Captain America

The entertainment business moves so fast and so quickly that parent's need to be able to make accommodations.  It is so frustrating when agents spend the majority of their time trying to track down and convince a parent to take their child to their auditions.  If the child has a football game, dance class or simply needs a break then this is all fine.  But, parent's need to communicate this with their agent.  Auditions are tough to aquire so when an agent secures an audition then their client is expected to attend.  Though we all understand daily life may throw a curve ball every once in a while but an agent is not going to want to hear that their client is missing an audition because the parent is not able to arrange a ride,  has a hair appointment or is working background on an unflexible student film.  When we all agree to work together then both the agent and parent must have open communication which will strengthen the agent's trust in their clients reliability which will in turn blossom in to the potential for more productivity on behalf of your child.

S.S.A - Captain A

Dear Addison,

Here is more correspondence...

Thanks so much for the reply. I really appreciate your advice. It is a little devastating, however, to hear about my photos since I literally just had new headshots taken. I used XXXX, who often responds to XXXX headshot posts, because XXXX was in NYC when I needed them taken. I am disappointed too, since it was a big investment. I am anxious to get into a class but there are so many that I do not know which would be a good first class to take. It is all a little overwhelming. Thank you for taking the time to get back to me, it is nice to know I have someone who will give me honest answers.

Hi XXXXX, Yes, unfortunately the pictures are not good. The reality of boards like these is that you will get some good advice from people who are genuinely trying to help. But, you will also get some unscrupulous people who take advantage of people.  Here is a list of some of the photographers I refer to: Brian Parillo Dana Patrick Esther Szeznie Mark Atteberry Maya Adrabi Mikel Healey Paul Landry Paul Smith Rob Mainord What you have to remember in regards to photos is that, commercially speaking, our submissions are all electronic. You have to make sure whoever is shooting you is able to do so for that medium. It is "easy" to take a shot that you can make work in an 8 x 10 form, but when the photos are viewed online in a 1" x 2" rectangle... And here is a partial list of casting director workshops: Chris Game Craig Colvin Danielle Eskinazi Francene Selkirk James Levine Killian McHugh Mariko Ballentine Renita Whited Robert Martin I know there are some names that I am missing, but these lists are a good place to start. All of these people, and I do mean all of them are reputable. Hope that helps a little more.

Dear Addison,

I hope everyone had a lovely holiday.  I recently received a question from an actor, and posted my response.  I thought this might help other new talent that are trying to navigate the shark-infested waters of Hollywood.  

Dear Addison,

I enjoyed reading your reply, and since I have recently moved to LA, and need all the help I can get, I was wondering if you could give me some direction based on your experience. You stated the agent/CD lists are wrong, but I really don't have much else to go on. I posted a question about Miramar Agency and no one replied to me. I don't know if it would be better to go with a small startup agency or be part of a bigger group in a big agency. If you could give me any advice on where to go I would appreciate it. I know it depends on type, so if you could, please go to my imdb to see my info and advice me on where I would best fit in. Thank you in advance for your help, and for standing up to the people who think they know everything. 

Thank you,

XXXX

Dear XXXX,

I would be happy to help you. The first thing I will say, looking at IMDB, is that your photos are not great. I would definitely recommend getting some very professional headshots, as that will always help you get in the door. At the very least, some amazing headshots will make you look like you know what you're doing. Bad photos make people think you are not taking this seriously. You have to remember that for an agent, manager, or casting director, this is a career. We rent office space, buy computers, hire staff, if you can't invest the money or time in your career, why should we?

Second, from the photos you have you seem to be very attractive. Now, Los Angeles is FULL of beautiful people, but one thing you have to remember is that beauty always, and I do mean always, sells, its timeless. Trends are constantly changing. Right now the hot ticket commercially speaking is improv, specifically UCB. Now, in a couple of years that will change, but beauty will always be in fashion.

To address your question about Miramar Agency, I do not know them enough to speak intelligently about them. Remember in regards to talent agencies, size does not matter. What matters are, first, is the person who takes you as client excited about you? If they are, they will make the push for you to get in the door. After you get in a few doors, you do the rest. Second, is the agency reputable? My best advice would be to find some working commercial casting directors, who also teach classes, and take their class. Once you're there you can kill two birds with one stone. You can get in the door with someone who could potentially call you in for a casting, and two they can offer their opinion as to who you would be best suited to pursue as an agent.

