"Now, more and more Hollywood artists are getting used to being designed and arranged by CAA, whether they want it or not, like it or not, and this trend is currently unstoppable, because CAA's heavyweight opponents are already few and fewer."
Ovitz clasped his hands and leaned back.
"As for you," he glanced at Leete, "please tell me what you're going to do to beat the CAA, even if you can convince a star or two to let you be their agent, but from writers to screenwriters, from directors to actors, musicians to producers, most of them."
"Of course not, the strongest fortresses are always conquered from within, and the CAA is no exception, and if you can poach more than a third of the CAA's brokers, it will fall apart in no time."
Ovitz paused deliberately as he said this, observing the different reactions of Leett and Kirkland.
Kirkland's eyes lit up, and Leeter didn't move.
"However, it is basically impossible to poach people from CAA" As Ovitz said this, Kirkland's expression froze.
Leet readily accepted this argument because he knew more about the CAA than Kirkland.
In order to avoid the same story repeating itself, in addition to emphasizing team culture within the company, Ovitz also carefully set a "betrayal cost" for CAA's department managers and star agents.
Most brokerage companies, celebrities follow the agent, and CAA is different, it is a team operation when it provides brokerage services for stars, although sometimes an exclusive agent will be appointed to work for a superstar, but this agent is only responsible for part of the work, and most of the work is still done by the company, so even if an agent jumps, the superstar under CAA will not go with him alone.
Because of this restraint mechanism, in the more than 20 years since the establishment of CAA, there has not been a single collective exodus of high-level people, even if in 1995, one of the founders, Meyer, found another job, and Ovitz himself was subsequently hung up, CAA only trembled slightly, and soon continued to move forward as steel.
And the new leadership of CAA, that group of "young Turks" are more aggressive than Ovitz in terms of business ideas, they are not satisfied with the status quo that other agencies cannot poach people from CAA, but take the initiative to recruit agents with top artist resources in their hands to join the company, in just one year, the company's partners have changed from 9 to 12 now, and this number continues to increase.
This trick is more of a headache for peers than direct mergers and acquisitions, because the current situation is that only CAA poachs the opponent's share, and it is almost impossible for the opponent to poach people from CAA.
"So, let's change the goal, the current CAA is not something you can challenge, as long as they don't make mistakes, no one in Hollywood can shake the status of CAA" Ovitz is not striking Leete, but stating a basic fact.
Johnny Kirkland looked at Leete, who bowed his head and was silent, and really began to feel a little sympathy for this guy in his heart, he was a rookie who had just started, but he chose an opponent who was impossible to defeat, and now he was hit by the cruel reality "No, I don't think the CAA is really invincible" Li Te slowly raised his head, as if a burning flame was beating in his eyes.
"Admittedly, CAA is as strong as you say, but it still hasn't been able to avoid a common problem that all agencies have, which is that they don't pay enough attention to newcomers" In Hollywood, because the salary of the agent is closely related to the actor's salary, and the opportunity to act in a movie is mostly related to the actor's fame, this makes new actors encounter a lot of trouble: because they are not famous, it is difficult to get the favor of those big-name agents, and without the assistance of a well-connected agent, it is difficult for them to break into the originally closed entertainment industry and get the opportunity to perform.
In this issue, CAA is not exempt from vulgarity, and in many of Ovitz's previous discussions on CAA, the term "top resources" has been mentioned many times as the most intuitive evidence, and to put it bluntly, CAA only likes to do talent agency work for big-name stars.
This was not originally a mistake, but now that Littlet brought it up specifically, Ovitz immediately understood Littlet's intentions.
"So you're going to fight the managers for prey."
At the mention of the word manager, the corners of Ovitz's mouth twitched slightly, showing that he did not have much affection for the profession.
There is only one word difference between a broker and a manager, but the responsibilities of the two are clear: the broker is responsible for seeking job opportunities for the client, while the manager advises the client on career and career planning, and provides relevant assistance and training for the client's career development.
But in real Hollywood, the scope of work of managers and managers often overlaps, and managers are not allowed to participate in the sharing of profits of artists' works in any way, while managers can also serve as producers of artists' performances, so the agent's salary only comes from a commission of no more than 10 of the artist's remuneration, while managers can be capped, usually up to 15 or 20, or even more.
Because the manager's asking price is too high, big-name artists generally only accept the services of the agent, but those newcomers who are in a hurry to get ahead have no choice, and the general agent does not look down on them, so they can only accept the service of the manager.
Originally, managers began to provide services to artists before they became famous, and these early investments may take a while to get a return, and even if they are unlucky to meet an artist who can't become popular, then these investments will be directly wasted, so the rules of the game in Hollywood allow managers to protect their investment risks with higher income commissions, but the problem is that some managers are too greedy and still charge a higher percentage of income commission after helping artists become famous.
And when the artist can't stand this kind of exploitation, the two sides can easily break out into conflict.
In the past few years, this has happened from time to time, after the big star has grown up, in order to get rid of the control of the manager, in order to get rid of the manager's control, he does not pay the manager, and after being sued by the manager, he wins the court trial, because the law imposes various restrictions on the agent, but also gives the agent a unique power, that is, the permission to negotiate work for the artist.
In other words, people like managers who do not have an agent license do not have the legal right to negotiate contracts for artists and receive remuneration, which is why managers often lose lawsuits against defaulting artists, because part of their income itself is illegal.
Of course, as long as managers don't get into trouble with artists to the point of going to court, the industry usually has a tacit attitude towards this part of the "illegal income" of managers, because managers do play an irreplaceable active role in cultivating new talents.
Originally, Johnny Kirkland's gaze at Littlet was still a little expectant, but after Ovitz broke Little's intention, Johnny Kirkland's eyes changed.
As an agent with a license approved by California labor law, Leete has set his sights on new artists that ordinary agents don't look down on at all, and this approach is somewhat hungry in the eyes of others.
Although Ovitz did not write the disappointment directly on his face, he obviously did not like Littlet's idea either, but there was one thing he was better than Kirkland, and he did not despise Littlet because of Little's idea, on the contrary, he felt that it was a very pragmatic performance.
Li Teh is now going to be famous or not, he wants connections and no connections, big-name stars will not ask him to be his agent unless he has brain cramps, and only those newcomers who are not famous will be willing to cooperate with him.
Maybe I should support him to give it a try.
The thought crossed Ovitz's mind, and though he didn't have much hope for Leete, what if he succeeded Ask for collections, ask for recommendations 2907201 t1706231537: