Steve Roy Joins CAA as Motion Picture Literary Agent

CAA has hired Steve Roy as an agent in its Motion Picture Literary Department in Los Angeles, Deadline reported on 16 September 2026. He will report to Dan Rabinow and Ida Ziniti, the co-heads of the department. It is a straight switch from one agency to another.

The department specialises in writers and directors for film. In plain terms, its agents work with screenwriters on scripts and with directors on features, then link that work to producers, studios and financiers. Roy will be based out of CAA's Los Angeles office. Reporting to the two co-heads means working within the leadership structure that oversees the department's agents and clients.

Roy arrives from Buchwald, where he spent the first years of his career. He joined that agency as an assistant in 2020. He rose to agent in 2023.

That route is common in agency work. Assistants support agents by managing diaries, tracking scripts and sitting in on calls and meetings. Agents sign writers and directors, put them forward for jobs and negotiate contracts on their behalf. The move from assistant to agent often takes several years of that support work.

While at Buchwald, Roy represented a group of writers and writer-directors, according to the same Deadline report. That group included Juan Pablo González, linked to Dos Estaciones, and Nicholas Colia, linked to Griffin in Summer. It also included Alan Scott Neal, linked to Last Straw, and Luke Shanahan, linked to Rabbit.

The same list included Kasper Møller Rask, linked to Nordland '99, and Scott Rashap, linked to Toru. It also included John Strauss, linked to There's Something About Mary. Each credit was listed as part of Roy's client work during his time at Buchwald.

For people watching at home, this kind of appointment rarely shows up on screen. No release date changes. No casting news. Agents do their work before cameras roll, lining up writers and directors for projects that later reach cinemas and streaming services.

What makes this stand out is the range of that earlier slate. Roy brings credits that span different budgets, languages and formats to a new desk. The next chapter will be written in who he signs at CAA and where those scripts find a home.