It’s easy to forget that the heartbeat of film and TV is not the famous faces and names we see on billboards across town, but the people doing the hard work behind the camera, showing up early and staying late to make sure shots happen on time.
Andrew Toth is an agent who specializes in getting these people work, and formed the Above Below the Line (ABL Agency) to represent them. Their mission is to provide career-long, targeted guidance to below-the-line professionals, ensuring they can achieve their goals and build careers that last a lifetime.
That’s no easy feat in Hollywood, so I was excited to sit down with Andrew to talk about his 14+ years of experience in various production roles, from camera departments to production management.
And why he thinks his agency and mission matter.
Let’s dive in.
No Film School: Andrew, you founded Above Below the Line (ABL) in 2021 with the goal of representing below-the-line talent in a way that hadn’t been done before. Can you share what inspired you and what the gap in the industry was that you sought to fill?
Andrew Toth: I have been working in the film industry for over 14 years and have had the opportunity to gain experience in a variety of different crew and production positions. Particularly focusing on camera and camera team support. During my time as a marketing agent at Keslow Camera, I wore multiple hats, working hands-on with both the production team and the camera crew to bridge the gap between those two worlds.
This often led to production and crew members seeking my recommendations for various positions, both within and outside the camera department. I started to notice this was a full-time job on each and every shoot, no matter the budget or tier. Each project requires a dedicated crew, and assembling one demands significant time and effort.
My research revealed a significant gap in the market: there was no agency in the US representing crew members in film and television. Crew members require assistance not only with booking and finding jobs but also with career advice, negotiations, contracts, and expanding their professional networks. It’s invaluable to have an agent on your team for both protection and support.
NFS: As the first agency in the U.S. to specialize in below-the-line crew representation, what were some of the challenges you faced in building the agency from the ground up? How did your experience in production roles help shape the agency’s vision?
AT: Starting a company or agency in the present time is beyond challenging by itself. Any new company in film and TV competes with veteran leaders who have been in the industry for over a century. Naturally, companies and agencies that are that advanced and established have a dominant advantage. Competing with them would be quite a challenge. When most people hear “agency,” they think of Ari Gold, CAA, WME, or other major agencies that represent actors, writers, or directors.
Even today, with below-the-line talent being represented by agencies becoming more normalized, it’s still a learning curve for some, and these are for the key positions. Starting an agency that represents crew members disrupts this norm again and needs some time to develop into an everyday concept. My experiences in production and on set allowed me to give a more personal approach to my clients in all categories, easing them into the concept and facilitating connections.
This approach helped crew members get their foot in the door and, in turn, established ABL’s presence in the industry. A presence that is different, original, and not as competitive to the bigger agencies.
NFS: The entertainment industry often focuses heavily on talent in front of the camera. Why do you believe it’s essential to shine a light on the unsung heroes—those behind the camera, in production, design, and beyond?
AT: Making films of any type, whether be a feature, TV show, music video, doc, or even a short student film, there is a team behind each one to get it done. Every single person or position, no matter how big or small, contributed to making that happen. It’s very important to shine a light on each crew member because most of the crew are grossly overlooked and do not get the recognition they deserve. The entertainment industry often focuses on on-screen talent, but it’s crucial to recognize the unsung heroes behind the camera.
The below-the-line crew is incredibly diverse, and members often work long hours, sometimes under difficult conditions, with minimal public recognition. Often, crew members are on the front lines of solving complex logical, technical, or creative challenges. Whether it’s figuring out how to achieve a particular shot, working with limited resources, or figuring out how to shoot a scene in difficult conditions, the crew’s ability to adapt, invent, and solve problems can be a major factor in a production’s success. Their work, blood, sweat, tears, and exhaustion usually go unnoticed by the audiences for years or even ever.
Especially with the rise of AI technology. It’s crucial to emphasize that these roles are filled by skilled real people who bring their own unique perspectives to every project. They are not simply replaceable. All of these roles require high levels of training, focus, and dedication that take years, even a lifetime to achieve.
Andrew Toth Credit: ABL
NFS: Since its founding, ABL has expanded its representation from camera crews to include a wide range of departments such as production design and costume design. What prompted this expansion, and how did you ensure the agency was equipped to handle such a diverse client base?
AT: Like any company, growing and expanding needs to be handled with patience and grace. You don’t want to grow too fast. Rapid expansion can create more problems than it solves if not carefully managed. An agency works the same.
At ABL, we’ve maintained consistent growth and success by focusing on organic expansion. This approach has allowed us to scale our resources, processes, and strategies effectively while remaining adaptable to the ever-changing dynamics of our industry.
One of the key benefits we offer is the ability to foster relationships with other industry professionals through referrals and word-of-mouth. Our diverse client list creates a network that opens doors to new relationships and partnerships.
We work with a wide range of crew members, which allows us to create cross-industry opportunities. For example, we can connect a DP in need of a camera operator or colorist with the right candidate or facilitate a referral from a production designer to a make-up artist. Or even a PA to any department in need. By appealing to a broader audience, we position the agency as versatile and capable of catering to a wide range of client needs.
