Representation Matters: A Conversation with Scott Pugnetti

You know, FilmmakersWorld is all about the community and meaningful collaborations.

This conversation is exactly the result of that mindset. Director and longtime community contributor Timon Birkhofer introduced us to Scott Pugnetti. As a team, we care deeply about the relationships we build with those who bring value into our world, whether through visionary work, insight-driven storytelling, or simply introducing voices that deserve to be heard.

Scott is the founder of Equals Mgmt, a global management company representing directors across the US, Europe, the Middle East, and Asia. Unlike traditional production companies built on closed rosters, Equals operates as a management-first structure, offering directors the freedom of a freelance setup, backed by full creative and strategic support. It’s a model built for the evolving needs of our industry.

But more than that, Scott is someone who shares his perspective generously. On his blog (we will collect all his links at the end of the article as usual), he often reflects on the nuances of representation, offering practical advice on how to build better portfolios, stand out in a crowded market, and approach the creative business with clarity and intention.

This conversation is not just for directors. It’s for anyone navigating the creative industry, wondering how to position themselves, how to be seen, and how to find the right kind of support in a fast-moving landscape.

Scott, welcome. We’re excited to dive into this with you.

Scott, let’s start with the basics: what does representation mean today for a director or creative?

How would you explain it to someone entering the industry for the first time?

I think representation only ever makes sense if you’re eager and willing to enter into a creative partnership with someone. You have to trust that the other party has your best interests at heart and knows what they’re doing. It can be a very personal bond.

Representation in the industry can mean a few different things; typically, a director will enter into an exclusive or non-exclusive agreement with a manager or a production company. This normally means that in the agreed territories, all the work will go through that person. Some directors have lots of different local representations, whereas others will have perhaps one domestic home and someone who handles their interests internationally. 

Crucially, absolutely nobody in this industry can guarantee you work, and if they say they can, they are lying to you. What signing with a production company or a manager can do is accelerate the process, open up doors, and put you in the best possible position to win projects, but the final decision always lies with the client. If it were up to us/the production company – we’d win every time.

Do you think representation is still essential in 2025?

Has the role of an agent changed compared to five or ten years ago?

I don’t think the role has changed so much as the industry has changed, and we’ve had to learn to adapt to it. In some ways, I feel the industry is moving more towards our model of representing freelance talent, which allows for a “best team for the job” scenario, but equally, I always advocate for directors to take more control of their careers and push for brand-direct opportunities. In our role (or even as a director), reaching out to agencies or brands directly was seen as taboo when I started 13 years ago. Now, I think if you’re not doing it you’re falling behind. 

From Representation to Management: Empowering the Director-Entrepreneur

That’s why we set up our directors’ lab: CTRL. We believe that there is a new way of working in the industry and that directors need to take more action and responsibility for their own careers. It may seem counterintuitive for us to train directors how to become their own agents, but a well-informed partner is typically a reliable partner. When I first started, the most exciting thing was getting directors their first job, and that educational experience of guiding directors has never really left me. That’s why we wanted to set up a place where commercial directors could talk strategy and goal-setting; it’s also where I share my insights into the industry and new pitching techniques. 

Directors today need to treat themselves as businesses; they need to have a keen sense of brand identity; this has probably had the biggest impact on the way that we work. I feel that our role now is less about booking work and more about navigating careers and pushing for sustainable practices that can allow for 30+ year careers. We changed our name from agency to mgmt to represent this shift; our role naturally moved more towards management than simply representing talent.

What kind of professionals typically look for representation, and when is the right moment to seek it?

There is no right time necessarily. I’ve happily given feedback to directors who are just starting out and don’t have any work in their portfolio. I think the bigger risk is not reaching out early enough. Sometimes I’ll come across work that is so perfect for the international markets but the director hasn’t believed themselves to be ready and they’ve wasted 2-3 years of potential international work.

The vast majority of my colleagues & competition are lovely, generous people who are always happy to give directors feedback, so don’t hold back on reaching out. Sometimes, if a director isn’t ready yet, and then they reach out again a year or two later and you can see the progression it really makes you take notice. We always keep a section on our Instagram page open for directors to submit a portfolio. Don’t overthink it, just do it!

Equals Mgmt has a unique structure, stepping away from the classic roster model.

What inspired you to build something different, and what are the benefits for the directors you manage?

It’s what I think is fair. I think tying creative talent down without any guarantees of work in today’s climate is unjustifiable. If a production company isn’t offering you a livable salary (how many months will a signing bonus sustain you for?) or can guarantee that you are actively being pitched for a considerable amount of work (and this is then backed up), then I don’t see how they can justify forcing creative talent to turn down work. Working with a manager means you get to see work from multiple streams, not just one, and crucially in 13 years, I have never told a director to turn down a project. A lot of the directors I work with have families, mortgages and financial hopes, it’s a big responsibility, so you have to take it seriously. 

