Literary Agents Vs. Actors' Agents

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  • Literary Agents Vs. Actors' Agents

    My writing partner and I have a script that we have written with 2 A/B list actors in mind for the two leads. We have queried several of the top literary management companies (BenderSpink, Energy, Zero Gravity, etc) that accept queries. We receive one request for the script, and sent it over three weeks ago.

    I know that it can take a while to hear back from that one company, but in the meantime, my question is "Should we query the Actors' agents directly or should we keep querying lit agencies?".

    Here are my two sides of thinking on querying the Actors' agents:

    Would an actor's agent be more open to reading a script with their client in a leading role? After all they only make money when their client works, right? Plus said Actors have their own production co's, and directors they use frequently. Couldn't the agent, if interested, package everything and pitch the project to a studio?

    On the other hand, would an actor's agent even bother with reading a script from an unrepped writer? Would we have a better chance of getting the script read by an actor's agent if we had representation, from even a smaller lit agency?

    Those are my thoughts; any insight/help would be appreciated.

    Thanks!!!

  • #2
    Re: Literary Agents Vs. Actors' Agents

    More often than not actor's agents aren't going to pay much attention to you if you're unrepped.

    I don't totally discourage it though, I've made some good contacts by going straight to the actor's agent. Just don't expect much.

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    • #3
      Re: Literary Agents Vs. Actors' Agents

      In my experience Talent Agents will not request a read unless the project is sold (packaged) and/or fully funded.

      M
      "The most terrifying thing is to accept oneself completely." ~Jung

      Comment


      • #4
        Re: Literary Agents Vs. Actors' Agents

        Originally posted by Bruce The Shark View Post
        On the other hand, would an actor's agent even bother with reading a script from an unrepped writer? Would we have a better chance of getting the script read by an actor's agent if we had representation, from even a smaller lit agency?
        With A-list actors (and some B-listers, too) you can't get a read not only without having rep, but without making an offer. That offer has to be credible (eg, somebody involved in the project has a name that suggests that the project will really happen, that the offer isn't smoke-and-mirrors). Essentially they're open to reads from producers, but not from writers.

        Rather that try to go through actors agents, a better approach is to find actors who have production companies and approach those prodcos as you would any other prodco. You don't need to say, "Hey, Plan B, this would be a great project for Brad Pitt, what do you think?" because Plan B looks at everything through the lens of "is this something Brad might want to do?" You can let them think it was their idea.

        But A-list actors get offers every week to play roles. Those offers come with money attached, usually a director attached, and a reasonably strong likelihood that the film will get made. That's what an agent is looking for. If an a-list actor wants to shepherd a piece from spec through production on the strength of their name, they probably have a prodco, and that's what it's for.

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        • #5
          Re: Literary Agents Vs. Actors' Agents

          Originally posted by Ronaldinho View Post
          With A-list actors (and some B-listers, too) you can't get a read not only without having rep, but without making an offer. That offer has to be credible (eg, somebody involved in the project has a name that suggests that the project will really happen, that the offer isn't smoke-and-mirrors). Essentially they're open to reads from producers, but not from writers.

          Rather that try to go through actors agents, a better approach is to find actors who have production companies and approach those prodcos as you would any other prodco. You don't need to say, "Hey, Plan B, this would be a great project for Brad Pitt, what do you think?" because Plan B looks at everything through the lens of "is this something Brad might want to do?" You can let them think it was their idea.

          But A-list actors get offers every week to play roles. Those offers come with money attached, usually a director attached, and a reasonably strong likelihood that the film will get made. That's what an agent is looking for. If an a-list actor wants to shepherd a piece from spec through production on the strength of their name, they probably have a prodco, and that's what it's for.
          [/I]

          Good advice here, OP, you should take note.

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          • #6
            Re: Literary Agents Vs. Actors' Agents

            Originally posted by Ronaldinho View Post
            With A-list actors (and some B-listers, too) you can't get a read not only without having rep, but without making an offer. That offer has to be credible (eg, somebody involved in the project has a name that suggests that the project will really happen, that the offer isn't smoke-and-mirrors). Essentially they're open to reads from producers, but not from writers.

            Rather that try to go through actors agents, a better approach is to find actors who have production companies and approach those prodcos as you would any other prodco. You don't need to say, "Hey, Plan B, this would be a great project for Brad Pitt, what do you think?" because Plan B looks at everything through the lens of "is this something Brad might want to do?" You can let them think it was their idea.

            But A-list actors get offers every week to play roles. Those offers come with money attached, usually a director attached, and a reasonably strong likelihood that the film will get made. That's what an agent is looking for. If an a-list actor wants to shepherd a piece from spec through production on the strength of their name, they probably have a prodco, and that's what it's for.
            ^ Yes, having been an assistant at a top 3 agency, this is exactly right. The only exception I've seen, if a producer (meaning the submitter) isn't established, is if the script comes with a hard offer that is backed by money in escrow that is verifiable. In that case, the agent is bound to take the offer to their client. Will it get read by the client or not, is another story.

            Ronaldinho is right though. Most A-listers (and many B's too) have stacks of scripts with hard offers from major studios, prodcos and producers to choose from, that the chance an A-lister's agency (much less the actor him/herself) will read an unsolicited script with no real attachments is slim.

