CAA, ENDEAVOR, ICM, UTA, WMA...

[slug line]

anyone out there ever had a script with them?

if so, how long did it take to get a response... any kind of response?

meaning, did they respond even in case of a "pass" or did they wait for you to call?

thanks guys and gals.

[caffeine buzz]

congratulations, buddy... I wish I could give you some insight (or at least be able to say that I have the same problem)... :D

[slug line]

caffeine,

let's hope it's a blessing rather than a problem...

[labtest]

Depending on how much heat you have with your script, wait a minimum of two weekends before checking back with them, and more likely, a month. Then call back to see if they've had a chance to read it.

You may or may not receive a "pass" from them. That's the nature of the game, and happens with smaller agencies, as well. So calling to check may be the only way you'll find out.

However, I once waited over three months on an ICM read, yet when the agent finally read the script and called, he was extremely apologetic for having taken so long, was extremely enthusiastic about the script, and was wanting to show it in-house to see if he could get any support for taking me on.

So, even though waiting is crazy-making, don't get impatient and blow anybody off. I believe I had checked back a few times and then stopped calling, but I never got angry on the phone or told them to forget it. I simply decided nobody was ever going to read it, and moved on about my business. So I was very surprised to get that call when it finally came, but it was worth the wait.

[copywriter1]

Whether it be a producer or agent (large or small), the best thing to do is submit -- then move on and not worry about it.
Keep submitting and writing. If they really like it, they'll call you. If not, chances are you'll never hear back. I've never heard of a writer calling to find out about the status of a screenplay and the producer or agent saying, "Damn, I was just going to call you...we love it and want to do it!"

Also, calling them to see if they've read it rarely results in speeding up the process at their end. They've got priorities and unsolicited scripts are not high on the list.

[MakingMagic]

I have submitted to CAA, ICM, WMA and UTA. CAA passed, but requested more material to read, as did ICM. One particular agent at ICM liked my sample, but represents Life Rights and asked for some "true story" kind of material. WMA responded in one week with a call and requested to view a short film I made, as well as UTA (which came as a referral).

So, don't be distracted by those that say the biggies won't listen to you, because they will . . . if it's worth it I suppose.

[Muckraker]

You should indeed call in any case, and a month sounds about right. The reason for calling is to make any kind of connection you can with either the agent or the assistant, so they'll be inclined to read other stuff you've got. If you just move on after submitting you've gained nothing.

[labtest]

Muckracker makes a great point. Even though it's rare, sometimes the connections you make with assistants do pay off. You can't force a connection if it's not there, but sometimes you will simpy "click" with an assistant on the phone, and they do move up or around. That's how networking builds.

Also, sometimes assistants are readers, as well. Even if the Big Agency doesn't want you, if the assistant connects with your work, it could eventually lead to something down the road.

[slug line]

thanks guys for your replies.

seems everybody at least heard back from them. might mean I'm still in the run. who knows...? "the submit and move on" is good advice, but the fact is it lingers in the back of your head: did they read it, did they like it, why didn't they call/write? it's just the way it is, not just for us...

click below and listen to stephen gaghan, talk about his experience after he send "traffic" over to steven soderbergh and didn't hear from him for a couple of days...

freshair.npr.org/dayFA.cf...07/31/2002 (http://freshair.npr.org/dayFA.cfm?todayDate=07/31/2002)

I guess, at the risk of sounding corny, it just shows that we are passionate about our stories... :)

[opus]

Endeavor took a month
WMA took three months
ICM never responded.

:( needless to say i'm still unrepped.

[slug line]

opus,

were they open to look at some of your other scripts or did they just fire off a form letter: "put your hands up and step away from that keyboard"? ;)

[BlueParrot2]

i wrote a short script where I parody a partner at one of these firms on the show BLIND DATE. I sent it to someone who sent it to someone who sent it to someone. From that, they requested a meeting.

