Hollywood, like few other industries, is a universe all its own, complete with its unique hierarchy, rules asnd terminology (where else does one get their work COVERED, aspires to be OPTIONED, goes into PRE-PRO, or is considered GOOD IN A ROOM?). Due to its insulated nature, Hollywood has developed its own unique processes and operations, ones that may vary slightly from one company to another or from small production companies to studios, but that have to be acknowledged and abided by nonetheless.

In order to help you navigate the Hollywood landscape, this QUICK TIP entry will attempt to familiarize you with some of the key figures that you will encounter along your path. In our last journal entry, we discussed the writer’s plight to secure representation, and how to best go about it. In this one, we will be discussing the differences between agents and managers, as well as the individuals that they will help you reach once you have secured their services.

So first, what’s the difference between agents and managers? As a general rule, agents are more contract oriented, while managers are more development oriented. Therefore, agents tend to have a more robust slate of clients (at times representing as many as 45-60 writers), while managers tend to be more selective (with an average slate of 10-15 writers), as each of their clients will demand more of their time and attention. An agent is looking for material that is ready for market, that can be taken out into the industry without need for further significant development. A manager is prone to assisting a writer in the development of their work, providing notes, and helping the writer find that industry-ready hi-concept idea that will catapult their career further.

Just as important is knowing what to expect of the representation you secure for yourself. Expect your manager to become a sort of partner in your process; your go-to guy or girl when working on a new idea or putting the finishing touches on your winning screenplay. To support you in your darkest professional hours when you are ready to quit because you’ve hit writer’s block, and to celebrate with you every little triumph that comes along the way. A manager views their involvement with you as a long-term commitment; They are planning on being with you for years to come, helping you build and establish your professional name. They will hustle for you, work for you, and break down every door that stands between you and success, all the while protecting you from disappointment and rejection. They do all this because they believe in your talent, and want to see your career go somewhere.

An agent, on the other hand, warrants different expectations. Mr. Agent is not looking to be your confidant or your best friend; He is looking to sell your work and make the most profit possible for you and them. Don’t take your Passion Project to your agent; Unless it has the potential of becoming the next American Beauty, they are not going to care about it, or work hard to see it get made. Because an agent has many clients to invest in, they are looking for your material to be market-ready, or else they will not bother to take it out into the Hollywood universe. However, when they do believe in your project, they will send your screenplay to everyone on their call sheet, and negotiate the finer points of your contract, including the varying milestones on which you are to get paid. But don’t expect your agent to spend the better part of their time holding your hand.

Often times, managers and agents will work together for a joint client; A manager will help the client develop a solid, marketable screenplay, which an agent would then take into the marketplace. An important side note is that, technically, managers are not allowed to secure jobs or negotiate contacts for their clients, while agents can. However, this is no longer a Hollywood standard, as it has become commonplace for managers to negotiate on behalf of their clients these days.

When your agent or manager takes your material out into their marketplace, they are targeting one, if not all, of the following three: Creative Executives (CE’s), Directors of Development (DOD’s), and Producers. Each one of these individuals have the power to guide your material along if they feel strongly about its potential.

CE’s and DOD’s often functions similarly, with the singular cause of identifying strong, available material which fit their company’s direction and sensibilities, and developing it accordingly. While a CE or DOD does not have the power to green-light your project, they are an important stepping stone in the march to getting your film made. Endorsed by and developed with the CE or DOD, your screenplay has a much greater chance of moving forward with the decision-makers of any individual company. DOD’s and CE’s are responsible for developing a slate of projects that would be appealing for the producers and executives they work under; They know what they are looking for, and are keenly aware of their tastes. However, a DOD may develop as many as thirty projects a year, while only two to five will make it onto the company’s production slate.

In developing your material, CE’s and DOD’s will provide you notes on your screenplay that incorporate their company’s sensibilities and tailor it to fit into their vision, discuss varying potential directions in which to take it, develop casting and director’s lists, and attempt to package the project to the best of their ability. Packaging entails attaching desirable elements to the material, such as actors or a director, in an attempt to ensure its success and make it a more appealing project to invest in. After all, before it’s produced, a screenplay can go either way. But once you have a director or an actor with a proven track-record attached, it is much easier to project a return on investment, and have reason to believe that the film will find its audience.

Once your material has been properly developed and packaged with the CE or DOD, they will likely turn it over to the PRODUCER, who either holds the key to the individual company’s funds, or has strong ties to financial backings that can turn your project from a strong screenplay to a realized motion picture. Few producers in this industry have the power to green-light a movie themselves, but they are nonetheless capable of taking the project and seeking the financial component that will bring it to life. Attaching a producer is a key step to getting your silver screen dreams realized; A producer is the guy or girl who makes it happen, and who will take your screenplay out of the conference room, and place it on a movie set.

Of course, in this industry there is no one way to get a movie made. You may have a direct line to a producer, and be able to bypass the need for an agent, manager, CE or DOD, or know a hot young director who is currently in the position to identify your screenplay as their next project of choice, and bring it to any one of the studios that are courting them. Nonetheless, it is important that you, the writer, know the figures at play, who will, whether on this project or another, help you navigate the Hollywood landscape. After all, how else would you make sufficient headway rather than driving around and around in circles all day?

Good luck!

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