Superstar

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Comeback 560 secretly digs into the wall 　　 Innovative Artist Agency (caa), one of the three largest agencies in the United States today, is also the biggest competitor of international innovation management companies. In fact, after more than ten years of development, the innovative artist brokerage company has now faintly surpassed the William Morris Brokerage Company, the originator of the brokerage company founded in 1898, and has become the industry leader.

The reason why the creative artist agency has risen strongly, surpassing the century-old William Morris agency as a junior in less than two decades, is because the company, under the leadership of Michael Ovitz (.), has changed the entire entertainment industry. History. Michael Ovitz was voted the most powerful man in Hollywood by the "Premier" magazine for three consecutive years in 1990, 1991, and 1992, and he is also recognized as the number one agent in Hollywood.

The reason why Michael Ovitz surpassed William Morris and is considered an iconic figure in the entire entertainment industry is not because of Tom Cruise, Steven Spielberg, Tom Hanks, Sean Connery (8ean. c01]1]ery) Behind the success of these people, he can be seen, but because he made two proposals for the creative artist agency, two proposals to change the entire Hollywood landscape.

The first is the packaging plan, that is, the star actors, star directors, and production teams are packaged into groups and signed to the film studio. This packaging plan is a mutually beneficial practice and brings great benefits to both the agency and the studio. Large profits and gains have been widely promoted, but at the same time, brokerage companies have begun to gradually grasp the right to speak and take the initiative.

Packing plans are divided into two situations, for example, for example, a packing combination in 2004, including Jack Black (.), Ben Stiller (be), Will Ferrell (w Dou l. Ferrell), etc. , As long as one person signs up for a movie, other people may appear in the movie "friendship" or even play important roles. This is the first situation.

The second is that the agency got a script and thought it was worth the investment, so they deployed the director, actor, heroine, screenwriter, and other behind-the-scenes staff among their artists, and packaged them into a crew. To sell directly to the film studio, as long as the contract is signed, it means that the entire crew is signed.

This kind of packaging plan can often drive the business of the entire agency company, in other words, it is to tap the star effect as much as possible: the film company wants to use the actors or directors of their agency, and it is likely to use a large number of other actors. And the staff; similarly, the third-line actors want to get more job opportunities, as long as they enter the creative artist agency, they can win the opportunity to cooperate with big names, which makes the agency the target of the actors and studios hope to cooperate.

Of course, on the other hand, film production companies can often reduce costs, sign a big name, and get a lot of "gifts" at a low price. Most of the artists packaged by the agency are close to each other and attract audience groups. It is also very similar, the superimposing effect of box office appeal is very obvious. Therefore, film production companies are also willing to support this kind of plan.

The second plan Michael Ovitz has injected into the industry is resource sharing.

Prior to this, the rules of the brokerage company were: each broker has its own customers, and the brokers of the same brokerage company will not look for job opportunities for the customers of other brokers. International innovation management companies are typical of this. However, the approach of innovative artist management companies is to share resources. There are no individual clients of the agents, only the clients of the company.

Of course, Brad Pitt’s agent is Martin Baum. This division will still be different, but other agents who have jobs suitable for Brad will also be introduced to Martin for sharing, and finally the company will pay dividends. . Confidence sharing of resources and common use of resource platforms create a harmonious atmosphere of cooperation among colleagues.

In this way, the competition faced by other agencies will be the entire innovative artist agency, rather than a single artist, and the probability of winning or losing is naturally much smaller.

In addition, the creative artist agency also requires that whether it is the artist’s signing ceremony, the premiere, or the award ceremony, the agent must appear in groups, dress uniformly, and even have the same voice. This is for other agencies. Has a powerful deterrent.

In addition to these two proposals, Michael Ovitz also broke a convention, that is, to find ways to dig the wall! No compromise.

Before 1975, there was an unwritten rule among Los Angeles brokerage companies that as long as there is a brokerage company negotiating artists, other brokerage companies are not allowed to step in until the artist makes a decision—even if it’s a little-known artist. The agency is talking about artists, and the William Morris agency is not allowed to intervene. But after the establishment of the creative artist agency, it didn't care about this.

The media once described an innovative artist agency as saying, “The scorpion had to cross the river and could only ask the crocodile for help, but when the crocodile landed, the poisonous needle on the scorpion’s tail pierced the crocodile’s skin.” They rely on this scorpion. The model of crossing the river developed rapidly and gradually surpassed the William Morris agency that cultivated Michael Ovitz, Martin Baum, Roland Parkin and others. At the same time, it gradually surpassed the movie studios and transformed the words of Hollywood. The right was transferred to the brokerage company.

