Agent is a word that elicits a response from every filmmaking professional, whether production assistant, caterer, or director. As the primary representative of entertainment professionals, agents are everywhere. They're deal-makers and licensed professionals who, for a specified percentage, will work out details so you can concentrate on making your film.

One of the top five questions at any seminar on filmmaking is always “How do I get an agent?” The fact is that agents don't take just anyone, and it's virtually impossible to get an agent until you have a track record and, ideally, have someone willing to buy your work. This, of course, is a double-edged sword. How can you sell your work without an agent?

Until your film is done or you have a producer who wants to see it, you don't need an agent, but you will need an agent at some point. Agents are experts in knowing all the union guidelines and ways to get you more than the minimums. They know what isn't enough, and they know when to stop just short of too much. When you're busy making a film, contracts are the last thing you want to read, so it's best at that stage to have an agent do the paperwork.

So, How Do I Get an Agent?

If you have a successful showing at a film festival or contest, agents will be handing you their cards. If you don't have an agent, and you've cold-called a production company and the producer asks you to send over your reel or script, it's easier to get an agent's attention. You've done the hard part. All the agent has to do is send the film, and collect his percentage if a deal comes to fruition. Even if the agent is concerned about taking you on, he still might agree to represent you for this one deal in what is known as a hip pocket agreement.

If you live in Los Angeles or New York, the first place to start your agent search would be the phone book, under “Talent Agency.” If you don't live in a city with a thriving film industry, you'd be better off looking for an agent who does. An agent in Los Angeles is more likely to understand the movie business and represent your interests even when you're not in town. Besides the phone book, both the Association of Talent Agents and the Writers Guild of America provide online lists of agents, along with their contact information.

Negotiating Representation

Before your agent can negotiate for you, you have to negotiate with him. An agent's fee is based on a percentage of whatever deal he can negotiate for you, but more importantly, you want an agent who'll understand your goals as a filmmaker. If you prefer to make smaller films that offer a larger measure of autonomy, the agent needs to be willing to pursue that goal. If your ultimate aim is to produce and direct huge blockbusters, your agent should be able to help plan a strategy to get you there.

If at all possible, you should shop for an agent like an athlete shops for a university. You want one who understands the talents and skills you bring to the table, and who will nurture those talents to their full potential. Large agencies like Creative Artists Agency (CAA), Shapiro-Lichtman, or William Morris wield tremendous power. Their stable of A-list talent allows them to package deals in such a way that any studio executive would be hard-pressed to them turn down. The downside to a large agency is that newcomers can get overlooked and shuffled around in favor of the agency's more profitable clients.

The hunt for representation can be frustrating. Very rarely can you find an agent with a single phone call. If an agency is huge, your chances of getting through are even tougher. When first starting out, it might benefit you to consider a smaller boutique agency. With only a few agents and a smaller roster of clients, boutique agencies can be more focused on your films and your career.

Gun Shy or Gung Ho?

The metaphor of the talent agent as gunslinger is not entirely inaccurate, but you don't always want a mindless enforcer in your corner. Some negotiations take subtlety and finesse. Others require determination and the boldness to turn away from a fight if it means moving to a better position. Hollywood is a small company town and your agent must have the ability to negotiate and understand everything that happens in that town.