Our top priority is to be there for all of our clients. The entertainment industry is fast-paced and high-pressure, so our availability signals to our clients that they are our priority, making them more likely to trust us with their careers and rely on our agency for ongoing support and success.
NFS: In 2023, ABL made a significant move by going international, and representing clients in countries like Canada, Mexico, and Europe. How has this expansion into global markets shaped the agency’s strategy and operations?
AT: As our industry changes, our agency must be quick to adapt and able to handle changes pretty smoothly. A ton of work is moving overseas, and this trend will likely continue to expand and evolve. We need to be prepared to navigate these changes effectively.
While Los Angeles remains an ideal central location for our agency’s home base, the global nature of our industry demands that we expand our client base internationally. This allows access to larger markets and expands our reach in areas we never expected. By operating in multiple markets, it spreads our agency’s exposure and limits the risk of one area going through a crisis or downfall. Like we have seen with the past strikes and the present tax incentives. This allows us to keep people working outside just the LA market.
With this happening, a lot of times productions and crew are working in territories that are unfamiliar and outside their usual vendors. This allows our agency to have partners and relationships to pitch to these people.. for example, our relationships with European/Mexican productions that frequently shoot in the US present opportunities for crew and vendor recommendations.
NFS: The agency’s success in such a short period of time is impressive. What do you think has contributed to ABL’s rapid growth, and what challenges have you encountered as you scale?
AT: Thank you for your kind words! It has certainly been a journey filled with growth and learning experiences. We strive to differentiate ourselves from other agencies by embodying a similar vibe to the crew we represent – approachable, easygoing, and accessible. We believe in open communication and accessibility, welcoming both seasoned professionals and those just starting their careers.
At ABL, our diverse on-set and industry experiences provide us with a unique perspective that directly benefits and relates to our clients. This background earns us immediate respect and a deep understanding of our clients’ roles and the battles they face. We leverage this knowledge to advocate effectively on their behalf.
One of our biggest challenges is receiving more inquiries for representation than we have available for work. I always emphasize that our relationships are long-term; while overnight successes can happen, we believe in growing and fostering connections over time.
I wanted to highlight our unique and personal approach to client representation, too. Unlike many agencies, we don’t simply pitch a roster of clients for every position. Instead, we carefully consider each individual’s personality, background, and skill set, tailoring our recommendations to that specific job and the production environment.
We believe that the best fit isn’t always determined by “bigger” IMDB credits. There are a lot of variables in play and a person might have skill sets that tailor for the shoot that is completely unexpected. We’re committed to giving everyone a fair shot and opening doors for all of our clients.
NFS: Can you talk about the addition of top-tier agents like Samuel Kim and Angela Curtis? How do their expertise in the first assistant camera and production design/costume design fields enhance the agency’s offerings?
AT: In my opinion, Sam and Angela’s greatest strength lies in their unique background. Unlike many agents or lawyers who have only worked within a single agency environment, they have hands-on experience on set. This allows them to connect with our clients on a deeper level and offer them a more relatable and respectful representation.
These specialized backgrounds bring a higher level of expertise to contract negotiations and an understanding of the industry. They both have a background in production, media, or business strategy, which helps them see the bigger picture during negotiations. They know what’s realistic in terms of deals, fees, upgrades, and timelines, which can often be a make-or-break aspect in representing a client.
Finally, their diverse background makes them exceptionally well-equipped to handle challenging situations as an agent. This includes managing conflicts of interest, mediating contract disputes, and navigating complex industry politics. Their experience on set and in freelance work has honed their ability to manage stress, multitask effectively, and proactively seek out opportunities for our clients.
NFS: Can you share an example of how the agency has helped one of its clients navigate a career transition or grow in their respective field?
AT: Our main goal, which we all love here at ABL, is growing careers and helping people achieve their dreams. Our clients put in the hard work; we simply assist them in getting that crucial first step and achieving their aspirations. Our agency doesn’t just focus on short-term wins. We work with clients on long-term career goals, advising them on the best choices for career growth. We suggest positions and jobs, collaborations, and industry moves that will help our client’s career evolve.
A great example is when one of our clients relocated from Los Angeles to Atlanta. Even before our agency expanded its services to the Atlanta area, we assisted the client by introducing them to new vendors and connections in their new location and continued to provide support throughout their careers.
In this troubling time in film and TV, there are a lot of people and clients debating the same dilemma, to move away outside of LA/NYC to a more dominant market or leave the industry. While the industry may experience cycles of growth and contraction due to shifts in technology, audience preferences, and global events (like the impact of the pandemic, strikes, and now fires in LA), overall, I believe there will be continued growth and expansion. Los Angeles has long been known as the “City of Dreams.” It’s a place where aspirations of fame, success, and creative achievement are brought to life, unparalleled anywhere else in the world.
I would like to add there is a huge push to bring productions back to LA. Our agency is strongly committed to this cause. Initiatives like StayinLA.org are raising awareness and support following the challenges posed by streaming, strikes, and the recent fires that have impacted our industry colleagues and productions. We believe that by working together and embracing collaboration, we can attract more productions back to LA.
The key is to stay adaptable and embrace the new opportunities that emerge as the industry continues to evolve and our agency can help.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
