on contracts and commissions for members. Managers are not franchised. If you are union or heading that way, here is how joining SAG-AFTRA works.
How agents and managers get paid
Both work on commission: a percentage of what you earn on the jobs they cover. Neither should ask for money before you work. The agent's share comes off the top of your pay, and in the US, union rules have long shaped what franchised agents can take for union work. The manager's share is set by your contract with them and is not regulated in the same way, so read it closely.
The two commissions stack. If an agent takes 10% and a manager 15%, a quarter of your gross pay on a job goes to representation before taxes. On a small role that can be most of what you would have kept, which is why actors early in their careers think hard before adding a second person. Many union TV deals for small roles are offered at scale plus ten, meaning an extra 10% added to cover the agent; nothing similar usually covers a manager.
Check what each contract says the percentage applies to. Some cover all your entertainment income, including jobs you found yourself; some cover only certain kinds of work. Ask before you sign, while the answer is still easy to change.
Do you need an agent, a manager or both?
Just an agent. The default for most actors. If your agent submits you regularly and you are getting auditions, a manager adds cost without necessarily adding much.
Just a manager. Common for actors early on, or for actors between agents. The manager develops you and works to get you signed. Ask any manager which agencies they have placed clients with recently; a manager without those relationships cannot deliver the main thing you are hiring them for.
Both. Common once a career is moving, and standard in Los Angeles for actors at the level of guest star and series regular work. The manager and agent talk often, divide the pitching, and the agent closes the deals. Add an entertainment lawyer (who often works on a percentage too) and a large share of your pay goes to representation. Make sure each person is earning it.
Agents and managers outside the US
In the UK, actors almost always have an agent, and the agent also does much of what a US manager does, advising on career and materials alongside submitting and negotiating. Managers in the US sense are uncommon for actors there. Agent commissions in the UK are often higher than US union norms and vary by medium; Equity UK publishes guidance on agents and contracts.
Canada and Australia follow a mostly agent-led model too. Managers exist, especially in Toronto, Vancouver and Sydney, but most actors are represented by an agent alone. ACTRA and MEAA's Equity section can tell you what is normal locally.
Red flags with either one
Neither a legitimate agent nor a legitimate manager charges you money to sign. They earn a percentage of your work. Be wary of upfront fees, required paid classes or photo shoots with a particular photographer, and contracts that run for many years.
Read any contract for three things: the commission rate on each type of work, how long the term runs, and what happens to commission on jobs that come after you part ways. Some management contracts keep paying the manager for a period on deals made while you were together, which can be fair if the period is short and clear. If you are not sure, have it read before you sign. A good representative will expect that and will not mind.
More questions
Do actors need a manager?
Many working actors never have one. A manager is most useful when you have no agent and need help getting one, when you are young and need close guidance, or when your career is changing fast and you want someone focused on strategy. If you already have a good agent, a manager is optional.
Can a manager get you auditions?
In practice, managers often pitch clients to casting and some submit them for roles, especially when there is no agent. In California, procuring work is legally reserved for licensed agents, so managers there usually work alongside an agent who negotiates the deal. Rules in other states and countries differ.
How much does a talent manager take?
Commonly around 15% in the US, sometimes 10% or 20%, and it is on top of your agent's commission. Check exactly which income the percentage applies to and whether the manager keeps earning on deals made during the contract after it ends.
Can you have both an agent and a manager?
Yes, and many actors do. The manager usually talks to the agent regularly about strategy and submissions, and the agent handles negotiation. The cost is real: together they can take a quarter of your pay, before any lawyer.
Should an actor get a manager before an agent?
Sometimes. A well-connected manager who believes in you can introduce you to agents who would not read a cold submission. A manager with no relationships cannot. Ask any manager which agents they have placed clients with recently.