The key benefits for me are having a one-on-one relationship with a creative partner, being able to tap into multiple different markets in one go (we operate in 40+ territories currently) and perhaps most importantly having someone who is focused on your career as a whole, not just what you’re shooting today. I’m proud that some of the directors on our roster have been with me since the beginning of my career; it’s allowed me to get a fuller picture of the highs and lows. 

We’ve always made our key focus that we are a director-led company, which means we are constantly actively trying to improve not just the industry for our talent but also the way that we operate. So whether we’re campaigning for pitch reform, developing new pitching strategies, or exploring new territories, it’s always exciting to have our directors engaged in that process in helping to shape the company.

You often talk about the importance of a clear and strong portfolio.

 What makes a director’s portfolio stand out in today’s noise-heavy environment?

The standard equation of what makes a portfolio work is brevity and clarity. No more than 4-5 pieces (strictly) that are relevant to the pitch, preferably 30’s or 60’s (unless it’s a shorter digital piece) and an engaging bio at the end. If you’re pitching commercial work, it should preferably all be commercial work, but if you’re just starting out, you can put in a music video or two to pad out a portfolio. 

That was the rule for as long as I have been working in the industry, but recently, the trends we’ve seen are that agencies just want to see exciting/engaging content. So if you have an Instagram reel that went viral, you had better be showcasing it. If you shot a short film that perfectly showcases your visual tone, make sure it’s being seen. Nothing gets you closer to a shortlist than great work that sells itself.

The number one thing though, is that you listen to what you are being asked for. Don’t send 3 atmospheric pieces you love if you’re pitching a comedy spot and they’re not relevant. Keep it simple. Make it cool. 

Beyond aesthetics, what matters in a portfolio?

Is there a specific way a director should present their identity or communicate their voice?

The number one thing I see directors struggle with today is positioning. There is nowhere near enough focus on brand identity and it leads to extremely bland bio’s that make you seem either extremely dull or unjustifiably arrogant.

Similarly, portfolios are a directors number one selling tool, but I still see directors without a website relying on Vimeo, a website that for the past 5 years has (tragically) abandoned its creative roots and continued to make the UX actively harm creative talent. If you’re still using Vimeo and you haven’t made every piece of content accessible with a non-mature rating then chances are when people watch your work they can’t even see it unless they’re signed in (which you can’t ever assume).

Every week I write to unsigned directors pointing out that their work isn’t accessible and they need to find better solutions and dedicate some serious time to focus on their positioning and branding. On another note; if you have a passion, whether it be skydiving, stormchasing or simply photography – make sure you showcase it on your site.

Human directors who have interests beyond advertising, that you can imagine spending a few weeks hanging out with and talking to, are at an absolute advantage. You want clients and agencies to notice these hooks and point them out on a call. This is a fantastic way to build relationships and develop your own storytelling, building your brand identity further.

Can you walk us through how you support your directors in the real world?

From connecting with production companies to dealing with agencies and brands, what’s that workflow like?

The simple answer is that brands/agencies/production companies send us scripts, we discuss internally who would be the best fit on a creative as well as personality level and then talk to the director. If they’re interested, we put together a portfolio, present it and then wait to hear back from the agency/client until shortlist. 

Once shortlisted, we’ll typically negotiate rates and schedules with the production company and ensure that the creative calls (we have a strict no-call-no-treatment policy) go smoothly and coordinate the relevant treatment teams. We like to give our directors feedback on their treatments. We see so many treatments, we have quite a quick eye at spotting what’s missing. 

Then, if the job is booked, we get the contracts signed, make sure the right flights and hotels are booked and at that point, focus on booking the next job. We never fly out on jobs with our directors because the production companies we work with look after them, and honestly, we are more use to them in the office where we can quickly resolve any issues. 

The other side of this coin is that supporting directors often means helping them through difficult periods, both professional and personal. When a director is in a dry patch, we tear apart their portfolio and treatments, examining them with a fine-tooth comb to see if there is anything we can do to change the numbers in our favour. If the right scripts aren’t coming in, it’s our job to go out and hunt for them. You rarely keep great talent for long if they don’t feel that you are fighting for them.

What are some of the most common misconceptions filmmakers have about agents or representation?

The classic one is that we are only in it for the money, or even that we are extremely rich because we work with so many directors. I live a very simple family life. Directors often think that because we work with lots of directors, it means that we are automatically winning lots of jobs, but the truth is that the same fight and grit it takes to win one director a job is only multiplied when you add more directors into the mix.

Similarly, the more directors we work with, the more experience we gain, which only goes on to help and inform how we work with everyone. Managing multiple directors is challenging, but the benefits are professional, not financial. I have an extremely keen gut sense for how situations evolve in the industry and know how to defuse arguments quickly while solving extremely complicated problems. The darker side of it is that often filmmakers think that because I suggest that I play bad cop to their good cop in situations, it means that they then get to take out their frustration and anger on me.

