By Michael Elliot

Twenty-five years ago, I was a homeless high school dropout, surviving on the streets of Philadelphia.  With a heavy does of resilience, determination and a gift of resourcefulness, I went from being a statistic to being an entrepreneur and entertainment exec, experiencing success in the worlds of music, publishing, television, and radio.  But after walking away from a well-paying day-job, I got the crazy idea to be in the movie business.   

I was almost 30 years old, with limited savings.  I had no real ‘industry’ connections.  Still, I packed a suitcase and bought a one-way ticket to Hollywood.  I imagined my name on movie posters: I was going to be a screenwriter.  But after living in Los Angeles for 18 months, and writing three screenplays that went nowhere, I was broke and desperate.  With less than 500 bucks left to my name, I needed to get my latest script read, and quickly.  And I needed a producer or studio to buy it, and fast.  It was time to beat the odds. 

Breaking and Entering.

My first move was due diligence.  I researched a number of film production companies that my script might appeal to, and then analyzed their staffs.  Why?  Because sending my script to busy development execs would have been futile.  I didn’t know much about the business, but I knew that successful development execs are besieged with scripts from writers who have representation and produced credits.  I had neither. The odds of these development execs even opening my envelope to read my script were a million-to-one.  So I mapped out a different strategy, a new and unconventional approach to getting access. I’d send my script to the people at the company whose only value might be that they have a job there; that they were on the inside.  Many of the people working at these companies, for very little pay, are there because of their passion for movie making and/or they’re ambitious.  They might want an office one day, maybe a VP title.  They might want to produce, and/or see their names on a movie poster.  I figured that these were the people who read 50 scripts a week.  These were the people who didn’t get calls from CAA, ICM and William Morris agency.  These were the people whose career aspirations hinged on finding a diamond in the rough; finding a great script that no one else could.  I wanted that script to be mine.   

So, after identifying these people, I created a list of individuals who I referred to as ‘the insiders’ – mostly underdogs at over 200 companies.  I knew that most of these companies didn’t accept unsolicited submissions, but I didn’t care.  I had nothing to lose.  Worse case scenario: they’d ignore my submission.  Best case: one of these ‘insiders’ – hungry to find the script that could change their career – might disregard company protocol to read my script.  And if one of these ‘insiders’ loved it, they could easily concoct a story for their boss about how they happened to come across it.  Improbable?  Maybe.  But hey, anything is possible.   

Access Granted.

One of these ‘insiders’ read my script within 2 hours of receiving it.  Unheard of, I know.  But true.  Impressed, this ‘insider’ knocked on the office door of the company’s VP and urged her to read it too.  This ‘insider’ was so passionate, so excited about the script he had just read that the VP held her calls until she could see what all the fuss was about.  By 7 pm later that same day, I was having coffee with this ‘insider’ and the VP.  They told me of the company’s deal with 20th Century Fox and of their plan to submit my script to the studio.  I was closer than I’d ever been to my dream being realized, and it was all because I had strategically queried the hungriest person at the company.  Exactly seven days later, I sold my first screenplay to Fox.  I went from facing eviction and a return trip to Philly, to seeing my name in The Hollywood Reporter, getting an agent, the largest check I’d ever seen with my name on it, an embarking on my dream career.  

The Power of One.

I sincerely believe that my unconventional approach to getting read and discovered could work for other unrepresented writers; and not just writers, but unrepresented filmmakers.  We all face the same kind of obstacles.  We all just a want fair shot at being read, or being heard, or being seen.  And all we need is one person to believe in us, one person to open the door, one person to push us through to the people in a position to change our lives, and our dreams can come true.  My objective in creating the Directors Little Black Book was to help you find that one person who can help change your life and your career.   

The Gatekeepers: Another Way In. 

Look, I don’t know much about the craft of filmmaking, but what I do know… what I’ve always had an uncanny ability to do… is figure out ways to circumvent barriers and quite simply, make things happen.  Getting an agent’s or manager’s interest though an ‘insider’ in their office; one who can rally behind your film, your talent and your vision, is another way in.  Has this approach helped filmmakers get representation?  Honestly, it’s way too early for testimonials as the Directors Little Black Book was just launched in February of this year.  But having been a client of the William Morris Agency for 6 years now, represented by an agent that also counts some of Hollywood’s most successful directors as his clients, I know first-hand that the quickest and most effective way to get my agent’s attention is through the ‘insiders’ around him whose passion and taste he trust.  It was this fundamental understanding of how the business actually works, how best to actually gain access and who the gatekeepers actually are, that cemented my belief that filmmakers could apply my proven (albeit unconventional) strategy to getting their short, reel or feature in the DVD player of the agent or manager that could take their career to the next leve

That’s Good Coffee: Underdogs, Invisibles & Insiders. 

The Directors Little Black Book is an online directory of over 200 agencies, over 200 management companies, and over 400 suggested contacts.  Many of these suggested contacts are ‘invisible’, they’re company underdogs (assistants, receptionists, even interns).  And as such, you may not find their names in the ‘other’ conventional directories.  But these individuals – no matter how lowly they may appear to be – are on the inside.  And if they’re on the inside, they’re closer than you are to people in position to sign you, and grow your filmmaking career.  

The Benefits of Representation.

Hollywood is called “The Establishment” for a reason.  It’s an exclusive club, with closed doors, where deals are made between its members.  Only an agent or manager can access the opportunities, and the power players, that can take your filmmaking career to the next level.  Film producer Paul Hall – with over 8 features to his credit – has worked with many new and established directors. 

Click here to hear Paul’s perspectives on the importance of representation.