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Gallagher Talent Management
Comprehensive Talent Management strategically designed to develop, package and brand select iconic talent.
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I have developed, packaged, and financed hundreds of studio films earning billions in box office and countless guild awards
-- and have also represented some of the biggest names in Hollywood as both an Agent and Manager.
© 2018
I have wide and unique industry experience on both sides of the fence as both a buyer and seller having started out at a major entertainment law firm representing A-list talent,
and then as a top studio development VP, followed by working as a Literary Packaging Agent, and then a Literary Manager;
heading two major literary departments representing and packaging stars with studio deals for film and television.
My career has been made up for the most part with successful A-list films and television in both the studio and network arenas.
Most recently I was Executive Vice President of GAGA where I helped run the biggest international and independent film finance and distribution company,
traveling to every film market and financed films for every studio -- becoming friends with nearly every top studio head, producer, director, and star.
Because of this, I possess a range of expertise unparalleled at any management company I know of. To explain, people at my level do not go backwards into management.
My reasons for doing so are very unique in that I made my own son an international star and wanted to repeat that accomplishment for the fun of it. I would venture that's uncommon.
As a packager on the buyer/ hiring side I know well what gets talent noticed and hired by studios and networks, and once famous I know how to create a brand for clients that will get them the
merchandising and endorsement deals that will take them to the next level and create business and revenue streams that go beyond acting.
In the old days agents picked up the phone and called in favors with their friends in the industry.
Today submissions are automated between casting and agencies so relationships outside of just pressing the send button on submissions, are rare, and sadly no longer needed.
Because of their huge rosters, agents are busy submitting hundreds of clients to casting, which is where it ends, but Casting Directors are not the people that hire, so the calls that could matter are to
Producers, Directors, Studio & Network executives -- and the only agents possibly doing that would be very few and very connected on the literary and packaging side, not the talent side.
An agent or manager will not go around the casting directors and risk being blocked by the people they need on a daily basis and rarely would know who to call if they could.
You can go the typical route and likely wait years for your big break with agency submissions and the rare callbacks, or you can utilize a manager with contacts at the highest levels.
Of course you still need to be right for the role! There's no getting around that.
With all my friendships I would still never ask a friend to consider a dog to play a cat. But if I sign you it's only because I'm convinced you're marketable and should be a star.
Typically managers and agents do not have my level of contacts, and the reason I do is because of the relationships I built financing projects for every studio in town and the
decades of working with writers and execs on the literary side, some of whom I knew as assistants and are now showrunners, producers, and high level executives or studio heads.
Many managers have never even worked at an agency and are just guessing as to how the system works -- and agents who are properly trained have too many clients to worry about anyone but their top stars.
Additionally because I run a development department (at one time the biggest of any outside a studio or network) we can create new projects for clients rather than just waiting for projects to
come along that you can audition for -- that's the kind of approach you want to rise above your competition.
Smart talent will create perfect roles for themselves rather than waiting for chance and top talent often have their own production companies doing this.
When you're ready, I have contacts with top public relations agents, lawyers, business managers & accountants in the industry, to ensure you're operating at optimum levels and reaching all the key opportunities.
Once you're a star, I have a wide range of expertise in branding in all medias that will exploit a range of markets to take your image and business to the next level in every area
of fashion, merchandising, endorsements, publishing, recording, touring -- where ever you dream of going, I have the contacts to get you there.
Of course I'm careful and selective with the clients I take on. Knowing the multi-year investment with new talent and an extensive effort with advanced branding clients,
I knot to be careful that every client is one that is COMMITTED and PASSIONATE and one which I have a clear vision and plan for.
Because of this I prefer to only work with a handful of clients with Iconic potential rather than hundreds of every type like a normal agency playing the numbers.
I am looking for individuals with magnetic appeal. The type that turn heads when they walk into a room but also have the DRIVE to put in the work.
Thank you,
Rob Gallagher
Gallagher Entertainment.
GallagherTalent.com
A FEW WORDS ABOUT THE INCREDIBLE ADVANTAGE MINORS HAVE IN ESTABLISHING A CAREER:
An astounding point of interest early on for me was that at the auditions I was going to I noticed the same kids and parents.
The reason I was always running into the same kids at the auditions was because there are only a small number of kids auditioning.
The reason for this is because to audition as a kid you have to:
1) Live in LA to audition.
2) You have to have a parent available to drive you to auditions.
3) You have to have a parent WILLING and ABLE with financial resources to pay for gas, headshots, coaches, etc.
4) You have to be amazingly gifted. Everyone thinks they are -- of course less than 1% even get to the callback stage.
All four of these have to happen at the same time; it's rare. Which is why there are so few kids at all the auditions we went to.
The competition for roles as a minor is far less than as an adult and your chances of booking a role is far greater.
Once you turn 18 you will start competing for adult roles everything changes.
At the age of 18 every somewhat confident person in the world seems to find a way to fly, ship, train, and bus to LA convinced they will make it as a star.
It's many tens of thousands of new 18 year olds every year who come from around the world all competing for that same role.
That is not where you want to compete. If at all possible you want to start acting at age 7 and be well established by the time you turn 18 so you don't have to compete with the incoming masses.
It's a massive advantage you want to exploit if at all possible.
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