Conversely, I also had other small agents for awhile who were too small and did not get many of their calls returned. Gersh was a similar experience a few years prior to CAA.

I cold-called numbers found on IMDbPro to attain script meetings, and that worked for me. I retained him for a few weeks, then decided being on my own was in my better interests. I left the agency when my agent became a manager. While I had some scripts in which they expressed interest, I quickly discovered I needed considerably more to be in line with their other clients. However, for an agency of that size, I needed to have more projects of that quality. Night Shyamalan’s reinvention of “Tales from the Crypt” at the time, which became mired in rights issues and was never produced. TNT purchased my pilot and bible for what was to have been M. I was a small fish in an immense pond at CAA.

But that does not mean or imply that you should follow what works for me. I am a current WGA member who consults with many artists on a daily basis over Zoom and the phone presently, and … I’ve been repped by the best: two years with CAA, and two years with Gersh prior. I speak around the country (well, I did until the pandemic) to writers and filmmakers about their craft and the business behind it. Related article: 8 Differences Between Agents and Managersįor perspective’s sake, I’ve been in the business as a writer and producer for over 25 years. Before embarking on your quest, honestly answer that question, and go from there. I hear variations of this frequently: “If only I had an agent, I’d sell my script tomorrow.”Īsk yourself first, “Why do I want an agent?” Maybe you have a reason for not wanting a manager or entertainment attorney instead. In my experience, I’ve found that assumption to be among the most common mistakes made by many early-stage screenwriters. That’s the first thing you need to know if you’re reading an article on agents from me.

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