HOLLYWOODSCRIPT.COM NEWSLETTER
Welcome to the latest edition of the Hollywoodscript.com Newsletter, which is published by script consultants Craig Kellem, Judy Kellem (http://www.hollywoodscript.com)
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Hi folks-last month we sent out the following about our illustrious relative (and Hollywood agent) JIM KELLEM OF JKA TALENT AND LITERARY AGENCY.
“As some of you know, Judy and I are related to a happening-- L. A. literary/talent agent, Jim Kellem (my brother). Next issue of our newletter, we’ll be interviewing him and using selected questions from our folks out there. If you have any questions, please email them to me or Judy ASAP!”
Well, here’s his responses!
HSC (ie:Hollywoodscript.com): Do you need to live in Hollywood to break into the business?
Jim: I think so. Unless you have daily access to the industry, it’s real hard to break in.
HSC: What I tell people, is that when you’re just writing spec scripts you can do it from anywhere. It’s when you score and are in demand and that you have to be out there to network and be available for pitch meetings...
Jim: If you’re just writing spec scripts and you haven’t broken into the industry you can work outside of Hollywood. Once you’ve sold a spec script and you’re on the map and you have an agent, you have to live in LA, because your agent has to be able to set up appointments for you, and those appointments can be plentiful. They don’t always have time to wait for you to fly in.
HSC: And those appointments are about what exactly?
Jim: Writing assignments, prospective rewriting jobs.
HSC: Does age bias affect whether a script is read or sold?
Jim: No. They don’t know how old you are when you write a script and when they read it.
HSC: UNLESS it “reeks” of dated references.
Jim: True.
HSC: So how does age bias affect writers?
Jim: First of all, if you’re getting older, the key to staying in the game is to keep writing. You’ve got to keep spec-ing out material no matter what your status is. Age bias can come into effect with regard to staffing television shows. The executive producers and the studios simply tend to go with younger writers.
HSC: So let me ask you a question. Let’s say you have an older writer who writes a spec script that’s really good, and he or she gets a meeting out of it because there’s interest in the script. When the 55 year old writer walks through the door that’s not a problem?
Jim: If you’re talking about feature scripts it’s not a problem at all. I have writers in their 50s, still selling strong. And the beauty about it is that with an older, established writer the money that they receive can be hefty because they have precedent-- they’ve built up what is called a high “quote.”
HSC: What advice to you have for someone from Canada on getting a Hollywood agent?
Jim: Try to make it first in Canada. Agents look at Canadians and the success they’ve had up in Canada. If you’re successful up there, you’ll get some notice and then it will be easier for you to get some success down here.
HSC: What are the consequences for writers re the fact that the Hollywood system has changed, and the companies that run Hollywood are now six or seven conglomerates.
Jim: It’s terrible. There is much less competition. The powers that be have greater leverage in dictating the terms of deals. There is also a lack of buyers. They call it vertical integration, and it’s been a disaster. I think that one day somebody will bring a successful antitrust suit out against all of them.
HSC: So the fact that Hollywood is only run by a few major companies has affected the ability to sell scripts, the ability to get assignments, and definitely the ability to negotiate?
Jim: Absolutely. All that and more. There’s such a consolidation of buyers out there, so where as I used to go to twenty buyers, I’ll now go to six. Look at the state of television right now, that’ll tell you everything you need to know. The suppliers and the mediocre stuff that they come out with. The point is that with all the networks, you’ll notice that a big percentage of their programming comes from their own studio, because they want to own everything.
HSC: How can a writer get to you? Let’s say there’s a writer out there who’s got something great but is discouraged about getting to a Hollywood agent.
Jim: You have to be recommended by somebody that the agent knows and respects. Most agencies don’t take unsolicited spec material, because they’re overwhelmed with what they have already. So they’re not really looking for new clients that just call them out of the blue. The smaller agents maybe, or people just starting out in the business as agents, or managers, maybe they’ll look at some spec material. But agents themselves who are established don’t have the time to read spec material, they’d be reading a thousand scripts a day.