I hope that begins to help. Feel free to contact me should you have any further questions.

Addison DeWitt

Its all in a day's work

Recently a client called after shooting a commercial.  She was wondering when over time applied, how it was paid, etc.  

First, the most important thing to remember in regards to getting paid is to be sure the hours are filled out correctly on your contract.  In fact, always make sure when you sign your contract that everything, and I do mean everything is correct.  This includes the hours worked, conflict, run, special provisions, etc.  On rare occasion I have had a client call me from set saying that a P.A. brought over a blank contract to sign, and that everything would be filled  in later.  The response to that is a definitive "no".    The contract should be given to you at the end of the day with all of the information filled out.  If you have any questions your agent should be available for you to talk.  You can also call a SAG rep to come to the set if you believe there has been a breach in the SAG commercials contract.  Unfortunately SAG reps are not on call 24 hours a day, so I have been known to be on the phone with a client at 11pm discussing such issues.  Remember, if you don't want to have what you feel is a confrontation about your contract for any reason, call your agent. 

Second, the SAG commercial contract states that a commercial work day is considered 8 hours, this does not include your lunch break.  Your lunch break cannot be less than 30 minutes, nor can it be more than 1 hour.  Between 8-10 hours you enter into time and half, and at the 10th hour, double time. 

Remember, the most important thing is to make sure you keep track of your hours, and that the contract if filled out correctly.  You should fax, or take a copy of your contract to your agent.  Your agent, or talent payment person can handle it from there. 

Finding the Money Voice

The strongest guidance that I can offer in terms of the essential need to 'find your money voice' is to find a voice over coach/teacher who can demonstrate a working knowledge of and familiarity with the current landscape of sounds that are selling.

That usually means a casting director who currently casts a wide variety of projects in the particular genre on which you have elected to focus.  They have their 'finger on the pulse' of the thought processes of ad agencies and production companies when it comes to searching and casting for voice over talent.  They have a perspective that is unique and unbiased as they themselves are not voice actors, which is a very particular vantage point that can be of great assistance to the journeyman voice actor but not necessarily when it comes to understanding how to determine that sound which will is most appealing to or in demand by the buyer.   That first hand knowledge comes from the casting director and/or producer, those who are on the front lines with the actual buyers.  They have a breadth of exposure that will allow them to help you to locate and train your money voice.

A truly valuable tool in the process for finding the right coach/mentor is to ask your fellow actors who have trained in this area as well.  THAT is where the first hand experience and perspective of another actor is invaluable.  They can talk to you in terms of the acting process and how they explored formulating their own technique.

Also, when you telephone the person or people in whom you might be interested in hiring to assist in this endeavor, you must rely on your gut instinct as to your innate comfort and rapport with that individual.  This is where your great instincts as to people and chemistry will serve you in great stead.

Active current experts who work day to day in the process of searching for and hiring voice over talent are your greatest bets in terms of finding your money voice.

The Nasty

Did you know that big stars like Matt Le Blanc and Tim Allen wield so much power that they can dictate how many seasons a network would have to guarantee them in order for them to agree to do a show, or at the very least guarantee that if the show does not last past a certain number of episodes the network gets charged a hefty cancellation fee?

Introducing Captain America

Your child has expressed a desire to be on a television show or in a commercial. Plus, people keep telling you your child is so cute or have such a precocious personality they should definitely be on a television commercial or in print ads.  What do you do?  Who do you trust?  What's proper steps do you follow?  Does your child really have what it takes to be in the entertaiment industry?  Are they talented? When is the right time to get your child involved the entertainment industry? Where do you start?   

There is so much information out there that it's hard to decide and decipher whether the avenue you've chosen for your child is the correct one.  So, who do you trust and where can you find accurate information?  I'm going to offer information that I hope will help guide you and your child in an accurate direction and help you make sound choices for your child.  The entertainment industry is an exciting business with ever changing trends and a plethora of information for the young actor.  Together we can try to clear up many misconceptions with accurate advice and move your child forward to achieve their own individual success.

Look for more super-secret agent tips soon from super-secret agent extraordinaire, Mr. Captain America!

Getting started in voice-over

It can all be summed up in one word - demo.

For the voice over actor who is entering the scene...

It is essential to create a first rate voice over demo in order to be seriously considered by any reputable talent agency.  Not only does this demonstrate your talent and your voice print as to where you might fit into an existing client list, it is the key marketing/promotional tool that your agent must have available in order to assist in selling you to potential buyers.

