Lucy Price of Loop Talent
Lucy Price of Loop Talent
After excelling in her role at the agency, managing a Diary Service for more than 120 senior crew members, Lucy moved into a brand-new area of the business where she established and operated a hugely successful new roster of talent for the agency. Wanting to build on her excellent reputation and experience in the industry, and nurture her own roster, Lucy launched Loop Talent in 2020.
Lucy recently sat down with us to discuss her journey into the film industry, her inspirations and golden rules that she and her rapidly growing crew follow. A video of our conversation can be found at the bottom too.
What is the distinction between Loop Talent and Loop Talent Crew?
So there’s Loop Talent, which is the agency. And then there’s Loop Talent Crew, which is the diary service. They operate in very, very different ways. Diary service is purely diary service management for bookings and pencils. Which is great for freelance crew like focus pullers, people who are busy with their hands on set and can’t be batting off PMs and producers who want to know about their diary. So Loop Talent Crew is a perfect way to manage that.
But the agency works very differently in terms of management and promotion and really steering people’s ships. We negotiate contracts, rates, we chase copy. We have beautiful little portfolios for people on our website and we generally shout about them loudly. The end goal is to be the one stop shop for productions, being able to provide everything to make production seamless.
What or who has been an inspiration to you and why?
The role of an agent, I think specifically, is quite different from the creatives that you normally talk to. I don’t typically create things – apart from careers. I’ve always worked as a freelancer around freelancers. And I think seeing people really hustle for work is really inspirational, and play the game a little bit, network.
Probably closer to home, my dad was a market trader, not the Wall Street sense. I mean, like literally on market stalls selling plants. He used to get up at two in the morning on a Tuesday and go to Convent garden market, to get plants, that kind of thing. So he taught me very early on the value of working hard and running your own business. I mean, it was selling plants, but it was still a hardcore business that provided for our family. So that was always an inspiration for me.
Do you have a motto or Golden rule that you try to live by?
We were joking in the office just now that I would just very plainly say ‘live, laugh, love’ and just end on that – umm – but err no. I think our responsibility is to Empower, Progress and Nurture. And I think that that’s really instilled in me anyway. I’m really loyal. I love championing talent, my friends, people I love. And like, that’s what I try to live by.
What was the biggest challenge you faced or learning curve you’ve overcome? And if so, how?
Obviously, Loop launched in September 2020, which as we all know, was quite a difficult year. I quit my previous job in January 2020 with a toddler and a five month old baby. So when the pandemic hit, it was quite stressful. On the brink of opening a new business, it was not ideal, but actually it was the best time I could have done it because so many producers were more open to conversations.
There were no receptionists, you know, batting away calls, that kind of thing. So I could have really incredible conversations with people that I don’t think I would have done ordinarily. And also, I think it was a really interesting time for talent as well. A lot of people perhaps took some time to reflect about their career representation, things that weren’t working, and then obviously heard about Loop and came to join us.
So it was actually a really beneficial time. Also as a new agency. You know, we’ve not been around for 30 plus years, so we can’t rely on our name or our incredible brand – just to speak for itself. Every day I’m inspired by our talent.
Is there something that you have started representing as Loop which has particularly been an interesting new field for you to represent and work with?
Definitely intimacy coordinators because we represent two at the moment and they are the most interesting people I’ve ever met, ever. Rufai Ajala and Hayley Muraleedharan are just brilliant. They work on all sorts of different genres. So high end TV, film commercials and music promos and I find it really interesting that they’re being used more and more in commercials, which is just brilliant because I think that there has been a lot of stigma in the press a lot recently as well with perhaps older talent or people who have not worked with intimacy coordinators before.
And there’s a lot of fear associated with that role. And there doesn’t need to be. Our intimacy coordinators are really approachable. They’ll talk to actors, they’ll talk to producers about how they like to work, how they can safeguard not only the cast, but also the production. Every conversation I have with them is really clever and interesting. Roo is currently studying at the NFTS. They were a gaffer and they’re now an emerging cinematographer. Having that understanding of light and cinematography really informs their work as an IC, having watched an intimate scene where the camera is acting as the other person, then it just makes complete sense that they would have that understanding.
Who gave you your first break?
I mean, several people really. There was a network of ADs that we always used to help each other out. I know so-and-so they’ll get you in” that kind of thing. I didn’t quite realise at the time how amazing that was because now they are all head of production, head of drama, head of various random titles at Netflix and things like that.
And it’s still a network that now is an agent I rely on, which is brilliant. So I think as a freelancer you just have to rely on your network.
What’s your favourite piece of your own work to date or proudest achievement?
Proudest achievement, I think, is opening a business during a global pandemic with two young children and building up quite a successful roster. And we’ve obviously got Emmy Award winners, BAFTA award winners, BIFA nominees, IFTA nominees. It’s a really nice roster. Everyone’s brilliant, everyone’s skills, and they’re all really nice and good to work with and they’ve got high energy levels and they’re excited about the industry. So that’s the main thing I’m proud of.
What do you consider the most overlooked or misunderstood aspect of your job?
I think there is a bit of a cliché with agents where they sit behind a big desk with a cigar, talking about money all day, not answering the phone and just being a bit unapproachable. What I wish people knew more is that it’s very much a relationship and a process and it is a partnership. You both have to work hard together and it’s very much a steering of your shift towards certain goals – career goals – essentially.
What excites you the most about what you do?
I think when I do a really good job when a producer comes to us with a specific brief, whether that’s for high end TV, film, commercials, music promo, and I know that I’ve got someone who can absolutely nail that and I can back it up with previous work, previous skills, show that off to the producer and they get the job.
That is such a brilliant feeling because not only have you got them work, but you’ve given them an opportunity to expand their network, grow their work portfolio, and the opportunity to work with that company and that producer again and again. So when that happens, it’s a really, really good feeling because inevitably it will level up their career.
Where is your favourite place to work and why?
I do love working in our office. We’re based in Victoria, so we’ve got Buckingham Palace next door – not really next door but I’ll say that it is. We’ve got bay windows, plants, a little candle, it’s just a really nice space. It’s a period building and we’ve got a coffee machine so what more can you ask for?