TOP 11 MILLENNIAL POWER AGENTS

Want an agent? Got an Idea. Got a Script. Need Financing?

Want Money from Apple, Facebook, Netflix, Hulu, Amazon or Microsoft to shoot?

Of course you do.

Then the below list of New Power Agents, twelve in all, compiled by Hollywood’s leading trade newspaper, Variety, who are so young they have no idea how a rotary dial telephone works but can tap the Multi-Multi-Billions of production dollars by the above digital networks and platforms,

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MANAGERS, AGENTS or ATTORNEYS?

Attn Writers & Actors with Ideas/Treatments:

Yes, you want an agent, a Literary Agent, however, as you know, it is difficult to get one especially when they hide behind the mantra of “We don’t accept unsolicited manuscripts” or to even get past their secretary (Oops, no one in Hollywood is a secretary…it’s something like “Associate VP of Development”) proclaiming “Who is your referral” but (now here’s the blog’s point) having a Manager or Attorney as the referral,

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WANT TO DIRECT? Then Get a Master & 2-Pops

Directing is actually quite simple once you learn the “Master & 2-Pops” concept.

So read on and in 3-minutes, maybe 5, you’ll grasp the formula, taught by Roger Corman to first-timers, now Directors, like Martin Scorsese, Ron Howard, James Cameron. Francis Ford Coppola, Jonathan Demme & John Sayles…

So continue for 3-5 minutes and once you’ve read TRUTHs 5 & 6 (see below) you will clearly know the directing formula.

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THE HOLLYWOOD AGENTS: THE BIG 6

Yes you need an agent…an agent that gets phone calls returned, that believes in you, loves your ideas and specializes in the craft that you or your projects are in, such as… Talent, Literary, Packaging, Movie, TV, Non-Scripted, Music, Culinary, Sport, Speaker, Comics, Lectures, Commercials, VOs, Editing, Cinematography, Visual Effects, etc.

(The “Big 6” agencies, totaling over 1,500 agents, are WME, ICM, CAA,

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3,000 FILM FESTIVALS.

30-40 years ago I bet you couldn’t name 10 Film Festivals in the entire world.

Go ahead… try.

Yeah, Cannes existed, Sundance just started, I’m sure there was something at Lincoln Center in New York, something in Los Angeles, likely London, Chicago (?), Hong Kong (?), Toronto (?), Sydney (?) …

Running out of cities with festivals…aren’t you?

Admit it…In the ’70s & ’80s it’s hard to name just ten festivals in the world that programmed independent films.

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THE $10,000 MOVIE CREW: 4-5 Crew Keys

Need a Film Crew… a Low-Budget Film Crew… Of course you do.

OK, so how do you, with so little money ($10,000?), get the best crew possible?

And please, I beg you never ever hire a kid (18-25) for a key position out of a theory laden film school until 5-6 years after he/she graduated.

Yes, he/she is knowledgeable, energetic and loaded with a great education that is based on Hollywood Mega-Budget (Studio Features) &

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MOVIE DIRECTING: THE NUTS & BOLTS?

You’re a first-timer and want to be a director. You have so many great film ideas but are totally stumped with how to be accepted by this Hollywood maze and be allowed to direct.

You’ve done the first-step. You’ve written the scripts. They’re done with Final Draft 10.0 and regsieterd with the WGA. You are sure will launch your career but must make sure your idea-story-scripts are not dumbed-down or bastardized and the only way to ensure that,

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PITCH LOW-BUDGET MOVIES

OK. You have this great idea. You even have the script and a budget. Plus, you heard a studio executive say that “Studio Low-budget is $15-20 Million.”

“Damn…Low-Budget $15-20 Mill” you ponder and your mind goes directly to “$15-20 Million. Sheeeyit. If I say I can make a movie for only $1-2, $2-3 or even $3-5 Million they should throw the money at me…it ain’t $15-20 Mill!”

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FILM FESTIVAL SECRETS

For a filmmaker, with an independent film, the purpose of a Film Festival, other than social validation, is to demonstrate to distributors (assuming their Acquisition Executives are in attendance) that your film is (A) Marketable, (B) Sells Out screenings, (C) Makes Money & (D) has “Buzz”….

Why?

So you make-a-deal with a distributor that gets you some cash to (E) pay back your investors and (F) launches your career.

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SELL YOUR SCRIPT… BUT TO WHO BUYS!

NO-BULL: Want to Produce a Movie? Want to Sell your Script? Want to Finance your Idea/Treatment?

Then, stop calling Movie Studios. Stop pitching nobodies at cocktail parties. Stop thinking you’re getting an agent-who-believes-in-you. Stop hustling Bankers and Venture Capitalists. Stop buying $25 tickets for 10-minute pitches at pitchathons to secretaries. Stop spending hard earned money fantasizing Crowd Funding.

Stop. Stop. Stop.

Pitch and Sell your script to the only people that buy.

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