Of course, one must train to some degree in this field to determine natural skill and also to acquire basic approach to interpretation and execution of copy.    Many actors who have enjoyed considerable success as an on camera performer often believe that they are prepared to branch into voice over simply predicated on that on camera proficiency.  More often than not, that is not the case.   It is more than highly recommended that one study the craft of voice over before spending time and money on producing a voice over demo. 

Your demo should be approximately one minute in length.  A little longer is fine just as long as every second over that initial 60 truly adds to the quality and depth of your presentation.

Your demo should be professionally recorded and produced.  Do not do a home made demo unless you have a professional quality computer program and engineer available to you.  You cannot erase a negative first impression should you submit something that sounds as if you recorded it under a tent of blankets with a cassette recorder at home.  Not good.

Your demo must sound current.  If you do have recent actual voice over work that you have performed, you certainly should lead with that - so long as it accurately reflects you and your sound in a positive and polished fashion.   The key word here is 'recent'.  If you have spots from several years back and have not done any real voice over since then, you most likely will have to leave those spots off.  Not only has your voice most likely changed (even subtly) - copy can sound dated in tone and style as most copy is written to reflect some aspect of current popular culture.

Know your genres of voice over.  Television and radio advertising voice overs, promos, trailers, video games, animation, narration, etc.  Each is a separate discipline of study and must be approached as such.  As an example, success and skill in television advertising voice over does not necessarily translate into the same success and skill in animation or in trailers or in narration.  You get the picture. 

You do not want to be perceived as a 'jack of all trades - master of none'.  It is best to find that genre of voice over in which you are most organically comfortable working.  You must find a coach or teacher to assist you in identifying your 'money voice'.    What is the most immediate need in the current market place that your voice can fill?  It goes without saying that many actors are able to earn their voice over livings by crossing over many genres, however, for the beginner, strengthen that which comes most naturally and is most likely to be bought and then build out your repertoire. 

Stay tuned for our next post...more to come..

Dear Addison,

I recently came upon a question from an actor asking what happens when they are booked on a commercial, but then are canceled.  Here was my response:

The SAG commercial contract states "When a principle performer is engaged and not used for any reason other than his/her default, illness or other incapacity, he/she shall be entitled to a session fee, or his/her guarantee, whichever is greater."

In my experience, regardless of whether or not you have been booked for one day or ten days, if you are canceled or "unbooked" you are only entitled to one session payment, or your guarantee, if one had been negotiated for you prior to callback, or at the time of avail.

The term cancellation fee is then used to describe what you are paid instead of a session payment, but it is equal to the same amount.

Testing for a network pilot...

Ah, pilot season.  The time when TV networks, studios, and production companies are all scrambling to produce their next big hits and find the next big talent with only the low expectation of capturing lightning in a bottle and having a massive hit on their hands…Er, or at least they’ll settle with making something that tests well in focus groups (more on my personal opinions on focus testing in a later post) with enough promise to get picked up to series. We, at the networks, choose what we think to be our most promising scripts, green light them, hire a director, and get the wheels in motion to make TV magic.  After assembling a dream team of director, producers, studio execs, production crew, etc. eventually, it comes time to find the perfect cast.  These days, it seems a lot more pilots end up on the “cast contingent” slate, meaning that if we don’t find the perfect players for the show, there might not be ever a pilot shoot.  Fortunately, with hard working casting directors and enough effort, the right group usually comes together.

But what does it mean to search for the “perfect” cast?  Is there any such thing in the network’s eyes?  How do we really know better than anyone else what’s going to work and what’s not, because after all, aren’t most things in the creative world subjective anyhow?  Good news for hungry actors is that sometimes finding that perfect male lead with talent and star power to boot doesn’t always mean it has to be someone with a lot of experience.  Sure, experience helps and, whether you’ve cut your teeth on an Australian soap opera or on off-Broadway shows, sometimes doesn’t matter if the powers-that-be are feeling what you’ve got to offer for the character.

Sometimes getting a big piece of talent is exactly what the network (or shall I say the president of the network) wants because it helps get advertisers and publicity, two key elements towards launching a show.  But often times, it doesn’t really matter and trying to find a “breakout” piece of talent or a fresh face can be just as rewarding and beneficial to the long term life of a show.

