Sunday, January 23, 2022

Agent

 In May 2020, I signed up for an online course taught by David Wheeler, Director of Media Sandbox at Michigan State University.  The course was Write a Feature Length Screenplay.  

Over the next weeks and months I wrote my screenplay, Abraham's Son, a modernized version of the biblical story of Abraham and IsaacIt was a thoroughly enjoyable experience.  

However, I didn't know if my effort was any good.  I received some nice feedback from family, friends and fellow students, but was my screenplay on a professional level?

I reached out to all the professional agents I could find on the Internet.  Only one responded, but he said he was too busy to take on any new screenwriting clients.

However, that same agent did agree (for $200) to read and evaluate Abraham's Son.  Below is a copy of my correspondence with him.

October 1, 2020:  Agent: I have begun reading your screenplay.  Only on page 8, but I am interested in what's happening in the story. That's important because studios and production companies will drop it after 10 pages if they're not hooked.  Whom do you envision playing Abraham?

Blair:  After watching him in The Marvelous Mrs. Maisel, I thought highly of Tony Shalhoub.

Agent: I am still reading the screenplay. I like it. But the problem I see if Hollywood is so youth oriented that the only way I see a film telling the story of a 60-year-old man is that you get a star behind the project.

Blair: How about Al Pacino?  

Agent: Let me finish reading it and we'll discuss strategy.

October 5:  AgentStill going through your screenplay.  Really like the introduction of Sara to the story. 

October 7:  Agent:  Just want to follow up and give you my critique of your screenplay.  Overall:  I enjoyed it. A very different kind of story. It works as a screenplay. As I mentioned, I don’t know how marketable it will be; Hollywood is not doing a lot of films featuring 60-year-old protagonists.   You can get around this fact either by getting a major star behind the project or producing it as an independent film.  

Other points:   

  • Your characters tend to speak in full sentences.  People often don’t speak that way.  For example:  Page 35.                               

                 WAITRESS 

Take a look at the menu and I'll be 

right back to take your order. 

 

Maybe she would say: 

Here’s the menu. I’ll be back. 

           --------------                    

 Page 38:                 

SARA 

So, as I was saying, last week the 

FATHER at my church told me he would 

try to help me meet a nice young man. 

You know, so many guys try to pick me 

up at the diner. 


Maybe she would say: I was saying, last week the Father at my church said he’d find me a nice young man.  Guys always hit on me at work.   

  • Because your characters tend to speak in full sentences that also makes them sound alike.  Give them different speaking styles. Some might speak in full sentences; have some be short and quirky.  Also, a character can use repetitive phrases, like “you know”. 
     
  • Make sure characters verbally consistent. On Page 51, Abraham says about a conversation with Sandy, I got pissed and walked out.   Abraham comes across proper and dignified. Would he say:  I got annoyed and walked out.  He swears at the end of the screenplay when Ike is threatened which makes sense. 
  • Much of the dialogue is very good.  Like the exchange on page 39 where Sara and Abraham outline their intentions with each other. 
  • Some of the transitions could be a little better: Abraham's decision to become a father; Sara’s outrage at Abraham’s wanting to have child with her – then her sudden change of mind; and then her decision to skip out on Abraham and her newborn – are all very abrupt.  
  • The names of films should be italicized:  An Affair to Remember should be An Affair to Remember.   

Conclusion:  You have a talent for writing. Your characters are interesting and developed. Your screenplay was easy to read. Frankly, I get some scripts that I can’t finish because they aren’t interesting enough to hold my attention.  Let me know your thoughts. 

October 8Blair: Thank you for your kind words.  I made some changes to the dialogue based on your recommendations.  To get a Tony Shalhoub, Al Pacino or Kevin Kline "behind the project" still requires my finding an agent.  Can you recommend someone?  I have tried contacting (with logline and synopsis) all the agencies "Franchised by the WGA" in New York and California, with no success as yet.

Agent: Without an agency agreement,  I will at least see if Tony Shalhoub, Al Pacino or Kevin Kline are willing to look at your screenplay.  This won't take a lot of time and then we can go from there. 

October 19:  Agent:  I was out of town last week.  This week, I will reach out to the agents for the actors we discussed.  Emailed De Niro's agents.  Called Shalhoub's and Kline's agents (their email addresses were not available). No answers.  I don't leave messages because it gives me the freedom to keep calling!  Will keep you updated. 

October 20:  Agent:  I missed typed. It was Pacino whose agent I emailed. And he responded that the project has to have funding and filmmaker already attached. 

October 21:  Agent:  Kevin Kline's agent has agreed to look at your screenplay.   I will forward it to him this afternoon.