Don’t get me wrong, speaking to angry directors and soothing their frustration by talking it out is a big part of the job that I know I’m quite good at – getting shouted at because some filmmakers don’t know how to control their emotions is not. We have a strict no-asshole policy, I came into the industry in the era of the diva director and I’m SO happy I don’t have to speak to hotel managers anymore. 

You mentioned CTRL earlier. What are the first steps a director can take to get ahead of their competition?

There is always going to be a director that is younger, harder working, cooler or simply cheaper than you. The only way to get ahead of the curve beyond of course making great work and delivering results, is to make sure your storytelling and positioning are working together to best sell you. 

1. Make sure you have a website that is clear, easy to navigate and puts you best foot forward. Kim Gehrig’s website is a beautiful example of this. 
   
2. Your work has to exist somewhere that you can reliably ensure that it won’t be taken down. We use Simian and love how easy it makes our experience of creating portfolios as well as for our clients to view and crucially download the work. One thing to watch out for is that Instagram’s latest changes mean that public posts will be published in search engines, make your SEO your priority one day a month so you can take advantage of this. 
   
3. Stop waiting for the perfect script to land on your desk and start thinking about where you want to be 5 years from now. What are the steps you need to take to achieve those goals? Shift your mindset from “I don’t know anyone at Nike” to “How can I make myself impossible to ignore in 5 years at Nike”. I constantly see directors winning jobs via DMs; they are ripping up the rules daily, so stop thinking about the politics of the industry and take control of your path.
   
4. Networking, Lead Management and curating your own brand and as a result content have to be your priorities. 

How has the rise of AI and automation impacted the representation space, if at all?

Do you see it as a threat, a tool, or a potential ally?

Generally speaking, I see it as a great tool that is going to allow directors to speed up a lot of the parts of the job that take away from the creative process. Equally, I think that playing with a new set of paintbrushes that allow you to create in different ways that challenge you can only be a wonderful thing. 

I understand the fear, but I think that the industry was already moving towards such massive changes that AI will not be the determining factor into whether directors work or not, I truly think that that power lies in their own hands. I’m a big believer in protecting creative work, but similarly, art has to adapt and evolve, so I choose to believe in the promise of greatness, rather than a continuation of mediocrity. 

Let’s get personal for a moment: what’s one of the most rewarding connections or career changes you’ve facilitated as an agent?

What made it meaningful?

A few years ago, I was pitching on a project where the agency insisted on seeing directors with exclusively mobile phone commercials in their portfolio. I replied that they would be seeing the most boring portfolios they had ever seen and that, based on the macro imagery they were looking for what they needed was a luxury-focused tabletop director. They balked initially and insisted in seeing mobile phone work. I had a choice to make and I refused to send them anyone else other than the option I thought was right. I told them flat out that I would send only one option. Even though he had never worked with a tech brand or anything outside of food, he clearly stood out as the right director. I knew that if they simply let me explain why, they would see it too.

They opened the portfolio. Fell in love. We booked the job. It looked fucking amazing. It was an experience that taught me a lot about pushing for talent and following your gut. 

In truth though booking any young director their first job, or a career-changing job, is a high that is hard to replicate. One of the first directors I discovered on Vimeo (when it was amazing) was Helen Takkin, she was a young director who has mostly shot in Estonia and Croatia. Being a part of her journey into blossoming into an international director that has shot across most continents has been an honour and a privilege. Sometimes I go through the portfolios and watch the old films just to reminisce how exciting it was seeing that growth.

Also, Ben Lacour booked two jobs in the first week he signed. It’s hard to top that. Right time, right place.

You’ve written about time zones, fast decisions, and always being “on.” What’s a day in your life actually like as a creative rep?

It’s exactly as I wrote in my blog post, nonstop. I wake up to messages from Vietnam and fall asleep waiting for feedback from LA. When I was younger, it was very exciting, now as a father I find I have to set more boundaries. 

My colleague Andrii is the heart of the company, he handles the pitching and the responds to most of the scripts that come though. I tend to handle the problems and I spend a lot of my time on calls either with new leads or with directors. 

Most of the day I will be scribbling notes on the back of envelopes, receipts or any scrap of paper. Desperately trying to think of new ways we can improve tomorrow.

And finally, for someone who feels lost in this industry—too many portfolios, too few opportunities, what would you say?

What’s your best advice for staying visible, relevant, and true to your creative self?

Be authentic. Be polite. Be flexible and don’t be an asshole. 

Learn how to develop your brand identity and leverage this to get you into the right rooms. I’ve never met a director who I felt couldn’t make it, it’s just a case of how much work you’re willing to put in.

Finally, listen. Listen to what everyone is saying to you, even your detractors. There is always, always, something to learn – and that’s what keeps the work interesting.

Thank you, Scott, for sharing your perspective, experience, and insights into the world of representation.

And thank you, fam, for reading! If you’d like to explore more of Scott’s work, check out his roster or explore CTRL, where he’s helping directors achieve their goals with tools and guidance.

Finally, join the Directors Lab where his weekly office hours and insights on a shifting industry are hosted.

Much love,
The FilmmakersWorld Team