Ultimately, it will come down to getting the vision of the show runner and the vision of the network in sync as to who this lead is exactly.  For actors in their 30s, it seems many cable networks are looking to cast older, more interesting choices than say the CW or MTV.  They want someone who those in key demographics can relate to, and fortunately for many talented people, this doesn’t always mean it’s the 22-year-old bombshell that America wants to watch on TV each week.

My best advice when testing for pilots – give it your damnedest effort, but remember that at the end of the day, it’s not always about how good you are or how you look, but whether you were the type of person originally envisioned when the pilot really stood out to the powers that be.  We almost always see actors that test, and while different reads are different, there is usually not a “bad” choice.  It just comes down to who that person is and what kind of vibe they’re giving off.  Often times, someone will just come across as too dark or too light for whatever mood the director is trying to create. 

This might not always be what the talent wants to hear --- that it doesn’t matter how good you are, you just might not get the job.  But, hey it’s show biz after all and we all chose to be here because we love it, right?  Eventually, the cards will start to turn out in your favor so just keep doing what you do best and don’t give up.  And saying the occasional prayer might help, too…

Linda Mason

New blogger...

Countless numbers of talented actors over the years have invariably come to the moment when they 'decide' to do voice overs.  Whether it be at the instigation of someone who asks them why they aren't doing voice overs' because they have such a 'great voice' or because they don't want to continue to put on wardrobe and make up and drive all over town to do auditions for on camera commercials or because they have decided they (or legitimately) have become a celebrity.

It is often thought that doing voice overs cannot be too difficult or that having success in this area depends on the sound of one's voice alone.

Both not true.

Voice over remains one of the most difficult disciplines at which to excel.  It requires, not unlike any other art form, training, commitment and natural talent. 

I will explore through this blog the world of voice over from the perspective of an agent.  We will look at how to prepare, how to get started and how to sustain.  We will also address any specific points of information about which you have inquiries.

Look out for our next posting:

'How To Get Started in Voice Overs'

Max von Mayerling

Dear Addison,

Ha! After reading your blog I realized maybe I asked the wrong question. I asked what happens if I am released from a job, but I wonder if I was actually downgraded from a principle. In the (blank) spot I was hired as a principle, shot on the set, but they cut me out of it. The exact wording in the letter they sent me says, "...your performance has been completely cut from the commercial listed above. As provided in the SAG 2009 Commercials Contract Section 27cB you are released from your employment contract and no further payments will be due you."


Is that a release or a downgrade? If it is a downgrade should I get another payment? Like I mentioned this has never happened before so I am in the dark. Thanks for the blog and thanks for the answers to all our wacky questions.

Anonymous

Dear Anonymous,

The answer to this question is that you have neither been released, nor have you been downgraded.  You have been outgraded.  To be outgraded means that you shoot a spot and when the spot is edited you are completely removed from the final edit.  When you are outgraded you are not entitled to an additional session payment.  

Addison DeWitt

Dear Addison,

Because I was released from the (blank) spot, does that mean I get another payment for the release or is the initial pay all I get? I've actually never been released from a spot before...

Anonymous

Dear Anonymous,

Unfortunately, the answer is no.  You are only paid a fee if you are downgraded. 

Please be mindful that, if, there is more than one spot - the performer should be careful to make sure which spot(s) exactly is being released - a title or a code # should be indicated at time of release.

Addison DeWitt

Robbing Peter to pay Paul (part 2)

As you can see from my diagram money can be sent to either your representation, or to you directly.  It is your right to choose where your money is sent.  However, unless you have reason to believe that there is an issue at your agency regarding money, it is my belief that you should allow your agent to field all payments.   

The reason for having payment sent to your agent as opposed to you, is that your agency will have a knowledgeable person reviewing checks for accuracy.  The check needs to be issued within the SAG specified amount of time, for the correct amounts, etc.  If you receive your checks directly, and deposit a check that is later discovered to be incorrect for whatever reason, there is nothing your agent can do.  The act of depositing that check is an acceptance of its terms, and becomes a binding contract.   

Another reason to have payment sent to your agent is that your agent will keep track of your conflicts.  Your agents will contact ad agencies, etc. within the proper amount of time to determine whether or not a spot will continue being held.  This is another reason you pay your agency a percentage.

Depending on whether or not your agency is SAG, or ATA franchised, that will dictate when your agency is mandated to issue you a check.  For ATA franchised agents, their website states that their agents have 15 days from receipt of a check to issue payment to their clients.  SAG franchised agencies have 5 business days to issue payment, unless the check is being sent out of state.  It is then 7 calendar days from receipt of payment.  All monies, other than commercial payments, are 3 business days from receipt of payment. 

