Chapter 560 560

Creative Artists Agency (CAA), one of the three largest brokerage companies in the United States today, is also the biggest competitor of International Innovation Management. In fact, after more than ten years of development, Creative Artists Agency has now faintly surpassed William Morris Agency, the originator of the agency founded in 1898, to become the industry leader.

The reason why the creative artist agency has been able to rise strongly, surpassing the century-old William Morris agency as a junior in less than 20 years, is because under the leadership of Michael Ovitz (Michael. Ovitz), the company has changed history of the entire entertainment industry. Michael Ovitz was voted the most powerful man in Hollywood by Premiere magazine for three consecutive years in 1990, 1991 and 1992, and he is also recognized as Hollywood's No. 1 agent.

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, Shaw En-Connery (Sean. Connery) can be seen behind the success of these people, but because he has put forward two proposals for the creative artist agency, two proposals that 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 approach, which brings great benefits to both the agency and the studio. Large profits have been widely promoted, but at the same time, brokerage companies have begun to gradually gain the right to speak and take the initiative.

The packing plan is divided into two situations, for example, a packing combination in 2004, including Jack Black, Ben Stiller, Will Ferrell Ferrell) and others, as long as one person signed a movie, everyone else may "friendship" appear in the movie, or even play important roles. This is the first case.

The second is that the brokerage company got a script and thought it was worth investing in, so they deployed the director, actor, heroine, screenwriter and other behind-the-scenes staff among their artists, and packaged them into a crew. Selling directly to the studios, just signing a contract means signing the entire crew.

This kind of package plan can often drive the business of the entire agency. In other words, it is to tap the star effect as much as possible: if a film company wants to use the actors or directors of their agency, it is likely to use a large number of other actors. And staff; Similarly, third-tier 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 a target for actors and studios to cooperate with.

Of course, in turn, film studios can often cut costs, sign a big name, and get a lot of "gifts" at a good price, and most of these artists packaged by brokerage companies are close and attract audiences. The groups are also very similar, and the superposition effect of the box office appeal is very obvious. So, film studios are also willing to support such plans.

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

Before that, brokerage firm rules were: each broker had its own clients, and brokers from the same brokerage firm would not seek jobs for clients of other brokerage firms, as is typical of international innovation management firms. However, the approach of the creative artist agency is to share resources. There is no individual client of the agent, only the client of the company.

Of course, Brad Pitt's agent is Martin Baum, so the division will still be different, but other agents have jobs suitable for Brad, and they will also be introduced to Martin, shared, and finally by the company. Dividend. Resource confidence is shared and resource platform is shared, which creates a harmonious atmosphere of cooperation among colleagues.

In this way, the competition faced by other brokerage companies will be the entire creative artist brokerage company, not 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 an artist signing ceremony, a premiere, or an award ceremony, the agent must appear in groups of three or five, uniformly dressed, and even have the same voice, which is a problem for other agencies. Has a strong deterrent.

In addition to these two proposals, Michael Ovitz also broke the convention of finding ways to dig a foot! Uncompromising means.

Before 1975, there was an unwritten rule among Los Angeles agencies that as long as one agency was negotiating an artist, other agencies were not allowed to step in until the artist made a decision—even an obscure one. Small brokerage firms are talking about artists, and William Morris brokerage is not allowed to intervene. But after the establishment of the Creative Artists Agency, it did not care about this.

The media once described the creative artist agency as such, "If a scorpion wants to cross the river, it can 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 kind of scorpion. The model of crossing the river has grown rapidly, gradually surpassing the William Morris brokerage company that cultivated Michael Ovitz, Martin Baum, Roland Parkin and others, and at the same time, gradually surpassing the film studio, The right to speak Hollywood has been transferred to the agency.

In the mid-1980s, the Creative Artists Agency decided to let its artists get more pay, and to share dividends from the box office. At this time, the packaging plan that has been penetrated within the entire industry, and the strong external competitiveness that the resource sharing plan has allowed the creative artist agency to obtain, made the film studio discover Michael Ovitz's trick, but they did There is no room for rejection.

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

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

Interestingly, years after Michael Ovitz retired, he founded another agency, but in the end he lost out in the competition with Creative Artists Agency. The competitiveness of the innovative artist agency's unique business model is evident.

Of course, although the creative artist agency is developing very fast, there is no doubt about their strength, but in the face of competition from William Morris agency and international innovation management company, they have never reached the point of complete unification, and can only be Tied to become the top three brokerage companies. However, the competitiveness of innovative artist brokerage companies has kept them sufficiently dynamic, and will be firmly ranked as the No. 1 brokerage company in Hollywood in the next two decades of development.

When Hugo saw the logo of the Creative Artists Agency, he immediately reacted. Roland Parkin is not only an agent, but also one of the five young people who founded the agency, and he is today Will come to visit Hugo, apparently for one purpose: to dig a foothold.

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

Hugo did not turn his eyes away, and ignored Roland who was sitting next to him, but looked at Quentin with a smile, until Quentin looked at Hugo with a little fidgeting.

Hugo didn't like this feeling. He was quite sure that Quentin and himself met by chance. Later, Quentin's decision to cast himself in "Pulp Fiction" was also an accident, but what happened later? Why is Quentin so insistent, 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 crazy obsession. He would do everything possible to persuade the other party to appear in his own works. So Hugo wasn't suspicious at all, but today...

Quentin was a little embarrassed by Hugo's gentle but direct eyes, and he didn't know where to put his hands. At this moment, Roland's polite voice came from the side, "You shouldn't blame Mr. Tarantino, he is not an entertainer in our company. I persuaded Harvey Weinstein to make a deal to force Tower Mr. Lentino brought me to meet you today. In fact, Mr. Tarantino was not well prepared 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 brought by the waiter and tasted it quietly.

But because he was thinking about things in his head, he was negligent for a while. When the coffee slipped into his mouth, Hugo realized that this was a cup of hot coffee that had just been served, and his oral membrane had been scalded. This made Hugo grit his teeth and directly swallow the coffee - fortunately, this bite was not big, but his brows were still frowned.

Quentin felt even more embarrassed when he saw Hugo frowning. He hated this kind of thing, but Harvey obviously didn't give him a chance to refuse, so he could only say, " Hugo, sorry, my fault, I should have called you."

But Hugo didn't care about Quentin's apology, he just stood up, turned and left under the stunned gaze of Quentin and Roland, Roland was obviously taken aback, Hugo is so abnormal, why? Just left suddenly? Then, the two of them saw Hugo hurried to the front of the counter, asked for a glass of cold boiled water, and poured it down.

uh, this...