October 30:  Agent:  Left a message twice with Tony's agent. Will try again on Monday. As to Kevin Kline, I like to give agents a couple weeks to review projects, so I'll check in with them to next week, too.

November 5:  Agent:  Hi Blair.  Updates: 

1. Finally got through to Tony Shalhoub's agent.  They will read your screenplay. However, asked if there's funding. Of course, I said no. But that's not a deal breaker.      

2.    No response as of yet from Kevin Kline’s agent. 

November 6:  Agent:  Hi Blair, Sent your screenplay to Tony's agents.  Still haven't heard back from Kevin's agent.  That can mean two things: 1. They aren't interested and they haven't bothered to inform me. 2. There is an interest and it's being reviewed by multiple stakeholders.  I've seen both situations. 

November 16:  Agent:  Hi Blair, Just spoke to Kevin Kline's agent's office.  There's no answer yet; but the admin assistant was familiar with your screenplay, which is a good sign. 

December 8:  Agent:  Hi Blair: Just got an email from Kevin Klein's agent; Kevin hasn't read it yet. And he asked if there's a director assigned to the project.   As to Tony Shalhoub, spoke to his agent’s assistant. He said there is still no final answer.  I’ll keep trying! 

December 21:  Agent:  Hi Blair:  I'll let you know if I get an update. But one executive assistant said things pretty much shut down until the New Year.

January 15, 2021:  Agent:  Hi Blair, Follow up again this morning, with Tony's and Kevin's agents.  Still no answer. They'll look into it and get back to me.

February 3:  BlairI'm trying to understand the business.  Today marks 15 weeks since you sent my screenplay to Kevin Kline's agent.  Friday will mark 13 weeks since you sent my screenplay to Tony Shalhoub's agent.  Is this normal or is this because of the pandemic? 

Agent: Hi Blair, I understand your confusion completely.  Things are different due to the pandemic.  However, frankly, I am surprised that Kevin's and Tony's agents haven't just said no.  Increasingly, agents want complete packages for their clients: funding through a producer, a director lined up and monetary offer.  A good idea or script isn't enough anymore.  I do have on my agenda for today to follow up again with these agents.  (I usually check in every other week.)  

February 5:  Agent:  Hi Blair, Called both agents. They always remember me and your screenplay.  But neither has an answer. Sorry but all I can do is keep checking periodically.  Blair, again, this is confusing. I have clients whose projects I have submitted to agents and networks THIS YEAR: 2021 who have already been rejected!

 March 1:  Blair:  We have been waiting now for about four months.  18 weeks with Kevin Kline's agent and 16 weeks with Tony Shalhoub's agent.  It's interesting that two different agents are doing something regarding my screenplay you think is "confusing."  What is your best guess as to what is going on at the two agencies? 

Agent:  Frankly, I believe your screenplay is sitting in someone's email or printed out on someone's desk who hasn't gotten around to (read) it.  I have another screenplay that I am working with.  It's received five or six rejections while we're waiting for one answer from two different agents for your project. 

March 12:  Agent:  I JUST spoke to Kevin Kline's and Tony Shalhoub's agents' offices.  AGAIN, it's always the same:  Hi. There's still no update.  But I'll check.  This is incredibly frustrating.  I ask about a decision.  Their response is always they'll have to check with higher ups.  I usually call every couple of weeks. I am going to go to EVERY WEEK and make a pest of myself!

March 29:  Agent:  Nothing's changed; no answers.  I suspect they're trying to wear us down.

Blair:  I don't get it.  Why would they try "to wear us down?"  For what purpose?  They could just say no and be done with it.

Agent:   I agree as I have said, with all of my other clients, studios and networks don't hesitate to say, no.

Blair:  So, what are they doing with my screenplay if they can easily just say no?  The $64,000 question. 

April 5:  Blair:  It’s April 2021, almost six months (an unreasonable length of time?) since you sent my screenplay to Kevin Kline’s agent.  Since then nothing, not yes, not no.  Every time the same, no news.  I have an idea about trying to end this treadmill to nowhere.  How about the next time you contact Kevin Kline’s agent, giving him only 30 more days to finally consider my screenplay.  After 30 days, we would “threaten” to withdraw my screenplay from their consideration.  If we lose Kevin Kline, we would at least still have Tony Shalhoub, who was my first choice anyway.  What do you think?   

Agent:  Hi Blair.  I spoke to both offices this afternoon. I told them both that this is our final call.  I would prefer to identify other actors to contact and pursue.  I want you to suggest other performers for the role of Abraham. 

Blair:  Stanley Tucci and Titus Welliver. 

Agent:  I'll look them up. Just hope that they're not represented by the same agents as Kevin and Tony!