If you have questions about whether or not a check has been issued for a commercial, you can contact the Payroll Company, or paymaster.  You will need to be able to provide the product, commercial title, and the commercial id #, or “ISCI” code.   

Throughout my career I have heard a handful of horror stories about talent payments. In rare cases companies that, in order to sustain and maintain 'solvency', have elected to hold their clients' money well in excess of the turnaround deadlines that are dictated by SAG and ATA.   When the company received more talents’ money, the previous batch was then processed and released.  In the most unfortunate cases, I heard of this cycle continuing until there is shortage of money.  It is at that point when those companies needed to make a choice. Pay them, or pay the actor. I am sure you can surmise who the loser is in this equation. The actor ends up losing their money, and their agent.  While cases such as these are truly (thankfully) the exception and nowhere near the rule.

New blogger...

As promised, today we are adding a blogger from an animation studio who is in post production, the post will follow below.  This executive has first hand knowledge of all of the ins and outs of a major animation project, from start to finish.  As always please feel free to ask any questions you would like, and we will answer in a timely manner.  

Whenever I am asked what I do for a living, I reply that I work in post-production for a movie studio. That response is usually followed by the question, "what does that mean?" Specifically, I work on animated movies, which opens up a whole other door in the realm of post-production. Explaining the process can be very detailed and you might not have imagined the amount of work that is done in post to finish a feature. Animated movies take three or more years to create from the beginning of story development to the time it’s in theaters. In post-production, we are still working on a movie even after it is released because of all the international versions that are released after the domestic version in the USA. Our movies are typically dubbed in well over 30 languages.

The term post-production is used to group everything under one name but typically includes many different processes such as, editing, voice over recording, sound design, music scoring, test screenings, final mix, lustre, film out and finally finishing prints for the theaters. For the purpose of this entry, I would like to explain how the voice over recording process works.

Most animated features today are much like live action movies; A-list stars are typically cast in the leading roles. Someone once asked the head of our studio why we use big celebrities which inevitable have to be paid more money when you aren’t going to see their faces on screen. The response was simply that if you can get a specific actor that is really good, you take them! Another obvious reason is that star power sells tickets. However, not every character is voiced by a big name. It really depends on what the director(s) and producer(s) are looking for.

Voice-over sessions for animation are very interesting to see because the actors don’t have other actors to feed off of or play to. Sometimes the production will provide a “reader” to work with the actor but other than that, the actor is alone in a recording booth with a handful of people staring at them from the control room. The recording session starts out with the director setting the scene. Typically the actor has met with the director prior to the recording and has a general idea of what the movie is about, but each scene is described to them on the spot at the recording session. Often times the production will supply a few clips from the movie for the actor to view and give them an idea of their character, but other than that, the actor has to do their best to imagine the scene around them. The production will sometimes dress the recording session with artwork of the characters and landscapes but for the most part it is a blank slate.

So here we are at the recording session. The actor walks up to the podium which has a stack of slides with script pages tacked to them and the director sets the scene. The actor runs through each page line by line, giving multiple takes for each line. It is not unusual for the actor to record the same lines several times. The production takes back the recordings and has their editors marry the audio to picture. Often times the production will hold internal work-in-progress screenings to get an idea of how the show is moving along. This also allows the director/producer to decide if a line needs to be removed or adjusted, or sometimes they will ask the actor to deliver the line with a different inflection. It is important to note that typically, at least at our studio, the lines are recorded prior to the movie being animated. The movie will exist only in storyboards, or simple sketches that give an idea of the flow of the film. At recording sessions tiny cameras are used to record the actors. They are aware that the camera is there but the fact that it is small prevents them from noticing the camera and wanting to act to the camera. The footage from the recordings then goes back to the studio for the animators to use as reference. The animators try to mimic the facial expressions of the actor and at times will even incorporate hand gestures or body movements from the actor as well to give the animated character a more life-like appearance. Often times the actor won’t get to see the fruits of their labor until the film is closer to being complete.

Thanks for reading. Tune in next time.

L.B. Jeffries

 

Dear Addison,

If the spot you shot was broken down into 3 separate 15 second spots and you appear in the background in one and principal in another...do you qualify for a downgrade fee?

Thanks in advance!

