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More about Rob Gallagher...
I was recently EVP for the biggest international film finance and distribution company, GAGA, and traveled the world to finance films and meet with the heads of every studio, production company, and agency. During my tenure, Gaga experienced record years in boxoffice earning billions in box office and countless guild awards.

Prior to that, I served as Head of Literary and a producing partner for Cyd LeVin & Associates, where I oversaw development for Luke Perry's deal at Fox (BEVERLY HILLS 90210) and represented Stan Lee (SPIDERMAN, IRONMAN, X-MEN) where I pitched new superhero characters with Stan to every studio.

Earlier I was Head of Literary for Messina-Baker, overseeing development for and representing Tim Allen (our company produced HOME IMPROVEMENT, TOY STORY, SANTA CLAUSE), Drew Carey (we also produced THE DREW CAREY SHOW), and many others.

Before entering management, I was an agent at Major Clients Agency (MCA), which later merged with Paradigm, and at APA, where I was promoted to Agent in a record six months and worked on such films as SCREAM, GOLDENEYE, etc.

My first industry job was with IVY, which was a major entertainment law firm and production company with a deal at Orion Studios. I quickly rose to Vice President of Acquisitions & Development after showing a unique talent for working with writer clients and packaging films for the studio.

Gallagher Literary is a film finance, packaging, production, and literary management company where we work with a select list of talented and prolific producers, screenwriters and directors.

We eagerly search for original and high concept completed scripts to develop, package, and produce. We pride ourselves in our unorthodox 'guerilla' methods of finding material beyond the reaches of traditional Hollywood channels. We've done this primarily by using the internet and belonging to many writing groups internationally in many countries searching for unique stories.

If we like the concept and find the writer has the ability to execute the script with our guidance, we will guide the writer with our unique development program, rather than simply passing as the typical producer or agent does.

We are looking for reasons to make films rather than looking for reasons to pass on them, but this takes a full compliment of development executives and a considerable investment of our time. Obviously we can only make this investment on scripts with very marketable concepts.

Writers are invited to pitch their scripts to us via our website's pitch submission form and if we like the pitch enough, we will request the script. So far this method has been very successful and efficient and we have set up and packaged a number of specs that we found via the internet from completely unknown writers.

We take pride in being an advocate for writers first and foremost, where most producers, agents or managers are primarily concerned with grooming their relationships with buyers -- they will often sacrifice a writer's needs to this end. We have witnessed this time and time again at the agencies where the charter is to book more and more deals and quickly move onto the next deal while spending little time with improving projects before going to market.

We spend a vast amount of time with our writers and work very closely with them on their material exhaustively to get it in the best possible shape before it is released to the marketplace. We never slip scripts to producers early for "buddy favors" as most everyone does in this business, and we always stand firm as a defender of our writer's interests above all else.


Link: Browse Rob's Film Credits

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