Rob Gallagher has Developed, Packaged, and Financed hundreds of studio films earning tens of billions in box office and countless guild awards.
Rob has vast and unique film industry experience on both sides of the fence as both a buyer and a seller having started out in a major entertainment law firm and
then as a studio Acquisitions & Development VP, followed by working as a Literary Packaging Agent, and then a Literary Manager & Producer;
heading up two major literary departments representing major stars with studio deals.
Rob's entire career has been made up of A-list films and television in both the studio and independent worlds.
Most recently Rob served as Executive Vice President of Gaga where he ran the worlds biggest independent international film finance and distribution company,
where he travelled to every film market and financed films for all the major studios -- becoming close friends with every top studio head, producer, director, and star.
Rob and his team at Gallagher Literary provide a full range of expertise unparalleled at any other entertainment company. 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 conceivable angle and employing every possible resource in a strategic and carefully timed simultaneous approach.
When we say TEAMWORK it's not just lip service -- you get our entire team working on your project.
We understand it all starts with a brilliant screenplay which takes a considerable amount of time to develop and we are one of the few companies with the resources and interest in investing that time.
You can read more of the specifics regarding our unique approach and program on the following pages.
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, we insure each project is one we can
be PASSIONATE about and proud to put our names on in the end.
We are always looking for new material and we welcome pitches from around the world.
At this time we are only interested in completed theatrical screenplays.
We invite you to pitch your project to us and if you're one of the very few we select to invest our time and passion in, you will hear from us very quickly.
► PLEASE ONLY PITCH US YOUR SCRIPT VIA THIS LINK
WHY WE ARE THE BEST COMPANY FOR YOUR PROJECT:
I believe we are the best representatives for your script for the following reasons:
1. There are no other representatives that have my high level connections.
Most agents & managers have the usual low to mid level executive connections, and that's if you're dealing with a top company.
Top producers hire development executives to work with agents and find material so they don't have to deal with them.
However, because I ran the world's largest film finance company and every studio president came to me for financing, I have the highest level of contacts there is.
That does not mean I can sell any script I want to -- the script still has to be sellable in this market, and that means it has to be amazing and perfect to even have a chance.
However, a reps job is to get you read everywhere that is appropriate for your script and I can do that better than anyone else and at a much higher level.
The higher the level the less people along the way who may pass on your script. Your odds of a pass increase the lower it starts down the food 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.
I'm the only one I know of and I'm only doing this because I enjoyed it and I missed working with writers.
I've personally found development to be the most satisfying and rewarding aspect of filmmaking and I get excited about it like finding a diamond in a haystack.
2. My company has the biggest and most experienced development team of any agency or management company that I know of, and I know them all.
No script is perfect as-is and every script has 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.
Once they do 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 12 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.
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 successful 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 extremely proud of the staff 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. You want that. And if gives you two chances to impress a reader rather than just one with everyone 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 right and 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 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 the 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 unique and critical reasons I would encourage you to choose my company to read your script.
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 last reason above, however, once your script has been sent out and exposed or "played" 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!
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 always more attractive 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, give him true love,
some monumental challenge to overcome for his love, and then find the most tragic way possible to kill him that his true love has to witness and live with.
WE INVITE YOU TO CLICK ON THE LINK BELOW ENTITLED "ABOUT US" TO LEARN MORE ABOUT OUR TEAM BEFORE YOU PROCEED!
► Link to "ABOUT US" page.