            IMO you're probably best served by using your script to try to sign with an agent/manager (if you don't have one already). If you do have one however (or sign with one) they're more likely to be able to get your script read by whomever, than you are.

            Good luck Bruce!
            http://www.scriptsandscribes.com/

            Comment


            • #7
              Re: Literary Agents Vs. Actors' Agents

              Originally posted by markerstone View Post
              In my experience Talent Agents will not request a read unless the project is sold (packaged) and/or fully funded.

              M
              I have gotten several reads lately, one from someone very major, with a cold query. Have a great logline and it can be done.

              Comment


              • #8
                Re: Literary Agents Vs. Actors' Agents

                "Rather that try to go through actors agents, a better approach is to find actors who have production companies and approach those prodcos as you would any other prodco. You don't need to say, "Hey, Plan B, this would be a great project for Brad Pitt, what do you think?" because Plan B looks at everything through the lens of "is this something Brad might want to do?" "

                That's more of what I had in mind; actors with production companies; I should have been clear about it.

                And thanks for everyone's great responses. Like most things in Hollywood looks like there are chances for success down all avenues, albeit slim.

                Comment


                • #9
                  Re: Literary Agents Vs. Actors' Agents

                  Originally posted by Bruce The Shark View Post
                  Would an actor's agent be more open to reading a script with their client in a leading role? After all they only make money when their client works, right? Plus said Actors have their own production co's, and directors they use frequently. Couldn't the agent, if interested, package everything and pitch the project to a studio?

                  On the other hand, would an actor's agent even bother with reading a script from an unrepped writer? Would we have a better chance of getting the script read by an actor's agent if we had representation, from even a smaller lit agency?

                  Those are my thoughts; any insight/help would be appreciated.

                  Thanks!!!
                  Very interesting question, which I (funnily enough) have experience with in the past two weeks.

                  Two weeks ago I contacted one of Kerry Washington's CAA agents with an e-mail spelling out why I thought she would be perfect for the lead role in the supernatural thriller I just wrote. I got no response.

                  A week later (last week), I contacted her manager, whose firm is also a production company (albeit, they haven't produced any of her films). Same e-mail, same business case for her involvement. I got a response a few minutes later from her manager's assistant requesting the script. So, I was pretty much on Cloud 9. I know Kerry won't get to read it this week though, as she is busy rehearsing for her Saturday Night Live hosting stint, haha.

                  So, in addition to an actor's production company, you might want to try his/her manager, who might be more open to queries from unrepped writers than agents. Especially if it is the case where the management company is not a top-tier one.

                  Alright, off to watch "Scandal"!
                  "I love being a writer. What I can't stand is the paperwork.-- Peter De Vries

                  Comment


                  • #10
                    Re: Literary Agents Vs. Actors' Agents

                    Originally posted by Bruce The Shark View Post
                    That's more of what I had in mind; actors with production companies; I should have been clear about it.
                    You have to research the actor's production companies. Sometimes they aren't what you think. For a long time, Mel Gibson's company was only interested in scripts that could star Billy Connolly. Sounds odd, huh? Though his company had a credit on films that starred Gibson, those films originated at some studio based producer... who hired Gibson.

                    The other thing to look out for are B stars who are not bankable. You want a star that is big enough to secure financing. As someone who has worked with lots of B movie actors, most don't have production companies. One that I know of who does is in the odd position of not being able to sell a movie anymore, so he piggybacks with a star who *can* sell a movie... but that other star is the important one.

                    The best way is always the "normal" way: producers make movies and hire stars.

                    Bill
                    Free Script Tips:
                    http://www.scriptsecrets.net

                    Comment


                    • #11
                      Re: Literary Agents Vs. Actors' Agents

                      Originally posted by UpandComing View Post
                      Very interesting question, which I (funnily enough) have experience with in the past two weeks.

                      Two weeks ago I contacted one of Kerry Washington's CAA agents with an e-mail spelling out why I thought she would be perfect for the lead role in the supernatural thriller I just wrote. I got no response.

                      A week later (last week), I contacted her manager, whose firm is also a production company (albeit, they haven't produced any of her films). Same e-mail, same business case for her involvement. I got a response a few minutes later from her manager's assistant requesting the script. So, I was pretty much on Cloud 9. I know Kerry won't get to read it this week though, as she is busy rehearsing for her Saturday Night Live hosting stint, haha.

                      So, in addition to an actor's production company, you might want to try his/her manager, who might be more open to queries from unrepped writers than agents. Especially if it is the case where the management company is not a top-tier one.

                      Alright, off to watch "Scandal"!
                      UpandComing,

                      Thanks for letting me know there is a chance for success with my proposed path.

                      And would it be too much to ask to see the email query you sent? Obviously I wouldn't use it, but it would help give me an idea of what a successful query to a manager looks like. And give me an idea on how to craft mine.

                      Thanks,

                      Bruce

                      Comment


                      • #12
                        Re: Literary Agents Vs. Actors' Agents

                        Originally posted by Bruce The Shark View Post
                        UpandComing,

                        Thanks for letting me know there is a chance for success with my proposed path.

                        And would it be too much to ask to see the email query you sent? Obviously I wouldn't use it, but it would help give me an idea of what a successful query to a manager looks like. And give me an idea on how to craft mine.

                        Thanks,

                        Bruce
                        No prob, see my PM
                        "I love being a writer. What I can't stand is the paperwork.-- Peter De Vries

                        Comment

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