I'm a European filmmaker who has lately been focusing on writing spec screenplays with the goal of having them bought and produced by Hollywood companies. Currently have 6 completed feature length screenplays in the Drama, Action and/or Thriller genre. I've previously had 2 of my screenplays made into low budget independent movies in Europe and Asia. Have the following questions:
1. Should I try to get an agent or a manager? What is easiest, and what's the main difference?
2. When I contact agents or managers, and send them requested material, is by E-mail usually accepted,
or will my chances improve if I pick up the phone, or send them stuff via regular mail?
(E-mail is of course much easier and cheaper option for me since I live overseas)
3. Any other advice to improve my chances?
In Hollywood, both an agent and manager can have similar functions in connecting a script to a potential producer. The chief difference is what they licensed to do within the state. Agents typically may prepare contracts, while managers tend to focus more on developing talent. Both typically have strong connections inside the industry. The lines are blurry. There are several posts on different writing groups that address it. A very short one is
http://www.writersstore.com/literary-manager-or-agent-which-is-right-for-me.
It depends on your need. With your experience, an agency may be an option. For someone without strong credentials, a manager may be better. HOWEVER, based on what you've said, I'm not sure either of these is necessarily in your best interest. Managers will typically claim 15% of your sale. Agents are 10%. Because managers cannot sign contracts, you often need both which can take a whopping 25% of your sale. Their chief advantage is getting your script in the door. But they aren't the only route.
Given your production record, I would use your other connections to leverage that for your scripts. Being a produced writer/director is a major asset. When you need to do the contract work, you can hire an entertainment lawyer. This can sometimes be more cost effective. And some entertainment lawyers can also act in the capacity of agent.
While there is a growing trend for agencies to accept emailed screenplays, most will not. You need to query first. And then you may still be asked for a paper copy. The general experience is that email queries often go unanswered or answered a month later. Most DO NOT want a phone call. So calling from overseas would probably not benefit you. In large agencies, it will be read by at least two readers before it even gets into an agent's hands. Large agencies have stringent weeding processes which is why if you have a contact who can bypass that process, you can be more successful. A friend told me basically "you don't get an agent, they get you." They make money from successful clients, so they seek out clients who are successful from the start. The industry works on the principle of Merton's "Matthew Effect" (from the Bible, Matthew 25:29--"Those that have, will get more; those without, will lose what they have." quick paraphrase)
My suggestion is to use your greatest assets--your existing films. If you have the rights, submit them to large festivals in the US to get recognition here. Attend a major festival here and network. Attracting collaborators or pitching a script as a filmmaker is much easier than as a writer. People see movies and immediately look for the directors or actors, usually not the screenwriters.
For foreign writers, Inktip.com is a useful way to get recognition. There are those who would disagree but it provides an avenue for submitting your scripts to interested parties seeking a particular genre. Also many agencies will troll it for potential clients, which you also wanted. Another option is to partner with a writer/filmmaker in the US. Having a successful US production will facilitate marketing other ideas. Name credits and/or industry contacts are important. Some successful writers say an agent/manager is helpful but not necessary.
Hollywood, unfortunately, is self-contained in many ways. It develops talent from within. And just as with acting, you often need to live there to get inside the industry. That doesn't mean talent doesn't exist outside of Los Angeles, but the studios tend to be very myopic. New York and Atlanta also seem important and often ignored as development locations. Don't be surprised if Michigan becomes a major film area. The new modes of video distribution also are challenging the studios' models. So make use of those technologies to leverage any of your existing work to market yourself. And you're right, it is a tough nut to crack as just a writer. Gaining recognition as a writer/director or having a mentor who is already hooked into the industry is your best chance of succeeding. Getting a literary agent is seemingly impossible without some domestic success. And if you do get a multimillion dollar contract, using an entertainment lawyer may keep more of the money in your pocket.
But don't underrate building your reputation right at home! Many successful foreign writer/directors were successful at home first. Most blockbusters in Hollywood are written by insiders, not new/outside talent. And increasingly, foreign distributors can be calling cards as movies become available on DVD/Blu-ray and VOD! Just my thoughts. Good luck!