HSC: What makes a great script?
Jim: The first thing you look for is its ability to be a starring vehicle for a Hollywood star, because if it’s not, it’s not going to be a Hollywood movie. It’s not going to be able to get financing and it’s not going to interest a studio.
HSC: What about an ensemble piece? (ie a project with no single star)
Jim: Those are very difficult to make, they’re more suited to independent movies. Even if you like independent material, the hours that it takes to sell an independent script can be unbelievable, and what happens is that financially, to an agent, it’s usually not worth doing.
HSC: And the reason is that the studio’s just want star vehicles?
Jim: That’s how they get their financing.
HSC: So what makes a great script forgetting the commercial aspect of it for a second?
Jim: It’s got to grab you in the first couple pages and frankly it’s got to be terrific from beginning to end. It’s like reading a good novel, you’ve got to sit down and go along for the ride. It’s got to have a good story. It’s got to have some dynamic twists and turns. Or it’s got to be devastatingly funny. Most of the scripts that you get, you can’t even get past the first ten pages. You give it twenty pages, but if you can’t get past those first ten you’ll put it down because there’s just too much else to read. A good script, on the other hand, you love reading it.
HSC: Let’s say a writer manages to get to first base with an agent or producer. How do you follow up with? Say an agent takes on a piece of your material, and a month goes by and and you haven’t heard from him and you’re sitting and you’re anxious: do I call him or not? Do I email him? How do you, do your thing without pissing off “The Man?”
Jim: It normally takes two weeks for an agent to read a script. There’s a priority list. So after two weeks, give him a call and find out what he thought of the script. No problem. Just don’t call all the time--pick your spots.
HSC: Here’s another email: “I’ve written about ten screenplays; I’ve developed packaged projects with known producers; I’ve gotten good to great coverage at major agencies and production companies; I’ve worked hard and turned rewrites and revisions around quickly; I’ve gained recognition as a semifinalist or second round selection in competitions like the Chesterfield, Austin, CineStory and AFI/Maui contests. I’ve always been good at getting my material into recognized production companies-- I recently scored a meeting with the president of Jerry Bruckheimer’s company--where the work has been generally well received. What I haven’t been able to do is find a manager or agent to support my efforts, and as a result...a few options, one assignment, no sales. I’ve tried queries. I’ve asked producers who I’ve worked with for recommendations or referrals, and they’ve said it’s incredibly hard. My attorney, who’s well known, has said the same thing. Does anyone really sign people based on their work anymore, or is it about who you know/who knows you?”
Jim: It’s real simple. If his attorney, who is a well know player, recommended this writer to an agent, an agent would read his material, and based on reading that material he would or wouldn’t sign him. If a producer called up and said listen (and I get this all the time), I have a writer that I think is sensational, you’ve got to read this script, he’s unrepresented. Under these kind of circumstances, every agent in town will read it. So maybe this guy’s not being told the truth. Maybe he’s not as good as he thinks he is.
HSC: New question: “I’ve been working on a drama thriller set in the 30’s and 40’s. I’ve been told by two different producers that it would be better for a writer who has not sold a script yet to put his/her efforts into only contemporary time periods. Is this true?”
Jim: Yes. To get a period piece movie made--they’re so expensive that unless it’s absolutely one of the best scripts you could ever read, it’s going to be a difficult sell.
HSC: How do you know if an agent is right?
Jim: Well, if he’s WORKING for you he’s right. But know that there’s a lot of effort that has to go into new writers. Normally it takes a couple years to establish them. Many new writers become impatient and when they get a little success down the line they can get stolen away to another agency because they’re still sore at the original agent about the early days. The truth is that the agent’s probably worked very hard for the writer.
HSC: What do agents want? What are they looking for? Many receive diametrically opposed signals. One is that agents want to guide writers on a whole career basis, and the other is that agents are only looking for specific scripts to represent, and these falling within parameters of what they think will sell. So which is true? Or is it case by case?