Dear Arianna,

The scenario you describe is similar to Lauren's.  In the spot where you only appear in the background,  you are entitled to a session payment for the 15 second edit, which is also called a "mechanical lift", and to a downgrade fee.   

Hope that helps.

Addison

Robbing Peter to pay Paul (part 1)

Robbing Peter to pay Paul(part 1)

So as not to send you away fearful and paranoid, let me begin this post by saying that, aside from needing a job, I do this because I love actors. More than just loving actors, I love finding work for actors. In regards to work, nothing makes me happier than knowing a client has made enough money to make their insurance, pay their mortgage, or just simply live a little easier. I believe most people in my line of work share a similar feeling.  I am going to give you the facts about talent payments; I’ll save the horror stories for the end.

So that actors from every level of the business can understand commercial talent payments, below is a very simple diagram of how payments get from advertiser to actor.

  

In regards time frame for payments from the payroll company to the actor, SAG is the jurisdiction that dictates the when talent payments are due.  Below is the schedule of payments: 

 

Next post, how and when your money is processed once received...

 

What defines a principle performer...

Dear Addison,

I have a question: If an actor is in a spot and it gets made into several,
and the actor's face is recognizable (at least to the actor) but much farther away in the second spot, does the actor still make residuals? Its all principle roles; no group 6, etc....

Thanks Addison!

Lauren

Dear Lauren,

First, assuming this is a union job, know that most of the time, SAG is the governing body regarding what defines a principle performer, and here is how it is “technically” defined:

1. A performer is directed to speak a line (other than omnies); or

2. A performer is performing an identifiable stunt; or

3. A performer is in the (1) foreground, (2) identifiable, and (3) demonstrating or illustrating a product or service or illustrating or reacting to the on/off camera narration or commercial message. (The performer must meet all 3 criteria simultaneously in the spot to qualify for a principal upgrade.)

Based off of SAG’s definition, if the spot is edited, so that you are in the “background” of the spot, an advertiser could issue a downgrade, meaning, you are considered to be an extra, and therefore not entitled to residuals in that particular edit.  You are entitled to a session payment for the "mechanical lift", and a downgrade fee, which is equal to a session payment.  If you have been downgraded, and you feel it is en error, you must appeal to SAG.  SAG will review the spot, and issue a ruling as to your principle status.  

Please continue to ask questions.

Until next time I remain your humble and obedient servant.


Addison DeWitt

The early bird gets the worm...

For those playing the home game, I have recently created a Facebook Page.  The page is aptly titled, "Addison DeWitt".  

Next post, "Robbing Peter to pay Paul"...

Until then, I remain your humble and obedient servant.  

Addison DeWitt

A client of mine sent me an email today, which was the inspiration for my blog.  This client has been in the business many years, and I found it interesting that this particular subject had never been explained to her before.  I thought that if this veteran actress did not know the answer, there must be other actors who don’t know either…

Question:

Any word at all on whether my (blank) spot is going to run?

Answer:

The way you find out whether or not your spot is going to run is by contacting the ad agency.  In general ad agencies are more open to answering such questions when they come from the actor, or the guardian of the actor, as opposed to a talent agent.  The same holds true when requesting copies of commercials and/or voice-overs. 

I have my own theories as to why ad agencies are more receptive to actors as opposed to agents.  Agents are your liaison between the ad agency, the production company, etc.  It is our job to play hardball, not yours.  When you reach out to them, they are less likely to be concerned that there is going to be a conflict, and are therefore more likely to help you complete your task.  They also feel better about themselves as they have done a personal favor for you. 

The easiest way to locate the ad agency is to check your call sheet.  It is best when you shoot a commercial to keep a copy of your call sheet, as this will prove to be an infinitely useful tool.  Alternatively, you can find the name of the ad agency on your pay stub. 

Contact the ad agency and ask for Broadcast Services, the Traffic Division, or whoever is responsible for purchasing time.  In most cases you will be directed to the appropriate party. 

Once you reach that person ask them what their media buy is, and if they have not purchased, do they intend to purchase?  Airtime is usually purchased a few months in advance, so it is possible that even though they say they have not purchased, that is not always an indication they will not purchase in the future.  Many spots are shot and held over a year in advance. 

Keep track of your pay stub, and when your holding fees are due, and if they keep coming in, there’s a good chance eventually airtime will be purchased.      

Please feel free to comment, or ask questions.

Until next time, I remain your humble and obedient servant. 

-Addison DeWitt