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GALLAGHER LITERARY
Management ►
Development ►
Producing ►
Packaging ►
Financing ►
Production ►
Distribution.
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Rob Gallagher has Developed, Packaged, and Financed hundreds of studio films earning tens of billions in box office and countless guild awards.
© 2018
Rob has wide and unique experience on both sides of the industry as both a buyer and a seller having started out in entertainment law and
later as a studio Acquisitions & Development VP, followed by work as a Literary Packaging Agent, and a Literary Manager / Producer;
overseeing two literary departments representing some of the biggest stars of the time with overall studio deals.
Rob's fortuitous career has often been aligned with A-list films and television in both the studio and independent worlds.
Prior to Gallagher Literary, Rob served as EVP of Gaga where he co-ran the biggest international film finance and distribution company,
often travelling to every film market and financing films for every major studio -- becoming friends with every studio head, A-list producer, director, and star of that time.
Rob and his team at Gallagher Literary provide a unique range of expertise not seen at many other entertainment companies. You can read profiles on each of the staff members in the "ABOUT" page of this site.
We pride ourselves in considering a project from every angle and employing every resource in a strategic and timed approach which is rarely done anymore.
The term TEAMWORK to us is not just hype -- you'll likely see our entire team working on your project if it gets to the final stages.
Of course, this can only happen with a brilliant screenplay which often takes a considerable amount of time to develop; and we are one of a very few companies with the resources and interest in investing that time.
You can read more specifics regarding our unique approach why we invest the time on the following pages.
Be cautioned, we are extremely selective about the projects we take on, knowing it often means a multi-year investment with the material from development to distribution, so we must insure each project is one we can
be confident about through the long process and proud to put our names on in the end. No scripts come in perfect as is - most will take months to years of development, but can be worth the time if the concept is good enough.
At this time we are only interested in completed theatrical screenplays, and sometimes pilots. We are not currently representing writers or directors for staff or open writing assignments.
Extra consideration is given to scripts that can be starring projects for my son, Aidan Gallagher, star of the hit drama action series THE UMBRELLA ACADEMY on Netflix.
We invite you to pitch your project to us and if you're one of the few we select to invest our time in, you should hear back within the week.
► PLEASE ONLY PITCH US YOUR SCRIPT VIA THIS LINK
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WHY WE ARE A UNIIQUE CHOICE FOR YOUR PROJECT:
1. There are few companies that have our high level connections.
Most literary agents or managers looking for new clients typically are starting out and consequently have low level executive connections, and that's including the top agencies.
Top or senior producers have development executives that work with agents to find material so they don't have to deal with it.
Because I ran the world's largest film finance company and every studio president came to me for financing, I quickly developed the highest level of contacts.
Please note, this does not mean I can sell any script -- the script has to be sellable in this market, which means it has to be amazing and perfect to even have a chance, or a concept so special they're willing to rewrite you.
However, an agent / manager's job is to get you read everywhere that is appropriate for your script and we can do that better than most and at a higher level.
The higher the level means the less people along the way who can pass on your script. Your odds of a pass increases with the lower you start down the reader chain.
We don't know of any other agents or managers who were once finance leaders only to return to representing writers.
Certainly there are bigger and better spec sellers out there - but few that will help you develop or polish your spec.
2. Our company has a large and experienced development team.
Rarely is a script ready as-is from the start and normally scripts have weaknesses and undeveloped strengths that the writer is too intimate with to identify.
Most agencies or managers will send out your script as-is or after only a few minor notes -- if they will send it out at all, because they don't develop and don't have the time, so they play the numbers game instead.
Once they send it out, likely it will be to only a few places, and when your script has been sent out to even a single producer or studio your script has been exposed and the coverage is shared with anyone that wants to find coverage instead of reading your script.
If you were an exec and had 10 scripts to read every night between midnight and 2 AM would you read them all yourself or check the studio boards for shared coverage? This is why a script has to go everywhere simultaneously to stand a chance.
And for this reason it's great to have a development team help you strengthen your script before taking your one-and-only shot at setting it up properly.
We can't write it for you, and it has to be amazing to sell, but we will give you more support than any other company we know of.
3. Our readers are among the most experienced in the industry.
Most agencies, producers, and studios will NOT tell you who is reading your script -- just ask them.
Of course every exec may claim to be reading it themselves but all scripts go through readers first, because if the exec is any good they're too busy with priority projects to be reading specs.
If the exec has time to read your script they're probably not good enough to be of any help. It's a "Catch-22"
Industry readers are typically inexperienced or burnt out writers who are reading to pay their rent, but our readers are all experienced development execs who have written several scripts of their own.
We list who our staff is with photos and profiles on our website. We're obviously proud of the team.
Most importantly, we have two readers cover every script (blindly) to make sure we have honest consensus with our opinions.
We're the only company in the industry that has two readers cover every script blindly so they don't know if it's a new project or something that is hot.
This insures each script is read with an unbiased open enthusiasm from beginning to end, and it gives you two chances to impress a reader rather than just one like everywhere else.
You never know who's having a bad day or exhausted and rushing it or is maybe just the wrong person to read your script.
4. We do things the best way when it comes to your spec release.
Because of the sharing of coverage between producers and studios via online tracking, a script must be pitched to the entire industry before we go out with it,
and then the script must go to everyone at the same time, so that they are racing each other to read it first.
We typically will have three producers at each studio racing each other for first position at their studio and then have all the studios racing to bid on your script. This is difficult to time right.
If even one company gets it early your spec release is blown because the coverage is shared online with everyone else who will not take the time to read more than just the coverage.
Every successful executive is swamped with scripts every night and their only goal is to quickly identify great scripts and eliminate wasting time on scripts that are not -- so they can get to sleep!
This is accomplished with tracking boards that everyone uses, and before a script is read they will quickly search the boards for any record of your script,
so they can avoid having to read the script and just read past coverage.
We insure everyone actually reads your script by setting it up properly in advance and then sending it to everyone at once before any coverage sharing can take place.
Nearly every agent and manager we know of will only send your script to a few places at a time for preferential favors with their buddies and not at all in your best interest.
For these reasons we encourage you to choose our company to read your script first.
If you decide to go with someone else, please carefully take note of how your script is handled and ask for details at every juncture and if you're not happy please feel free to come back to us with your NEXT script and give us a shot.
For the reasons above, however, once your script has been sent out and exposed to the industry we will not be able to help you with it.
Above all learn to love the craft of writing and your work will reflect that!
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WHAT WE ARE GENERALLY LOOKING FOR:
1. We are seeking completed screenplays that have FRANCHISE potential
-- unless you have something amazing like TITANIC or GANGS OF NEW YORK (basically anything that DiCaprio would star in).
2. A super-natural element to it such as HANNA or LIMITLESS. Anything with super powers or special abilities or aliens or ghosts is in high demand.
3. A female protagonist is often attractive to audiences who are tiring of the usual male lead.
Whether she's a housewife who has to battle the mob or a super trained spy, it's recently more interesting for studios to have it played by a woman.
4. The studios want "four quadrant" stories that play to women and men that are above and below the ages of 30.
Action for male teens, a female lead for the girls, and a historic emotional true story for the adults. ATONEMENT is one example.
5. Your script should be extraordinary and not like anything that we have seen before unless it's taking us to a different level or reinventing the genre.
6. Your story needs to work internationally -- so if there is humor involved make sure it's physical comedy like THE HANGOVER because clever dialogue won't translate.
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WE INVITE YOU TO CLICK ON THE LINK BELOW ENTITLED "ABOUT US" TO LEARN MORE ABOUT OUR TEAM!
► Link to "ABOUT US" page.
  
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