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QandA

Howard Rodman on How I Got My Agent

September 7, 2003 Film Industry, First Person

howard rodmanfirst personI was eating Thai noodles with a friend and we ran out of things to talk about and then he said "Are you looking for an agent?" and I’d at that point written three unproduced and perhaps unproduceable screenplays, but did not want to appear overly eager, so I said, "Yes," instead of what I wanted to say, which was, "Good god, yes!"

He hooked me up with a friend of his who had just that month become an agent. She read my work and liked my work and agreed, perhaps too quickly, to represent me. She was not particularly well-known and she did not have any ‘clout’ but she understood my work and sent it around anyplace she could get a foot in the door.

Three years later she left the agenting business, having come to understand she was not really temperamentally suited for it. But by that time I’d gotten a couple of real assignments from real producers at real studios. Finding the second agent was not so difficult.

***
Howard A. Rodman wrote the screenplay for JOE GOULD’S SECRET. He also wrote F., which is consistently ranked among the best unproduced screenplays in Hollywood. His TV credits include episodes of "Fallen Angels" and "The Hunger." He served as artistic director of the Sundance Writing Lab in 2002 and 2003. Currently, Howard chairs the film and television writing program at the University of Southern California, and is also co-chair of the Writers Guild indie caucus.

Derick Martini on How I Got My Agent

September 7, 2003 Film Industry, First Person

derick martinifirst personThe film my brother and I made, SMILING FISH AND GOAT ON FIRE, got into the Toronto Film Festival. At that point, when it was in the trades that it was in the festival, agents started hovering. I can’t imagine how I would have gotten an agent if that didn’t happen.

I would imagine it’s easier for an agent to watch a 10 minute short than read a 120 page script. So the agents get interested enough to actually read your script. But how do you guarantee they’ll watch your short? Submit the short to festivals, get a bunch of laurel leaves on it, then they’ll most definitely watch it…for better or for worse.

Once they’re interested based on the short, they’ll probably read your script. And on and on. Seems like a lot of work huh? Better than selling Amway.
***
Derick Martini wrote SMILING FISH AND GOAT ON FIRE, along with his brother Steven. They are currently working on LYMELIFE, which will be their directoral debut.

James LaRosa on How I Got My Agent

September 7, 2003 Film Industry, First Person

first personI just moved to L.A., spec scripts in hand, and knowing not a soul immediately started sending query letters to only the top agents in town. I would read that they represented Chris Carter or Lydia Woodward and think, sounds good to me.

Of course, I had no credits and thus no chance in hell. But an assistant who read me "responded to my material." When he was promoted to agent he brought me on board.
***
James LaRosa wrote EVERYBODY’S DOING IT and THE REAL WORLD: THE LOST SEASON for MTV Movies. He also wrote for the TV series "Spyder Games" and "DC."

Doug McGrath on How I Got My Agent

September 7, 2003 Film Industry, First Person

Douglas McGrathfirst person

I got my first agent through my lawyer.

I had written a play which he had read and liked and offered to give it to her. She liked it, took me on, never did a single thing and eventually I fired her. (Soon all your readers will be writing in, "How do I get my next agent?")

I had a lawyer already because, in a freak hiring, I had been given a job right out of college at Saturday Night Live and needed someone to review the contract.

It seems like the short answer inevitably has to be contacts. I don’t know anyone who got an agent by just picking a name out of a book and submitting.


Douglas McGrath wrote and directed NICHOLAS NICKLEBY, COMPANY MAN and EMMA. He also wrote BORN YESTERDAY and BULLETS OVER BROADWAY, for which he was nominated for an Academy Award.

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