Eric Schulman is a literary manager at Haven. Schulman started in the mailroom at APA and worked as an assistant in the talent department, before moving to work for Geyer Kosinski at Media Talent Group. From there he moved on to More/ Medavoy, where he spent four years and was promoted to manager. Schulman started his own company, Schulman Entertainment, in 2022, and then joined Haven Entertainment as a manager in 2022. He is currently producing the half-hour comedy series Motherland Bounce, which is in active development at HBO Max. He offers his thoughts on the current state of film and television business.
Define the range of activities that Haven is involved in.
Haven is a hybrid management/production company, so we represent a diverse list of talented actors, writers, & directors. We work both in tandem with our clients, and independently, to produce TV series, features & documentaries.
As a manager, my role within the company is to work hand-in-hand with talent to build short and long term gameplans and strategies. On the literary side, this means helping them build a strong web of relationships, helping workshop scripts and pitches, pitching them for staffing opportunities, and identifying and executing the best possible strategy to take their original projects to the marketplace.
I also produce projects, often alongside my clients, sometimes independently, with the help of our production arm.
What are the signature projects that best define Haven’s brand?
On the TV side, we’ve produced series such as Devil In Ohio (Netflix), Wrecked (TBS), and the docuseries Legacy: The True Story Of The LA Lakers (Hulu). On the feature side, we’ve produced critically acclaimed indies such as Together Together starring Ed Helms & Patti Harrison, and Hello My Name Is Doris with Sally Field and Max Greenfield.
What types of writers are you looking to add to your roster?
Any writer with a fresh, original voice, who isn’t afraid to buck convention! I try not to pigeonhole myself to specific genres, as my taste has a wide range.
Eric Schulman
Should newer writers build a name in a particular format/ platform before branching out, or should they stick to one lane?
I always encourage my writers to try new things, as long as the passion is there. If you’re a writer who has primarily written procedurals, but have a great idea for a half-hour comedy, why not give it a shot?
Should writers be hyphenates?
While several of my clients are multi-hyphenates, with each of them it’s been something that has occurred organically as a natural outgrowth of their own interests. I would never suggest someone divert their focus from their primary goal just to “become a multi-hyphenate” because they think it will make them more attractive to a rep.
While it’s great to add a new area to your game, you should only do it because YOU want to, and it’s something you’re passionate about. It’s much more attractive to me as a rep, if a potential client is a master of one trade than a jack of all.
How do you decide if you might potentially represent a new writer client?
First, I obviously need to personally respond to their voice. It’s impossible for me to properly represent anyone I can’t truthfully say I’m a fan of, even if I think they are sellable in the marketplace. Second, if I respond to their voice, I need to be able to see a path for them: would they be attractive to showrunners for a writer’s room? Do they have a wealth of quality original ideas that would be attractive to a network/streamer? Do they have the charisma to capitalize on the introductions I make for them?
Other than consistently strong writing, what else attracts you to a writer?
A unique backstory is a huge edge. So much of what I do is trying to play matchmaker and build relationships for my clients with execs at networks, studios, and production companies. Since the pandemic I’ve seen a massive shift in just how much value people (both in the business and out) place on their time.
The average creative exec is on the phone with reps all day long getting pitched general meetings and projects to develop. I take pride in my ability to cut through the noise and get my clients to the top of the pile, and that’s a lot easier for me if a client has something that makes them stand out.
Where do you see more opportunities for writers that they may have previously overlooked?
A unique way I’ve seen writers get the industries attention is by writing “stunt specs”, scripts that are unlikely to sell, but are so fun and different that you feel compelled to read them. The viral Seinfeld 9/11 script comes to mind, it’s writer Billy Domineau got representation as a result, and now he’s writing on SNL. Jordan VanDina has also gotten a lot of attention over the years for his stunt specs, and wrote one during Covid lockdown about Dennis Rodman’s 48 hours in Vegas, which is now a hot project set up at Lionsgate.
What recent film/ TV projects do you wish you were involved in?
Poker Face, The Bear, Everything Everywhere All At Once, and Boys State.
Sign off with a quote that best defines your attitude to the current state of the industry.
Praying for no strike!
