READ MORE: Six Second Screenplay Tips from Screenwriter Brian Koppelman Being agents, none of them skipped a beat: “that wasn’t me, I had an assistant read ” “oh, well, I fired that reader “I only read coverage.” Not one of them owned it, said, “I was wrong,” or “I didn’t think it would sell,” or, even, “it didn’t reveal itself the first time, but after Harvey bought it, I decided to read it again, And now I get it.” Here’s the best part I read each of them the comments they had made on the script a month earlier. Because they were true fans of what we did, had real understanding of our work, and, from the moment they had read our screenplay, knew we were going to have a long and distinguished career, if, of course, we had the right people around us to guide us through the difficult Hollywood maze. And by the end of March, each agency had calls into us requesting meetings, offering to fly to New York to take us to coffee, asking us to allow them the privilege of explaining why they, and their team, were the absolute best and only people who should represent us. Less than a month later, Miramax bought the screenplay in question (which would become the film “Rounders”). The 15 Best Survival Movies, from 'Cast Away' to 'The Revenant'ġ0 LGBTQ Film and TV Creators on the Rise, from Jerrod Carmichael to Isabel Sandoval Quentin Tarantino's 'Billions' Fandom Led Him to Become Narrator on Showtime's 'Super Pumped' 'Super Pumped: The Battle for Uber' Review: Showtime's Anthology Is a Fast Ride with Few Frills Not one agent asked for a meeting with us or to read any further material. One said, “the script is overwritten.” Another that “these characters are underwritten.” A third that “nobody is going to buy a poker script,” and a fourth, I swear, that “there are already three poker spec scripts in the market right now.” I was so shaken up by these rejections that I wrote down what each agent told the person who had submitted us for consideration. And I remember it felt like absolute fact, like irreversible judgment, from on high, that the screenplay my partner and I wrote was not only unsalable, but wasn’t even strong enough to suggest that we had any promise as screenwriters. I remember, with crushing specificity the week in February of 1997 that every single talent agency in Hollywood passed on the chance to represent me. So he decided to answer the question in a blog post, which he has given Indiewire permission to republish below. Writer, director, and producer Brian Koppelman (“The Girlfriend Experience,” “Solitary Man,” “Ocean’s 13”) is constantly being asked how to find an agent.

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