Jim: Agents look for careers. They usually don’t look for individual projects.
HSC: But I would have thought that initially it was individual projects and you might be able to sell a great script, but then if you develop a relationship and you think the guy has depth and talent and legs, then you’re interested in his career. Doesn’t it go that way?
Jim: No. If the material is good, then you’re going to look for a relationship. It’s too much work to sell a script unless you believe in the writer’s career. The first script that you sell isn’t always a big deal. You hope that it gets made so that the next deal is the big deal.
HSC: “Mr. Kellem, I am a busy first year attorney who enjoys
writing and would like to do that full time. How do I segue from such a time consuming job to writing for a living?”
Jim: Well, if I were him, since he’s an attorney, I’d write one of the Steven Bochko shows or one of the David Kelley shows. They love attorneys. So I’d write a spec episode and submit it.
HSC: And then, what? If he sells something and things begin to happen then he can wean himself out of the drudgery.
Jim: Yeah, exactly. There are a lot of attorneys who feel the same way, by the way.
HSC: What makes you take notice when a pitch is delivered? What causes your mind to wander from the pitch?
Jim: I only hear pitches from my clients, and I have to concentrate because I have to help SHAPE the pitch to what’s sellable. Only a few of my clients know how to pitch. So one of the things an agent will do, if they hear a good idea they’ll help shape the pitch so that when they go out to the buyers it’s short, sweet and to the point.
HSC: Is there a particular genre of scripts that you’re high on right now?
Jim: The star vehicles, if you’re talking features.
HSC: It seems that in the past ten years, more and more writers are using managers in addition to, or even instead of agents. I understand that agents are harder to get now, is that part of it? Also, I’ve heard that managers aren’t controlled by the state of California. Can you explain the situation?
Jim: Often the reason why new writers and the like get managers is because they can’t get an agent. So managers can fill the void until the manager can help get the client an agent. But it’s important to note that finding jobs for artists is covered by rules and laws from the state of California, and it’s illegal for managers to do submissions and to book clients. So they have to build their clients up so that they can get an agent to do the booking.
HSC: You mean they can’t submit something?
Jim: They’re not allowed to solicit nor negotiate deals. Manager’s jobs are to GUIDE careers.
HSC: In the real world does it go down like that?
Jim: No. But what can happen is that if a client becomes unhappy with a manager, and they can prove that they solicited employment, or a sale, or negotiated such, not only can they break the manager’s contract but they can get all prior commissions paid back to them.
HSC: Right, but in the real world managers are out hustling and trying to get jobs for their client.
Jim: Any good manager. But they normally do it with an agent working with them. And if a manager gets a job for a client, what they’d do is immediately get an agent to negotiate it.
HSC: I’ve heard that American TV networks are headhunting British writers and that there is a greater demand for Brit’s in the U.S. than there is here in England. Is this true?
Jim: No. But we look for British material -- hit television shows so that they can be adapted. But most of the British writers will have to learn how to write American-type scripts. And I do represent a couple British writers, but they’re very established and savvy.
HSC: What’s the skinny on entertainment attorneys?
Jim: A good entertainment attorney is worth his or her weight in gold. They’ll get you good access to all the people that you need to have access to. Many of my clients come from attorneys.
HSC: You’ve worked for a big agency, a medium-sized agency, and now you have your own smaller boutique-type agency. What’s the story on the difference between the three?
Jim: Being a part of a big agency is like working for yourself. You keep your clients close, you do most of the work for your clients. Frankly the only time other agents get involved is when there’s success. It’s basically a boutique within a large agency. And it’s really difficult to motivate your colleagues to get behind somebody unless you’ve already done the groundwork and there’s obvious commercial promise. In a medium agency there’s more cooperation.
Being an agent is a very individual type of occupation. So whether you work for a big agency, a small agency, or for yourself, when you sign with an agent you’re signing with an agent, not an agency! An agency, in the beginnings of a career, is mostly useless. The only thing it gives you is access, but a good agent will have access to all the buyers and information. So it’s always the agent--it’s never the initials of an agency, it’s always the agent.