In the mid-1980s, the creative artist agency decided to allow its artists to get more salaries and pay dividends from the box office. At this time, the packaging plan for infiltration within the entire industry has been completed, and the resource sharing plan has allowed innovative artist management companies to gain strong external competitiveness. This has made the film production company discover Michael Ovitz’s tricks, but they have already There is no room for rejection.

As a result, this led to the rapid increase in the pay of actors in the mid to late 1980s, and the ability of actors and directors to participate in box office dividends was also a product after this. Incidentally, the cost of film production began to continue to rise, until "Terminator 2" became the first film history to invest more than 100 million US dollars in the work.

It can be said that Michael Ovitz has changed the development of the entire brokerage industry, and has also brought tremendous changes to the entire film industry and even the entertainment industry.

What's interesting is that many years after Michael Ovitz retired, he once created another agency, but in the competition with innovative artist agency, he finally lost. The competitiveness of the unique business model of innovative artist brokerage companies is evident.

Of course, although innovative artist brokerage companies are developing very fast, their strength is unquestionable, but in the face of competition from William Morris Brokerage Company and International Innovation Management Company, they have never reached the point of achieving unity and can only be tied together. Become the top three brokerage companies. However, the competitiveness of innovative artist brokerage companies keeps them vigorous enough to securely occupy the throne of Hollywood's number one brokerage company in the next two decades of development.

When Hugo saw the logo of an innovative artist agency, he immediately reacted. Roland Parkin is not only an agent, but also one of the five young people who started this agency. Today he will When I came to visit Hugo, it was obvious that there was only one purpose: to dig the foot of the wall.

Hugo looked at Quentin who was sitting next to him drinking coffee and pretending to be okay, he couldn't help but laughed, because he remembered Joseph's suspicion before. Joseph initially suspected that Quentin was with Long Mayer. Quentin insisted that Hugo shoot "Pulp Fiction" in order to get Hugo and Lang to sign a contract; but now it seems that Joseph's suspicion is correct, but the subject is wrong. Now, this is not the internal competition of the company, but another conspiracy of the scorpion to cross the river.

Hugo didn't divert his attention. He didn't care about Roland who was sitting next to him. Instead, he looked at Quentin with a smile, until Quentin looked at Hugo fidgetically.

Hugo didn’t like this feeling. He was quite sure that Quintin’s encounter with himself was accidental. Later, Quentin decided to make himself appear in "Pulp Fiction", but it was also an accident, but later? Why would Quentin insist on it, really just Is it just because he likes it, or what role does Roland play in it?

In fact, Hugo originally believed in Quentin because he knew that Quentin was a ruffian, and he had a kind of actor, so he would try to persuade him to perform his own work. So Hugo didn't have any doubts at all, but today...

Quentin was a little bit embarrassed by Hugo's gentle but direct eyes, and didn't know where to put his hands. At this time, Roland’s polite voice came from nearby, "You shouldn’t blame Mr. Tarantino, he is not an artist in our company. I persuaded Harvey Weinstein to make a deal and force Tarentino to make a deal. Mr. Tino brought me to meet with you today. In fact, Mr. Tarantino was not prepared enough for my arrival."

Hugo is a very polite person, so instead of ignoring Roland, he looked away from Quentin’s face, looked at Roland with a smile, nodded slightly, and made a sudden realization. But he didn't speak, but picked up the coffee just delivered by the waiter, and UU read www.uukahnshu.com and tasted it quietly.

But because he was thinking about things in his head, he was a little negligent. When the coffee slipped into his mouth, Hugo realized that it was a cup of hot coffee that he had just brought up. The membrane of his mouth had been burned off. This made Hugo gritted his teeth and swallowed the coffee directly-fortunately, this bite was not big, but his brows were still frowning directly after being scalded.

Quentin felt even more embarrassed when he saw Hugo frowning. He himself hated such things, but Harvey obviously didn't give him the opportunity to refuse, so he could only say, " Hugo, sorry, my fault, I should give you a call."

But Hugo did not hesitate Quentin’s apology. He stood up directly, turned and left in the dumbfounded sight of Quentin and Roland. Roland was obviously also taken aback. Hugo is so abnormal, why? They left suddenly? Then, the two of them saw Hugo walk quickly to the front of the counter, asked for a glass of cold water, and poured it down gruntingly.

Uh, this...(To be continued. If you like this work, you are welcome to read it and vote for a monthly pass. Your support is the biggest motivation for me to continue to create!)

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