Agents research

[Nativecomposer]

How can someone start networking with agents in order to promote his/her work for future business in film music?
Is there any major site that you can find agents?
How does it work?

Thank you folks!

[FMiguelez]

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I'm sure you can FIND them. The trick is to get them interested in you.
I admit I know nothing about this, but common sense tells me that the "big" agents would only work with established composers. If you are such, then you'll have no problem, and your chances will be better.
If you are just beginning, or do not have major credits, I don't think they would even bother (the ones that WOULD make a difference for you).

You'll get more answers from people who actually know this stuff.
I'll be watching this thread closely, since this is something I'm also VERY interested in. Hopefully MLC and Blue will chime in on this one.

[bralston]

A couple things I have learned and experienced...

Agents don't build careers, they just take 10% (or more) on already established ones. And in the realm of film composing...getting an agent is an incredibly difficult task. (It is not like actors). There are only a handful of agencies who represent film composers and in the last few years it seems, they have been thinning out their rosters to include only the bigger names who are already working studio level film projects or network level television shows.

It makes sense from their point of view if ones thinks about it. Why work 20 times harder to get a 'no-name' composer work when they can spend one single phone call to get their already established composer roster (with big names) that same job with a single phone call? They are in it to make money, plain and simple. And usually tend to limit their risk (in wasting time) to the composers who are already on their own...making lots of money.

Basically...the time to get an agent is when they come after you. If you have not heard from them...you are not big enough for them to really want to represent you. Getting an entertainment lawyer and building a working relationship with him/her would be a much better endeavor at the beginning of any young film composer's career. The lawyer is the one who negotiates and protects you in all areas of the written contract anyway. And if you are lucky enough to find a lawyer who will take a percentage and not work on an hourly or a retainer...you will be in good shape. (Yes, they are out there...hard to find...but good ones are out there). 5% is the usual take for an entertainment lawyer working on a percentage. Lawyers who work on a retainer usually ask for $1500 or more up front and then $300-$400 an hour after that.

I was with ICM early on in my career. I got signed because I had some music (from a ghostwriting gig) on a network show. It was exciting and I thought that it was going to help me move up another level in terms of getting work. WRONG! I did not get one single meeting or job from my agent during my time with them. Everything I got at that time was through my own connection. And the fact that I had an agent actually turned some independent filmmakers off because they felt that the agent was going to cause problems that they were not prepared to deal with at their level. At the end of contract...I parted ways with my agent there.

And it was a hard lesson learned...that now makes sense actually. My credit list was limited...I had not really done a whole lot and what I had done was 'on screen' credited to someone else. And the first question an agent gets when they pitch someone is "Well...what's he done?" And if your credit list does not at that point have a long list of composer credits showing your department head experience on high level projects...there is no real good way for that agent to answer that question. You have done nothing. But you can be assured that the other composers your agent represents who do have a long list of credits will start to get mentioned because the agent does not want to lose their 10% on the gig. Who cares if it comes from you or from one of their other clients?

An agent is really not beneficial at the beginning of one's career in my opinion. And certainly, don't expect to sit back and let an agent get you work when you do get one. It is still the composer's responsibility to work hard building those filmmaker relationships and then keep them. Remember, it is not just about getting the gig...it is more about getting 'their next gig' too. If your filmmakers keep coming back to you...that is a good thing and you will build trust and longevity in your career. That is the way to get to the next level. Not with an agent. When one's career is big enough, the agent will come. You won't miss it. It will probably be a month or two after you score a studio level film that is successful at the box office.

[FMiguelez]

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Thank you for your detailed post, Bralston!

I am not surprised in the least about what you wrote. It makes so much sense it almost hurts!

Thank you so much for sharing this

[MIDI Life Crisis]

How can someone start networking with agents in order to promote his/her work for future business in film music?
Is there any major site that you can find agents?
How does it work?

Thank you folks!

I'll make you a deal. I'll tell you once you start making LOTS of money, but I'll have to have an agreement that for all of your future income I get 20% off the top.