HSC: Any general advice for writers?
Jim: Well you’ve got to persist. And the whole thing about writing is you’ve got to write. Don’t get discouraged when you get turned down because that’s the nature of the business. You’ve just got to keep going, and know what makes a sale. You make it a star vehicle, that’s the first leg up. You make it a big idea that’s interesting, that’s the second leg. If you want to break into the television business as a writer on a television series, as mentioned you’ve got to move to LA, you’ve got to write spec scripts, spec episodes of existing hit shows, and hope that yours stands out. The first thing in comedy that they look for, besides the structure and story, the most important thing is “how funny is it?” You may have great story, great structure, but if it’s not funny nobody’s going to read it. And you’ve got to be able to capture the essence of the existing characters. In a drama you have to have great characters and a great story. It’s also got to be an easy read.
The name of the game is persistence.
HSC: Here’s my last question: you also package television shows and films. Why don’t you explain what packaging is and maybe you can mention the big package you just sold.
Jim: Well I have a series going on the air called Second Time Around. Thirteen episodes, UPN, Mondays at 9:30. When we went out to sell this I represented the executive producers, who are also the creators of the show. And we went out and got two stars who we felt would be the perfect stars for this show, and we went, with the stars, into a meeting with the president of the network and pitched the idea. They bought it in the room. That’s a package: the stars, the writers, and the producers, up front. With independent motion pictures the packaging process is similar--I have one that I just set up at Media 8 which is the independent studio that did Monster, which won an Academy award. And I just sold a feature called Lovewrecked. But when I went in there I had the director, the producer, and the writer of the movie.
HSC: So with a movie package, is it the same as a TV package in the sense that the agent commissions the project rather than the individual clients?
Jim: No, it should be, but it isn’t. They don’t let you commission the project itself at a studio. But you do commission everybody in the movie that you bring in.
BIO-
JAMES KELLEM started his career at CMA, now ICM in the New York Television Variety Department. While in New York he was involved in the signings of Bette Midler, Robert Klien and other notables and packaged many network specials.
He left ICM and moved to Los Angeles to start a management/
production company. He participated in the management of Lily Tomlin, Leslie Ann Warren, John Kay and Stephanwolf, Robin Williams, to name a few. The management company also produced the Emmy Award winning Lilly Tomlin Special for CBS.
He left the management company to join APA. At APA he became a partner and Senior Vice President. He was involved in the signings of Louis Black, Stan Daniels (creator of "Taxi"), Dyan Cannon, George Hamilton, Jim Carrey, Ralph
Farquhar and Adam Sandler. Some of the television shows packaged were "Lucky", "Home Improvement", "24", "Rock" and "The Single Guy". He also helped set up features such as "O", "How High", "The Amati Girls", "Cliffhanger" and "A Few Good Men".
He left APA to start his own agency, JKA TALENT AND LITERARY AGENCY. He now represents talent such as Ralph Farquhar (the creator of "Moesha", "The Parkers" and the new series "The Second Time Around"), Claude Brooks ("Dance 360"), Michael Gleason (creator of "Remmington Steel" as well as the new "Mystery Wheel" to be seen on the Hallmark Channel), Ehrich Van Lowe (producer of "Cosby", "Rock" and the developer of the "Even Stevens Series"), Tommy Lee Wallace (writer and director of "Vampires 2 and 3" for Sony Films as well as writing the films "IT" and "The Sea Will Tell"). He also represents comedians like Ralphe May ("Last Comic Standing") and actors such as Shin Koyamada (one of the stars of "The Last Samurai") and Windsor Harmon (star of "The Bold and the Beautiful"). He recently set up three of his client's feature films: "Love Wrecked" by Steve Langford to Media 8 ("Monsters"), "Crenshaw Boulevard" to New Line Cinema and "Uncle Buck" to MGM Films.
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