April 8:  Agent:  Hi Blair:  Want to give you an update: 

1.    Sent emails to Kline's and Shalhoub's agents (with your screenplay attached).  Going over the timeline of their agreeing to consider your script, my sending it to them and multiple follow ups.  And this email was the final outreach.

2.    I looked up Tucci’s and Welliver’s agents. They are different from Kline’s and Shalhoub’s. However, Tucci’s working on three TV series and a movie.  And Welliver’s has a TV program and a movie in preproduction. However, I will still call their agents. 

April 15:  Agent:  Hi Blair:  Stanley Tucci's agent said that while your concept is interesting, Tucci is not reviewing scripts which don't have funding.  He said if you get funding, call back. 

Titus Welliver's agent is not answering the phone. But I'll keep trying.  Neither Tony's nor Kevin's agents responded to my "final email".

April 16:  Blair: What about Netflix?  It seems to fund a lot of different movies.  Can it be approached to fund mine?

Agent:  Netflix doesn't just fund movies.  They produce movies to stream to their subscribers who are largely in the 18-29 age group.  Not sure that your story fits that group.

Blair:  I am a Netflix subscriber and have been one for more than 10 years.  And I am 75 years-old.  Everybody I know are also Netflix subscribers.  And I don't know anybody 18-29.  The Dig (starring 58 year-old Ralph Fiennes), which I saw on Netflix, is an example of a 2021 film that would appeal to a mature audience, as would my screenplay.

Agent:  Blair, I am going by what Netflix's marketing data says

Blair:  So, it's not worth a try?  54% of 45-54 year-olds are Netflix subscribers.  41% of 55-64 year-olds are Netflix subscribers.  31% of those over 65 are Netflix subscribers.  Those are not insignificant numbers.

Agent: But that doesn't mean that they're programming for those older groups.  For example, Lifetime is a network for women. Men watch too. But that doesn't mean that they develop programming for men.

Blair: Do you think The Dig was programmed for the 18-29 year-old group?

April 17:  Blair:  David Strathairn

April 21:  Agent: I'll check with David's agent.

April 26:  Agent: David has his own production company.  The number is not listed. And calls to his agent thus far have gone to voicemail.

April 27:  Agent: I’ve called Titus’ agent a few times. Calls always go to voice mail. I don’t leave messages because agents generally don’t return calls about general inquires.  Trying to identify exactly whom at Netflix to approach. They have such a large staff and about 100 projects in various stages of development.  Finally, I’m going to have to shutdown my efforts soon. Calling and reaching out to agents is time consuming and I have to use my time for money making pursuits.   

May 11:  Agent: I said in my last email I needed to wind down my efforts on behalf of your screenplay. However, I am committed to following up on the actors we discussed.   Finally got through to David Strathairn's agent. They have agreed to look at your script. 

May 12:  Agent: David Strathairn's agent just wrote that he's only considering fully funded projects. Still nothing from Titus (after five weeks).  It's tough without funding.  I'll keep trying with Titus and try to get through to Netflix. After that I'll have to call it quits.

June 16:  Agent: Have left several messages with Titus's agent - no response Reached out to Netflix - again no response.  

Blair: I would forget about Titus.  Netflix is our last hope.

July 22: Agent: Netflix never responded to two emails and a phone message.

September 22:  Blair:  It's been two months since I heard from you.  I assume there is no news.  It's also been approximately one year since we started this effort.  It's been very frustrating.  I see movies made that are crap and mine sits on a pile of dust.  I think one year is enough.  Thanks for your help.

September 28, 2021:  AgentFirst, I want to say: I understand your frustration.  However, I mentioned in my last series of emails that I was going to wind down my efforts on behalf of your project.   It’s going to be a very difficult sell in today’s entertainment industry. It has nothing to do with the quality of your script. And I have no doubt that you DO see films being made which are not as good as Abraham’s Son.  

First, today, everybody wants a “done deal”.   Studios want the actors, directors and producers lined up. Actors want the funding, director and studio in place.  Producers want the stars signed up.  Also, the producers, directors and actors often have their own projects they are trying get made. 

Second, studios look for projects that already have fans: a successful novel, a well-received article, or a social media creation that has a six or seven figure following. 

Third, I received an email and a call from a guy that has had some interest in his film by Warner Bros. He shot a couple of scenes and put it on YouTube. About 20,000 people looked at it.  But it’s also a story about drugs, violence, cursing and swearing – and a woman gets raped.  

In other words, our failure to promote your film is more about how the entertainment industry works and less about the quality of your screenplay.


Next Sunday, I'll begin serializing my screenplay: Abraham's Son. 


1 comment:

  1. Wow, how interesting. Good points made by both you and the Agent all along the journey.

    ReplyDelete