They have an aura about them. Some feel like they are an access card to the industry. A magic wand, which if waved on their behalf, opens every door. They are the: agents.
History
In the early days of cinema, directors, would be under contract of the studios and production companies. To work for another studio, you would need to be loaned out, with a fee going to the studio that you were under contract with. After WWII, the industry changed as talent became independent of the studio system. This independent way of working needed representation. The talent agent of a director could now ensure the best deal for them, and the best projects for their career.
Over the subsequent years, certain agencies grew into what became known as the big five in Hollywood (CAA, WME, UTA, Gersh, ICM). The latter was then bought by CAA for $750 million to make CAA number one. Sitting behind these giants are the mid-level agencies, and newer agencies. In California they must be licenced by state law and abide by certain regulations – all of which protects the clients. This regulation is not an industry law. It is state-by-state and country-by-country.
However, in Hollywood, the Directors Guild of America works with the agencies to help ensure its director members are protected, especially with contracts and working conditions. If they are not happy with the terms presented by the agencies, strikes can happen, where directors refuse to work. These strikes also happen with other talent fields, most notably actors and writers.
Approaching Them
With Email
Email is always the communication means to make an approach. But that email needs to be specific, not generic. Agents can spot copy and paste emails a mile away. Make it specific. What is it about this particular agent that you feel is right for you? Do you know someone they represent? What is happening in your directing career right now that warrants their unique attention?
It used to be enough to make a good short film and get repped. That has changed. The roster lists are full, with clients they took on like that in the past. So, unless you have made an Oscar or BAFTA winning short, you now need a feature or TV credit to attract their attention. Buzz in the trade helps, but the significant credits are better. To justify taking you on to their agency, they must demonstrate that there is commissionable work in the present, not years in the future. If there is an imminent deal coming your way or a negotiation with a production company, and they can earn their commission off it, then it is no risk for them to represent you – it is an instant commission.
With any email, be precise and keep it short. Agents are swamped by emails. A strong single paragraph is always better than two to three paragraphs. They just need the blurb of who you are, not your full synopsis. With one link to a recent project. It could be your one chance to impress, so make it golden.
At an Event
If on the other hand you meet an agent at an event, just chat to them, without pitching. Find out what they are like as people. Let them see you are not desperate, and that you respect their space to enjoy relaxed networking without being pitched to. After this, you can follow up with an email, and in that email, you now have an in – you have met them recently. It is in that email you ask them if they have space for you on their roster. They will remember you as the director that respected them as a person at an event and didn’t just pitch them to them like they were a faceless gatekeeper.
Recommendation
The most successful way of getting the attention of an agent is one of their clients recommending you to them, or someone in the industry such as a producer or production company recommending you to that agent. Someone they trust has vouched for you.
With this avenue, you do not need the feature or TV credit. When a director colleague recommends a crew member to you, they go on your watch list due to the trust you have in your colleague. The same applies with agents and their contacts in the industry. If you are a recommended name, one foot of yours is in the door.
Control the Controllables
You cannot control when an agent will respond to you, nor can you guess when representation might happen for you. What you can control, is your work. Keep directing projects. Keep pushing yourself and expanding your reel. The more quality work you have in your portfolio, the harder you are making it for them to say no to you. Control the controllables.
As you do this, your body of work and growing reputation will see agents gaze your way. Make them come to you.