Tuesday, March 30, 2010

How to Get An Agent

In previous posts I've talked about the importance of having an agent. Many networks and film studios won't even look at unrepresented ideas. A good agent can get you a meeting to pitch your idea to the film studio or television network most likely to buy it. That's part of the agent's job -- to know who to pitch. If they want to buy your idea, the agent will negotiate the deal for you, and work their hardest to get you top dollar, so they can take 10% of it as their commission.

So how do you get agents interested in your idea?

You must do research. There are literally thousands of agents in businesses ranging for one-person operations to large firms with hundreds of employees. Search the entertainment industry news on line to get some names. The biggest agencies, like CAA (Creative Artists Agency), represent so many famous clients that they're constantly in the entertainment news and trade journals. Look at the agency web site and see if they list agents by name and provide contact information. Not all of them do. For example, CAA does not list agents by name on their site, but William Morris Endeavor does.

Agents specialize. Some only represent film actors, some only represent musicians, some specialize in sports stars. You're looking for one who represents producers or writers of shows or movies. Once you get the contact information send a short, professional e-mail saying you've been developing an idea, have a treatment (or script), and are looking for representation. You may not get any response, especially at a busy agency, but keep trying. Send the e-mail to many agents. Eventually, someone will respond.

If you've been reading this blog for a while, you should have created some material that represents your idea as professionally as possible. If an agent expresses interest, you'll send them the copy of your script or treatment to review. Agents are in business after all. They will only represent you if they think you have an idea they can sell. If they ask to review your material, make the experience as easy as possible for them.

If the agent likes your treatment, he may be willing to represent you and will ask you to sign an agency contract. The agent will represent you exclusively in return for a percentage of the sales of the project. Remember, that before you sign any contract, have it reviewed by an experienced entertainment attorney.

Remember, it can take years of hard work before you become an overnight success. But if your idea is unique and compelling keep trying. There's always a shortage of quality material. The trick is to get noticed. An agent can help you.

Thursday, March 25, 2010

Make Your Idea a Property

Some of you asked me to explain in more detail about the process of turning your idea into a property. I mentioned that a couple of weeks ago in my post about Protecting Your Idea. Here's a story that illustrates the point.

When I was in Hollywood recently I spoke to the producer developing a movie version of the TV show 'Baywatch.' They commissioned different writers to create story treatments but haven't yet found one they like. He was planning to meet with more writers this week.

Some of you may be surprised at this sequence of events, but it's actually quite common in the movie business. The producer owns the property -- the right to produce a movie based on 'Baywatch'. He doesn't currently own the specific idea of the movie: what story will they tell that will appeal to today's audience without offending the core group of 'Baywatch' fans around the world?

Most people I speak with about their programs believe the idea is the most important thing. But anyone can have an idea. Producers and writers pitch ideas to executives, and executives suggest ideas to writers and producers. Your idea is just the beginning of the process.

For example, say you've always wanted to make a film version of your favorite TV show, 'My Mother the Car.' You turn that idea into a property by finding out who owns the rights to 'My Mother the Car' and licensing the right to make the movie from them. Instead of just having an idea that anyone can have, you now the property 'My Mother the Car.' All the studios that are hot to make this blockbuster have to deal with you, and only you, because you own the property.

Properties are not limited to old TV shows. They can be novels, short stories, songs, news stories, personal stories, poems (remember'Beowulf'?) spec screenplays, and even board games. Properties command respect; ideas are a dime a dozen.

Turning your idea into a property can take time and money. After all, Thomas Edison wasn't the only person who thought about making an electric light bulb. He was the only one who had the determination and resources to keep going through failure after failure until he made one that worked. As he famously said, "Genius is one percent inspiration and ninety-nine percent perspiration."

So if you really want your idea considered, turn it into a property.

And if you want to take a crack at the 'Baywatch' script, have your agent contact the producer. Don't have an agent? That's a subject for a future post.

Thursday, March 18, 2010

No One Has a Job in Hollywood

They have projects, instead. I just returned from a few days in Los Angeles. I had the chance to renew some contacts and speak with some of the top names in the entertainment industry. It has been rough out there in Hollywood over the last two years. Ad revenues are down, the big media companies are consolidating, and the number of movies in production is lower than it has been in years. On the other hand, there are over 90 television pilots in production, due in part to NBC's need to fill the five hours in prime recently filled by Jay Leno.

Most of the people I spoke with in the entertainment industry did not have a job in the conventional sense. They had "projects" that were either "developing," or were in various stages of "development" with a film company or television network. It seemed like they spent most of their time refining material to pitch to a media company or producer, or following up after a previous pitch. The selling of the project took up much more time than its creation. As a screenwriter friend of mine put it, "the writing is the easy part. Getting them to buy is hard."

Writers, directors, and executives who have made successful movies always have several projects they're working on. They have a sitcom to pitch to TBS and a drama ready for TNT. Or they have several sitcoms or reality shows handy, aimed at different networks. You never know which project will get a network or movie company to bite until you try. It may take many meetings before you get a green light.

What does this mean for you? If you only have one program idea, you're not really in the business. While you're refining your favorite idea, spend some time developing others. Even if you don't have buyers at present, at least you're in show business.

Wednesday, March 10, 2010

What to emphasize during the pitch?

You have an idea that you love. You've got the series bible roughed out and have brilliant casting choices. You've got the opportunity to present it to a programming or development executive. What's the one thing they want to know more than anything else?

What is this show going to do for me?

You have to show them that the program will 1)increase their audience, 2)bring a new audience to their network, 3)attract the key demographic that they need.

Remember that your show is meant to be popular entertainment. Spend time in your pitch demonstrating how similar programs attracted audience for other networks. Describe the likely audience and how the show fits with the other programs on their network, or with their development slate. If you show that you've spent some time thinking about helping their business, the executives will give you a more respectful hearing. More importantly, even if they pass on this particular idea, they will be more open to hearing your next idea.

That network or development executive hears lots of pitches every day. Distinguish yourself by showing how your idea will make them money.

Wednesday, March 3, 2010

Do You Need An Entertainment Attorney?

Your first job is to make your idea as compelling as possible so someone will want to buy it. But assuming you've done that, If an agent, producer, or executive is offering you a contract get yourself an experienced entertainment attorney to review it.

The entertainment world is full of artists who signed contracts without reviewing them only to learn later they signed away the rights to their ideas and projects. According to Dave Marsh, his biographer, Bruce Springsteen signed his first management contract on the hood of a car without reading it. It cost him lots of time and money to end that relationship. The best way to avoid that situation is to get the advice of an attorney that knows the business.

Some people recommend hiring an attorney before you start pitching ideas. I think that depends on where you are in your process. If you haven't committed your idea to paper and developed it to a point that would interest a media company, don't bother with an attorney. You need to make your idea compelling first. If you have done that work, an entertainment attorney can help you. A good one can even open doors for you with production companies and networks.

But just like you wouldn't sign a contract blindly don't hire the first entertainment lawyer you find on the internet. Ask friends for recommendations. Ask the attorney for references. Can you find out who else he or she represents in the business? Remember the attorney will be working for you, so treat hiring an entertainment attorney with at least the same amount of care you'd hire an employee at your business.

Remember: Don't sign a contract with anyone without having an attorney review it.