As hundreds of agents leave the major agencies this year, many are starting up small management firms which could be a big advantage to both represented talent and producers looking to package A-list talent. Here are the opportunities: https://www.filmtvlaw.com/blog/2020/10/5/repping-managers
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It goes like this:
I was an agent at BIG FIRM. That is why you need me.
I hip-pocket 10,000,000 writers until I find a winning screenplay, which I then pass on to the actors and/or directors I represent.
I now have a "package": the screenplay + talent... which I then take to the real producers, whom I tell I want a producer credit for putting the "whole thing together".
The real producers raise the money, get the film made, I take a cut from my writer, my other talent & my producer fee.
You can see how it's not rocket science, right?
P.S. Yes, I am incredibly jaded.
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Kind of behind the curve... with the collapse of theatrical and traditional mainstream distribution (which is why they are forced to leave their agencies in the first place) the "A-List" is also becoming irrelevant. The only people who REALLY cared that a film has a star in it is the very small group of distributors who used the idea to sell to cinemas as a way to fill seats and sell popcorn at 4000% markup. Audiences have always been willing to watch movies without worrying about the "star" in it. Smaller budgets, direct-to-audience, that's the future (and it's hear now). And not to put too fine a point on it, but there's really only a few "A-list" actors so there's only a VERY VERY few spots in agencies for them.
Pls Look at the Asia , talented peoples are like to work low price , it is new improvement and new way for making and distributing films
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Shadow, I tend to agree. What is happening now with the film&TV industry reminds me of what happened when the music industry started going digital decades ago already. Artists like Prince and Bowie, who had previously had mega deals with record companies, went to alternative means of distribution. People like Justin Bieber came up through Youtube etc.
It opens opportunities for those who are agile.
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Christiane Lange You are exactly right. The difference is that film takes sometimes hundreds of people and too many skill sets, compared with music, to create consistently at acceptable values of production and substance. That's been film's saving grace for decades, as the cost of the tools has gone down by orders of magnitude. However, the mainstream has been planning to go full digital for a long time. It was, in my estimation, going to take about 5 years longer while they maneuvered to control the internet market. In the last year, Disney and others have pulled their content from Amazon and Netflix, in preparation for their own platforms, for instance. Another strategy is the behind-the-scenes push to require very expensive licensing to online platforms, akin to radio licensing. This is an ongoing process which the majors are pushing, in an effort to raise the cost of entry by a couple milion dollars or so. The covid event has pushed all this forward by years and mainstream cannot respond fast enough. So for the time being, there is a window of opportunity for independent platforms to get their foot in the door. The problem is that out of the 1 or 2 new "streaming services" coming online every week, at least 9 out of 10 of them are simple turnkey clones working off of retail platforms and thinking they can make money while sharing fractions of pennies in advertising feeds (they can't). I and a couple like-minded people are developing a different streaming and distribution platform, Facet TV with a sustainable business model for us and our content suppliers.
Informative read - thank you!