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GALLAGHER LITERARY

Management ► Development ► Producing ► Packaging ► Financing ► Production ► Distribution.

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 fence as a buyer and a seller having started out in entertainment law and later as a studio Acquisitions & Development VP, followed by working as a Literary Packaging Agent, and a Manager & Producer; overseeing two major literary departments representing two of the biggest stars of their time with overall studio deals.

Rob's fortunate career has been aligned with A-list films and television in both the studio and independent worlds.

Prior to Gallagher Literary, Rob served as Executive Vice President of Gaga where he co-ran the biggest independent film finance and distribution company, where he travelled to every international film market and financed films for all the major studios -- becoming friends with nearly every studio head, 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 well 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.

We understand it can only start with a brilliant screenplay and this 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.

Unfortunately for most, we are extremely selective about the projects we get involved with, knowing it may mean a multi-year investment with the material from development to distribution, so we must insure each project is one we can be PASSIONATE about through the long process and proud to put our names on in the end. Some scripts come in perfect as is - most can take months to years of development but can be worth the time if the concept is good enough.

We are always looking for new material and we welcome pitches from around the world, but it's amazing how much we can quickly discern from the pitch and the decision on which scripts to read can be quite critical.

At this time we are only interested in completed theatrical screenplays, and pilot presentations. We are not currently representing writers or directors for staff or open writing assignments. Extra attention 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 GREAT CHOICE FOR YOUR PROJECT:

1. There are few representatives that have my high level connections.

Most agents or managers looking for new clients typically are starting out and have low level executive connections, and that's including the top agencies. Top or senior producers have development executives that work with agents and find material so they don't have to deal with it. Fortunately because I once ran the world's largest film finance company and every studio president came to me for financing, I had the highest level of contacts there is. Truth be told, it's been a few years and yes there is turnover every year. Happy to report many of my friends have successfully retired, but there's a few still slugging away at each studio.

Please note, this does not mean I can sell any script -- the script has to be sellable in this market, and that 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 or manager's job is to get you read everywhere that is appropriate for your script and I 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 kill pass increase the lower you start down the reader chain.

I don't know of any other agents or managers who were once finance leaders only to return to representing writers, and I would know. It's just not how most people retired. I happen to still like reading scripts. I'm only doing this because I enjoy it and I love working with writers. I've personally found development to be the most satisfying and rewarding aspect of filmmaking and I get excited about it when I find something amazing. Let's be honest, it's rare.

2. My company has a uniquely large and experienced development team for an agency or management company.

Rarely is a script perfect 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 it instead of reading your script. If you were an exec and had 20 scripts to read every night between midnight and 2 AM would you read them all yourself or check the studio boards for shared coverage? That's why a script has to go everywhere simultaneously to stand a chance.

And for this reason it's a great asset to have a development staff 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 I know of.

3. My 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 he's too busy with priority projects to be reading unknown specs. If the exec has time to read your script he's probably not good enough to be of any help.

Now, industry readers are typically inexperienced or burnt out writers who are reading to pay their rent, but my readers are all experienced development execs and have written several scripts of their own. I list exactly who my staff is with photos and profiles on my website -- who else does that? I'm obviously proud of the team I have working with me.

Most importantly, I have two readers cover every script to make sure we have consensus with our opinions. I'm the only person 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. I 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 I 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.

I 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.

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 I 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 I would encourage you to choose my company to read your script first.
If you decide to go with someone else, please carefully note 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 reason 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!

Kindly,

Rob Gallagher



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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 ROMEO + JULIET 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.

5. Your script must be extraordinary and not like anything that we have seen before unless it's taking us to an entirely different level and 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.

7. Lastly, if you want to write something Oscar worthy, create a character so morally endearing that everyone falls in love with him/her, and give them true love, some monumental challenge to overcome for their love, and then find the most tragic way possible to kill them that their true love has to witness and live with - just an idea.



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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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