Jim Keith is a Celebrity judge and the National Director of Choreography at DDO Artists Agency in LA. He’s also a really cool guy. Listen up as he reveals the top three secrets to getting and keeping an agent. You’ll love his inspiring story about how dance changed his life. He proves it’s never too late.
Growing up in LA was…
I went to Hollywood High School to study acting and singing. I was the chubby funny kid, and my friends were all skinny dancers. But senior year, I lost 100 pounds and gave dance a try. I was really, really bad in the beginning, but my teachers saw something in me. I trained for six months for three hours a day.
So, you made it happen after all. Way to be. What’s your favorite performance memory?
Doug Caldwell’s “I Will Be Free”. It was so passionate, I was weeping. It inspired me to change my life and become a dancer.
How did it feel to start your career later than usual?
I went to a Tremaine scholarship concert and was exposed to so many genres. I found an audition notice in the program. Joe Tremaine took me. He said I had that fire, and that they could give me the technique.
Fire, check. Technique, check. Then what?
I worked with Marguerite Derricks and Kenny Ortega on the “Fame LA” TV show as a background dancer. After 4 episodes, I signed with an agent and did a lot of videos and industrials. It was a great ride.
LA vs. NYC. State your position.
Each city has something to offer. Dancers should try out LA first, then consider going to NYC. I believe LA is for the young. NYC is more about your story; the maturity of the seasoned dancer. I agree with Marguerite Derricks: LA dancers are more versatile. I know there are versatile dancers in NYC, but for the most part you’re either very good at one style. In LA, dancers don’t know what’s gonna be thrown at them. You won’t work if you’re just a hip hop or jazz dancer. I always tell my dancers: the more you learn, the more you earn.
So how’d you get into teaching?
I was with Tremaine in assistant sales (the guy who sells the T-shirts). The last city tour was slow, so asked if I could assist. They said yes. It was great until I stepped into a layout and snapped my knee in half. I was bed-ridden for 6 months and couldn’t afford surgery. I had to relearn how to bend my knee. After I recovered, I took an advanced jazz class and while sliding to the floor, my knee popped out again. The doctor told me if it happened one more time, I would need a cane. So I decided to teach on conventions. I taught at twelve studios, workshops, and also did guest spots at UC Irvine.
What’s the best part about Celebrity?
I love it. It’s the most supportive, fun atmosphere out of the 30 different competitions I’ve judged for. I love scouting talent, and giving positive critiques that will help dancers grow. I’ve never seen dancers have so much fun. And if it’s not fun, why go?
Fun’s always good. What’s your teaching style like?
Strong classical technique mixed with current trends and style. I like to use my car analogy; have good tires, but hot red body paint. My comedic style usually makes kids laugh. They remember things because they were funny.
What are the best/worst trends on the competition circuit?
Worst: Inappropriate choreography for the age. Teachers, it might look good on you, but not on a child. I always say, “You ain’t got nuthin’ to shake yet!”. Also, the emphasis of quantity over quality. I’d rather see a clean single than a sloppy triple. Think quality over quantity.
Best: Choreographers are taking more risks, looking less cookie cutter. There are more stories; I’ve seen pieces where pirouettes don’t even exist. It’s a nice change.
How’d you transition from teacher to agent?
The upcoming generation was so disrespectful, and I got very discouraged. I responded to an ad for an assistant at an agency and got hired. Now, six years later, I’m the director of my division. I helped DDO expand to Miami, Nashville, and Vegas. As a former working dancer, I love passing on my experience to new dancers.
What’s your daily to-do list like as the National Director of Choreography?
It’s based on supply and demand. I’ll get a breakdown for a new movie, so I reach out to production to see if they’re looking for choreographers and then submit our talent. I also work with TV shows, commercials, Bollywood… I’m always on the lookout for opportunities to place my talent.
What are the top three things to know about agents?
- Communication is key.
- Provide us with the proper materials: photos, updated resumes. These tools help us help you.
- Good work ethic. I don’t wanna hear you’re five minutes late or sleeping during rehearsal. If you have a good work ethic, it reflects positively on the agency and vice versa.
Any other advice for the next generation?
Take as many classes from as many teachers as possible (not always your favorites). Do every style. That’s key.
Besides dance, you love…
Movies, food, a good home cooked meal, a good Blockbuster movie. I love hanging out with my friends because they are the same friends I’ve had since high school.
