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Now that The Black List has circulated around Hollywood, all that's left to do is tally the top talent agencies' motion picture lit scorecard. This year, UTA has bragging rights to the most screenplays on the list, followed incredibly closely in double-digit descending order by CAA, Endeavor and William Morris (tied). In single digits were Gersh, ICM, Paradigm. The order in 2007 was CAA followed closely by (in order of quantity) William Morris, UTA, Endeavor, Paradigm, ICM, Gersh.
UTA Wins The Black List 2008 Derby
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Is this a distinction to be proud of? How many quality scripts are really on this list? Fifteen? Twenty?
Most of this is watered-down Judd Apatow, which isn’t saying much. Can someone in the know suggest a top 20 “best of” list as opposed to this “most liked” list that not even that? The Beaver? Number 1?
I get it. The American public is stupid, so it’s about the money, not the art. Sigh. It’d be nice if screenwriters actually had some literary aspirations within their work. But I guess that conflicts with the whole money aspect.
UTA is making a ROCKY style come back in every way. Aside from Endeavor, I really enjoy dealing with the agents there. Good for them!
Okay, HATERS, take it away.
What exactly are we coming back from? We fired our ex-partners and owner; they didn’t fire us. We were not, and are not, an underdog. It seems that all of the agencies have the unique challenge of making money. Without a syndication market, or movie stars and directors that make REAL gross, there is no real money in the our business. Everything else, like below the line, or marketing, is meaningless. So, we have always had good writers, now we have no market in which to sell them. I hope we merge.
these are generally scripts that didn’t get made and a lot of them never will. i don’t see the point in being proud of that. so congrats, UTA has the most writing samples. who cares.
Wow, the biggest agencies had the most writers on the list? Go figure.
pooba – Three word answer for you: “Synecdoche, New York”
Charlie Kaufman attempted to make a script that was smarter and more unique than the rest of the garbage out there and what does his $20 million project have to show for it? $2 million in domestic gross after a month and a half in limited release and dozens of reviews containing some combination of the words “pretentious”, “hard to follow” and “too different.”
If Disaster Movie can gross $33 million worldwide, then there’s no need to write something with literary aspirations.
Obviously UTA placing the most scripts on a list culled from avid readers–at so may mainstream Hollywood companies–means the agency’s got just as many emerging writer stars making waves in the studio world beyond the Black list. They’re dominating over other agencies twice their size. Truth is, the volume of movie fare worth paying attention to which emerges from UTA now speaks volumes about why noteworthy directors and actors are signing up with the most tasteful mavericks in town.
wouldnt it be more of an accomplishment if the movies got made?
UTA loves to tell you how they’ve fostered such talents as Charlie Kaufman and Wes Anderson and all those writers/directors they’ve got locked up in their stable…but in this economy, with all the art house indie studios shrinking, NONE of those directors are making UTA money. So when it comes to fostering new talent, UTA’s (at least, most of their agents; there are, I suppose, a few decent ones there) agents don’t know what a good script is. They’ll continue to swim up stream, as it were, but the UTA of the 90s, alas, is lone gone.
Aspiring or failed screenwriters are the readers, the gate keepers of Hollywood. This is what they let through. In doing so, they hope like puppy dogs to curry favor with those who make the films that a majority of americans could care less about.
Hey, Hater # 2: if you & your jealous Endeavor colleagues ever stop choking on the poisonous acrimony boiling down the halls there daily, you might find a sane moment to stop hating on UTA’s building success and find a way to break more talent there so you get your expense accounts back some day.
I’m on the Black List. Second time in the last three years. I’m also still unproduced. A dubious honor, trust me…
Wow! The stats are certainly interesting.
Here I was thinking that the Blacklist in Hollywood was a list of entertainment industry people who voted the wrong way on Prop. 8.
Call me jaded.
Isn’t an agency’s job to get the movies made, not just added to a list of movies that aren’t made?
Dubious honor. Back-handed compliment.
Being repped by UTA is still a young spec writers wet dream. Trust me.
Is UTA Mavericky?
Congrats to the Blacklisters.
Those are some damn good scripts (the ones I’ve read anyway).
- Former blacklister whose script did get made.
What about management companies? Anyone do a tally on that? Or individual reps? Would love to see which rep had the most clients on the list agent or manager…
Truly, if you hating posters ever succeeded in channeling your sad envy into actually improving your writing, you’d have neither the time nor the interest to rip on the List and those writers and agencies who made it onto the List — and ironically, you’d probably end up making it onto the List yourselves. Love, a 2007 Lister, who knows two things first-hand: (1) It ain’t everything, but it’s something; (2) it doesn’t mean you’ll get produced, but it sure helps.
Having read an interview with the fellow who created the black list, I’m utterly incapable of taking this list seriously. It’s a joke as are almost all of the atrocious loglines. No wonder the movie business is fucked if THESE scripts are considered to be the best out there. God help us all.