We talked about Korean BBQs and I asked for a freebie. They gave me a cap.

[Mompboken]

How did you get internet access in Austin, Blue? Shouldn't you be playing doubles with Shane right now?

[virgilcain]

Hillbilly, That is completly disgusting. Glad I waited to have that meatloaf!

[MakingMagic]

That's awful, I don't even know what the hell it is.

[Gumsandals]

It looks like an alien invasion to me. Run for the hills!

[Augie Kestrel]

I <!--EZCODE ITALIC START--> told<!--EZCODE ITALIC END--> him not to sit in front of the ball-return.

[kojled]

sent script to icm. they liked it, asked to see more. took five weeks

zilla

[MakingMagic]

Congrats . . . who at ICM got the lucky read?

[gregdodson]

I was set up on a blind date with a woman who turned out to be an agent's assistant at CAA. I felt uncomfortable admitting that I was an aspiring screenwriter, but when I finally mentioned it, she said that she would be glad to read anything I had. So we ended up back at my place, and she asked to read my script right then and there. I let her read it, as I waited in my bedroom. My script is a comedy, and I felt relieved when I heard her laughing. I popped my head out, and tears were streaming down her face. She told me this was the funniest script she had read in months, and she called her boss -- this was at 10 o'clock on a Friday night. She was so jazzed about my script that she told him he'd have to read my script that weekend. He said he wanted to meet her for breakfast the next morning, so he could read it. I thanked the assistant profusely, then she said, "Now you owe me one," and proceeded to have her way with me. Suffice to say, we slept for about two hours, then met her boss at Hugo's for breakfast. He read the script at the table, and half-way through said, "I can tell this is great. I'd like to show this to some people." Wow -- couldn't believe my luck. This was by far the best date I'd ever been on.

But then, a month later, both the assistant and the agent weren't returning my phone calls. I finally confronted the assistant in the CAA parking garage (I work as a messsenger), and asked her what was up. She coldly stated, "I don't think there's anything else we can do for you."

[Boobsie Malone]

Note to self: don't sleep with gregdodson.

[slug line]

greg, did you skip a paragraph?

the agent liked it, but never got back to you? Not even to ask for another script? seems like something went terribly wrong...

[labtest]

I have heard of similar experiences (without the date and sex, of course) and had one happen to me with an ICM agent (without the date and ... you know).

Sometimes agents at that level will read a script and see a potential use for it and be all hot for the script -- until they run it by some people, find out it's not going to work out for that potential use.

And it's not unusual for such agents at high levels to then be finished with the script and the individual who submitted it. It's no longer a potential hot property to them and they've already shouted, "next!"

However, assistants are usually better about tact and diplomacy and covering their boss's tracks. I got daily calls from the ICM agent about my script, with him rattling off all his huge ideas and plans, as he waited for "somebody else" to read it -- and then the calls simply stopped coming. I put in a few calls which he didn't return, though his assistant was always smooth as silk and "nice guy" about it. But it was clear, the agent wasn't going to ever let me know what happened -- I was left to connect the dots and go away on my own.

And I've heard similar stories from others.

[slug line]

labtest,

that's I odd. I would have thought that even if they passed on one script, they would try take a look at your other scripts, just for the fact that they want to cover their butts in case you come up with another gem (you obviously had written something they thought had potential, otherwise they wouldn't have bothered with calls to begin with). I had met some writers, who at least walked away with a contact and were able to submit their new scripts to the agent for consideration.

PS: another question, that "somebody else", was another agent in the agency or a producer?

[gregdodson]

If agents or assistants all of a sudden are dodging your calls, or never returning calls, that must mean that their interest has cooled off. Nobody likes to be the bearer of bad news. They would rather just avoid you altogether.

