Agents & Managers, Part 2

Class notes

Panel - Wednesday, January 27, 2010

USC School of Cinematic Arts/Writing Division

Course: The Business

Professor Frank Wuliger

Panel: Managers

Seth Jaret, Jaret Entertainment, CEO/executive producer

Jennifer Levine, Untitled Entertainment, agent/producer

Class notes

When reviewing a new screenwriter's work, what they like to see:

• SJ: The screenplay reads like a story; he doesn't have to labor to get through it.
• The characters' names are memorable/interesting
• The characters have an edge.
• JL: Looks for an unique turn of phrase; can even be seen in a brief email message from a writer.
• SJ: Action blocks in the screenplay should not be more than three lines long.
• Each scene should create tension.
• All elements in the screenplay should be true to the world the writer has created.
• A screenplay that has been constructed as something to sell is a turnoff.

FW: when he reads an amazing screenplay he has a physical reaction, his hands begin to sweat, he laughs, he is completely involved.

JL: It is extremely helpful to read the dialogue out loud and to hear it read out loud.

SJ: It's easy to tell if a funny scene or line will work; if it's funny the person reading the screenplay will laugh.

How to decide what story to tell:

• Always look for projects that speak to your talents; try to find something you and your manager and agent are excited about.
• Be daring; great writing comes when a writer gains the courage to express their own style & ideas and doesn't copy.

FW: The connective tissue must be present--the writer's unique voice/the stories he or she tells and how they're told/ how he or she is in a room. Everything is connected and interrelated and should work together when it does, it is powerful.

After the screenplay is finished and sent out, the screenwriter will be sent on a series of meetings. The agent and manager will not be present. Almost all meetings will progress with these steps:

• Your story/who you are and where you came from; why you're a screenwriter.
• Small talk (could be about current features or maybe about the screenwriter's favorite films)
• The project: The writer must be able to express good ideas. This is critical; FW tells clients who are not comfortable giving presentations to take an acting class.

Meeting etiquette & guidelines

• Do your research--read Variety or Hollywood Reporter and do research on IMDB Pro to learn what the person who you will be meeting with has done and who their clients are.
• If there is a coaster, use it. You may wear a suit if you're comfortable in one, however casual is fine, too.
• After the meeting, send a handwritten thank-you note. Emails are not the best--they aren't personal and will arrive with hundreds of other emails; FW receives as many as 900 emails every day.

General notes:

If you're talking to your agent or manager over the phone listen for the sound of typing to start; it's a good indicator that their focus is somewhere else

Features are democratic--the best writers are able to work with many people involved in the project who are passionate about it and who may be in disagreement; each has a different point of view. A screenwriter who can identify each person's point of view and bring them together will be in strong demand.

The writer shouldn't make every change suggested in notes they've been given; they might not work. The writer should use their talent/instinct as they work on new drafts.

If there are specific notes, that's good and the writer will work on the screenplay and not receive extra pay; however if the notes say: make it tenser, or make it funnier these notes are harder to define and will take time to implement; if the notes are vague FW will ask that the screenwriter be paid for the rewrite.

Signs of a bad manager:

• You know more people in the industry than they do.
• The first words out of their mouth are "I want to produce your screenplay."
• They love everything you write. A great manager will provide criticism and will be able to articulate why they do or do not like the screenplay.

Note: I'm adding this to Agents & Managers, Part I: Agents work with clients who are 50-ish; managers have many clients who are 20-ish. All of the people on the panel agree to represent screenwriters with a handshake, no paperwork/contract. They must fire clients sometimes and it is one of the hardest parts about their job. The screenwriter must continue to write and complete new projects, arrows for the agent/managers' quiver--something for them to exploit & sell.

Agents & Managers, Part I

Class notes

Panel - Wednesday, January 27, 2010

USC School of Cinematic Arts/Writing Division

Course: The Business

Professor Frank Wuliger

* * *

Guests:

Seth Jaret (SJ), CEO & Producer, Jaret Entertainment

Jennifer Levine (JL), Exec Producer & Agent, Untitled Entertainment

Moderator: Frank Wuliger (FW), partner, The Gersh Agency

* * *

General notes: The work agents/managers do often overlaps. Agents generally have more clients than managers. Managers are generally more entrepreneurial; SJ works from his residence.

Both agents and managers look for writers who have a unique voice; they also often feel a strong connection with their clients. It's a commitment, similar to a marriage. FW receives 800-900 emails every day and as many as 150 phone calls; because he is so busy he has less time to talk with clients; when a project needs his time he may talk to a client several times in one day.

Managers spend more time with each client; they are also allowed to produce. They serve as creative advocates for their clients. According to SJ, managers are no different than producers, they package the project and put the pieces together.

Agents are competitive; managers are neutral (Swizerland). Managers are friendly and produsorial (?spelling).

There's an old saying: "You don't need an agent until an agent needs you." Managers can be very helpful to writers who are beginning their careers. They often groom a writer and then may help them find an agent.

Why should a writer have both an agent and a manager?

Having both brings an extra level of energy.

There are two people are promoting and selling the writer's work

Both are trying to find writers whose work they are excited about; both want to exploit the writer's work (exploit is a good thing).

Managers often play a creative role, telling their clients--"That's a good idea" or "that's a bad idea." Many managers accept fewer clients than agents do and have more time to help their writers develop their voice and create their brand. Managers are trusted sounding boards.

Managers also love working on story and becoming involved in each new project as early in the process as possible (before 1st draft; JL has welcomed one of her clients who brought a story idea to her that had been written during a meal and was scribbled on a napkin).

Because of the many layers present in agencies, a screenwriter who writes a book will work with more than one agent; while a manager is able to work with their clients on features, TV, novels, comics, and writing for the theater. A manager is the constant in a writer's career.

JL has guided screenwriters through eight versions of a screenplay; she also mentioned the importance of hearing one's work read aloud. She has called actor/clients & other actors to hold a reading of one of the final drafts of a client's screenplay.

Agent vs. manager: An agent is busier, lawyerly, negotiator, FW can often be priest/big brother/coach in one phone call

Manager: Under a manager's guidance careers evolve & change. The writer may write screenplays then fiction and then write for the stage with a different agent for each genre; a writer may work with one manager throughout their career.

SJ: Has a sixth sense when he reads a good screenplay: "It feels like a movie, it has sizzle." He says "Talent really does shine and stand out. We (managers/agents) all can see it and embrace it."

Good agents/managers: They give feedback & don't just tell you they love everything you write. And they can articulate why they do or do not like your screenplay.

An agent is like a ship's captain. When a project is ready to be sent out he will review every contact he has, draw upon all of the knowledge he has to determine the best places to send the screenplay and set up meetings; from the hundreds of choices and meetings he hopes to receive four phone calls from people who are interested in the project.

Agents & Managers Part II will include: Signs to look for even in an early meeting to help determine if a manager is a good or a bad manager; general notes about what a good manager is looking for; etiquette & tips on what to do and what not to do in meetings. And the screenplay itself--what to do and what to avoid.