Miley's mum safeguards her career

2009-10-30 00:00

WHEN Miley Cyrus wanted to shift from the tween roles that have defined her career, her mother and co-manager started at the top.

Rather than look for a pre-existing script, Tish Cyrus contacted best-selling­ author Nicholas Sparks (The Notebook) and asked him to write something specifically for her daughter.

“Sparks is an amazing, faith-based writer and a Christian, and he writes about relationships with a family and there is nothing about sex or things that I felt were wrong for her,’’ she says.

Miley (16) met with the writer to flesh out her character; she disclosed elements from her own life — such as her love for animals — that Sparks incorporated in his work, which started as a screenplay and only later became The Last Song, a bestselling novel. The movie version, with Miley, opens next April.

This film is like taking that first baby­ step away from Hannah Montana­, Tish notes. “It’s just a baby step, but she’s doing something different.”

Doing something different is one of many perfect moves that the Cyrus team has made in building Miley’s career­. Taken together, they’re a textbook case on how to develop a young performer.

While few young actors can hope to emulate Miley’s success, the 5 000 members of the Screen Actors Guild who are younger than 18 will face many of the same decisions that affect whether they succeed or fail.

Speak to agents, managers, producers and studio executives and they will tell you several key elements go into crafting a young actor’s career: picking the right team; handling money­ astutely; maintaining an education­ trajectory; and diversifying away from roles that too narrowly define the performer.

The first step in building a career, of course, is finding the right management.

“It’s important to choose a representative who knows how to make career­ decisions slowly,’’ says Miley’s co-manager, Jason Morey.

“You have to have someone who has a plan,’’ says Frederick Levy, owner of a talent firm, Management 101, and the author of Acting in Young Hollywood­.

Miley is lucky to have a father, singer-actor Billy Ray, who is involved in show business and a mother who is immersed in her work. But parents can be a two-edged sword: if parents become what Levy calls “the mom- agers and popagers”, trouble looms.

“I like the parents most who look at acting as if they have a child on a soccer or baseball team,’’ says producer Matt Dearborn, who has had shows on Nickelodeon and Disney Channel, including the new Zeke and Luther. “It gets problematic when parents start reading scripts or complain about parking spaces.’’

Others with prominent stage parents — such as Katherine Heigl, who started out as a child performer and whose mother has continued to work closely with her — have proved mixed blessings. Indeed, sources say that in Heigl’s case, one management company told her to choose between the firm and her mother.

Right: A young Miley Cyrus with her parents Billy Ray and Tish.

When Miley’s career began to blossom, her mother got the best advice she could on who should represent her daughter. Dolly Parton suggested Morey Management Group and its patriarch­, Jim Morey. His son, Jason, began managing Miley’s career, along with her mother.

“Dolly said that the Moreys are people you can trust around your daughter,’’ Tish says, “and she said they have good morals, which is not always the case in this business.’’

Tish also hired her husband’s business manager to handle her daughter’s finances — another crucial element as a career expands.

“It’s kind of scary to think what can happen to a child’s money,’’ she says. “Parents quit their jobs, and to support their family they have to use a child’s money to survive.’’

At least 15% of any earnings by law must now be set aside in a blocked account that no one can touch until a young performer reaches the age of 18. But unscrupulous parents or managers can sometimes siphon that away and there have been famous instances of lawsuits wielding accusations on all sides — as with Macaulay Culkin, the Home Alone star who failed to build on that franchise’s momentum­.

“So many children have worked and, when they look back, there’s nothing left,’’ says Tish. “That’s why we hired someone we can trust.’’

A solid education has become increasingly important to child performers­ and it gives them the intellectual and emotional foundation that allows them to move into adulthood. Those who have succeeded best in crafting long careers — Jodie Foster­, Brooke Shields and Natalie Portman­ — have made a point of taking time off to go to college and they used their earnings to pay for it.

Today, the industry is more vigilant with regard to education.

Any producer who hires a minor and guarantees three or more days of consecutive employment must also employ a teacher during regularly scheduled primary and high school periods.

Miley’s teacher takes her on educational field trips when she’s on location. She also knows the child labour laws and won’t let her work one minute over the rules. Miley’s mother says, “If they take her on a photo shoot and they want 15 more minutes, she won’t let them.’’

Aware of how challenging it is to build a career, many studios and networks are now stepping in — such as Disney Channel and Nickelodeon, which have set up their own professional guidance programmes for new talent, Nick 101 and Talent 101 at Disney.

Disney Channel recently opened a session of Talent 101 in a conference room at the studio’s Burbank lot. About 20 cast members from various shows attended.

“For some, this is their first time in the business and this is a snapshot about what changes will be in their lives,’’ says Judy Taylor, Disney Channel’s executive vice president, casting and talent relations. “They’re told what it will be like to be a public figure.’’

Seven young performers and their parents recently showed up for similar coaching in Nickelodeon’s green room before shooting Victorious, a new sitcom starring Victoria Justice. There, agents, producers and members of the network’s press department and cable channel executives tutored them on fundamentals such as how to dress for media interviews and how to deal with fans. Learning how to operate in the business is becoming more essential. The business opportunities are growing, which means that children have to learn to deal with hard business issues more than ever before. They also need to learn about money.

“This is a children’s network,’’ says Paula Kaplan, Nickelodeon’s executive vice president for talent, “and this is a show for children. We give them the nuts and bolts. We tell them that this is what we expect from them as professionals. We expect them to be on time. This isn’t like school where your mother writes a letter. This is a business.’’ — Reuters.

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