After that experience, I sent the same script to one of those script evaluation services. It cost $500 to do a full evaluation. The guy who did it claimed he would be able to pass the script along to his contacts in the industry, but that the script needed work. So he charged me by the hour over the phone for script notes to "improve" it. It was $100 per hour. I churned out another draft, he read it, and said the script was "almost" there. More phone notes. So by now I've spent well over $1500. He said the script was ready, but I had to send more money to cover "administrative" costs, such as making copies and sending out query letters. By this time, I realized I could send out query letters on my own. I decided to cut my losses.

[JustAnEP]

Oooouch. That's a bad story. Sorry to hear it!!

[AndyWarholsGhost]

Hey, would feel comfortable telling me who that guy was? If you think this guy was scamming, then maybe you can help others not go down the same road.

Sorry to hear about your experience with this guy.

[labtest]

slug line --

you'd think somebody would want to keep the door open for future projects, and honestly, probably in his pov not ever telling me "no" may in his weird world may have been his way of not closing the door.

he is a top agent who reps some of the biggest names in screenwriting. my guess is that he didn't want to get involved with a new writer, but my script came close to plugging in a need within the agency. he discussed very specific talent and seemed to be under the impression that if he didn't talk to me daily, somebody else would snap up the script. my guess is the agent who represented the talent said "No this isn't what she's looking for," and that ended the issue from the agent's pov.

[gregdodson]

I sent my script to an evaluation service back in 1997. It was some guy based in Delaware, so that should have been a tip-off that he wasn't really plugged in to the industry. It was an expensive lesson.

[jodeb]

So, by now, I think I read that they've taken your body *and* your money.

I hope at least one of them was enjoyable.

Seriously, there may be a saving grace to all of the above. You never did mention if you felt after you spent the money to the service, *if* you felt you had a better script out of it???

Just wondering if anything good came out of that lousy experience.

Oh, yeah, was the bedroom stuff any good?

[gregdodson]

The stuff about the agent's assistant was bad, but it pales in comparison to my "roommate from hell" story. I was broke and unemployed and I needed to find a roommate, fast. I decided to post notices at laundromats. As I did, this guy walked up to me, saw the notice and said he needed a place to stay, because he was getting divorced. He seemed like a nice enough guy. Of course, once he moved in, crazy stuff started happening. Like the $900 phone bill, thanks to all the phone sex lines he was calling. I won't bore you with the details, although after he just disappeared (right before rent was due), I had to put an ad in the classifieds to get another roommate. All I can say is, having strangers as roommates is not fun. In fact, dealing with agents and agent's assistants who don't return your phone calls is a piece of cake in comparison.

[slug line]

labtest,

did you approach the agent with another script? was he open to consider other scripts or were you back at square one, writing query letters?

[Cyfress]

I wouldn't waste my time with these boutique agencies. I'd go right for the big ones.

[qparrish]

I have heard from an agent and a prod. co and I am sending out my screenplay this week (!) My concern: I have always heard you should never do that until you've written at least 3.

Well, I technically have written 3. This one is good and was an honorable mention in a contest. That's why I sent it out, and it's also kind of a timely topic that seemed worth sending now.

The other two are not good enough to use for kitty litter liner. The first is a very strangely formatted novella, and the other is about nothing, but not in a Larry David way. It's pretty much unsalvageable, and the other one is really not something I'm interesting in fixing up either.

So if someone asks, "What else have you got?" should I say, "Well, I've written 2 others, but I was (ahem) learning the craft." Something along those lines? I certainly can't show them to anyone. Am I screwed?
(Guess I'm not screwed yet since I haven't even mailed the so-called "good" one!)
Thanks...

[labtest]

I wouldn't hesitate to send another script to the agent in question, but by the time I had another script, I didn't need to, I was repped elsewhere, by one of the other agencies mentioned in this subject header.

qparrish -- Don't worry about not having other scripts. Don't get talked into showing a bad script, or a script that's not ready, though. It's fine to say that you have earlier work, but not up to the standard of the current script. Good luck!

[slug line]

labtest,

did they sign you right away or did they hip-pocket you first?