Read Ebook {PDF EPUB} Perdido by Jill Robinson Perdido by Jill Robinson

Total Page:16

File Type:pdf, Size:1020Kb

Read Ebook {PDF EPUB} Perdido by Jill Robinson Perdido by Jill Robinson Read Ebook {PDF EPUB} Perdido by Jill Robinson Perdido by Jill Robinson. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660073f8bf5d4ab5 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. “Robinson is the Whitman of Sunset Boulevard.” The daughter of MGM's former executive, Dore Schary, tells what it was like to grow up in Hollywood during the Golden Age. Featuring cameos by Howard Hughes, "Lady Jane" Fonda, Richard Burton, young Senator Kennedy, Marlon Brando, Elizabeth Taylor, Loretta Young, Adlai Stevenson, Sinclair Lewis, Van Johnson, Cary Grant, Humprey Bogart and many more! “Still the definitive account of a certain kind of Hollywood childhood.” (Vanity Fair) Bed/Time/Story. “I stayed up all night reading it, and its ultimate mood of sweet, almost painful happiness stayed with me for days. It is about two people whose love for each other slowly conquered their hatred for themselves; quite literally it is about the lifesaving and healing power of love. “Bed/Time/Story” has all the captivating power of a classic . one to read and reread.” (Annie Gottlieb, New York Times Book Review) Perdido. “As readers of her harrowing Bed/Time/Story are well aware, Jill Robinson knows how to tell us terrible things in a funny tone of voice. A remarkable, heartbreaking novel . just as impressive as the writing in Perdido is the artfulness over the long haul of a novel. How to convey brilliance? I don’t know, but Jill Robinson does.” (John Leonard, New York Times) “ Jill Robinson has a knack for the beautifully constructed sentence. She propelled me through the world of power and privilege, Hollywood style, with the total assurance of one who has been there herself. ” Featured In. The New York Times The Washington Post Vanity Fair Vogue The Chicago Tribune. ROBINSON, Jill 1936- PERSONAL: Born May 30, 1936, in Los AngelesCA; daughter of Dore (a playwright, director, and film producer) and Miriam (a painter; maiden name, Svet) Schary; married Jon Zimmer (a stockbroker), January 8, 1956 (divorced, 1966); married Jeremiah Robinson (a computer analyst), April 7, 1968 (divorced, 1977); married Stuart Shaw (a consultant and writer), June 21, 1980; children: Jeremy Zimmer, Johanna Schary Robinson. Education: Attended Stanford University, 1954-55. Politics: "Left-wing eclectic." Religion: Jewish. ADDRESSES: Home— 6 Willow Rd., Weston, CT 06883. Agent— Lynn Nesbit, Janklow & Nesbit Assoc., 445 Park Ave., New York, NY 10022. CAREER: Writer. Foote, Cone & Belding, Los Angeles, CA, advertising copywriter, 1956-57; free-lance journalist, 1964—; freelance book reviewer, 1973—. Host of "The Jill Schary Show" on KLAC-Radio in Los Angeles, 1966-68. Writing teacher at Woman-school in New York, NY 1975-77. WRITINGS: (Under name Jill Schary Zimmer) With a Cast of Thousands: A Hollywood Childhood (autobiographical), Stein & Day, 1963. (Under name Jill Schary) Thanks for the Rubies, Now Please Pass the Moon, Dial, 1972. Bed/Time/Story (autobiographical), Random House, 1974; Perdido (novel), Knopf (New York, NY), 1978. Doctor Rocksinger and the Age of Longing (novel), Knopf (New York, NY), 1981. Star Country, Fawcett Columbine (New York), 1996. Past Forgetting: My Memory Lost and Found, Cliff Street Books (New York, NY), 1999. (With Stuart Shaw) Falling in Love when You Thought You Were Through, HarperCollins (New York, NY), 2002. Contributor to periodicals, including Cosmopolitan, Vogue, House and Garden, New York Times, Los Angeles Times, Soho Weekly News, Chicago Tribune, and Village Voice . WORK IN PROGRESS: A screenplay of Falling in Love and a book about the life of a film distributor. SIDELIGHTS: Jill Robinson is the author of novels and personal memoirs filled with many of Hollywood's classic royalty. Although two of her memoirs focus on her marriages, her most compelling personal story may be Past Forgetting, in which she details her true-life experience with amnesia. Writing in Pif magazine, Emily Banner noted that "Robinson mounts a fascinating and thought-provoking investigation into just what role memory plays in making us who we are." Robinson's first book, With a Cast of Thousands, focuses on her childhood in Hollywood as the daughter of Dore Schary, the head of production at Metro-Goldwyn-Mayer (MGM). Robinson relates anecdotes about personalities such as John F. Kennedy, Loretta Young, Adlai Stevenson, Elizabeth Taylor, Marlon Brando, and Humphrey Bogart. C. P. Collier of Best Sellers commented that With a Cast of Thousands "could easily have become over-the-backyard-fence gossip, but even the most barbed. observations, while sometimes hilariously perceptive, are devoid of maliciousness." Book Week 's Joe Hyams similarly noted that Robinson tells "with astonishing frankness stories about her schoolmates, the multi- parented children of Hollywood's famous folk." He continued, however, that "the reader is never embarrassed for the people she so hilariously dissects, analyzes and pins down on paper with needle-sharp words." Bed/Time/Story also met with a favorable reception. The book details the story of Robinson's second marriage to Jeremiah Robinson. "It is about two people whose love for each other slowly conquered their hatred for themselves," explained Annie Gottlieb in the New York Times Book Review . "It is, quite literally, about the lifesaving and healing power of love." With her husband's help, Robinson quit drinking and taking speed, acquired a good job, and began to piece her life together again. Gottlieb further stated: "Robinson portrays herself, with candor and humor, as having been so anxious to please, so terrified of rejection, so padded and propped by drugs, that she had no idea what she wanted or felt. The book tells about her discovery of herself, not as is currently fashionable, through lonely search, but through the unexpected, ferocious strength of her feeling for another." Nation 's Nancy Lynn Schwartz contended that " Bed/Time/Story . [is] a beautifully written book which forces the reader to care about the characters and their fate." Robinson's next book, Perdido, is about teenager Susanna Howard, the granddaughter of a Hollywood pioneer who founded his own film studios. Susanna narrates this 1950's Hollywood story with a backdrop that includes the Cold War, blacklisting, and the rise of television. Tinged with an "epic, rather tragic flavor," as Schwartz described it, Perdido tells of things lost or soon to be lost. The heroine searches for her father, who left when she was still an infant. She is unhappy with her remote mother and stepfather and longs for the love of her missing parent. Constantly comparing real life to life in the movies, Susanna speculates that her grandfather "invented the happy American family and put it into the movies to drive everyone crazy." Robinson wrote two more novels, Doctor Rocksinger and the Age of Longing and Star Country, in which she tells the tale of the daughter of an old Hollywood family trying to buy back a studio that her family once ran. Joanne Wilkinson in Booklist said that in Star Country Robinson managed "to communicate her deep love for L.A." despite a plot that was "overwrought." Wilkinson also noted that "Robinson . delivers the goods for fans of flashy melodrama." Robinson returned to her forte with the memoir Past Forgetting: My Memory Lost and Found. This time, Robinson had a real-life plot device right out of the movies. After suffering a massive seizure from undiagnosed epilepsy, she wakes up in a hospital with amnesia. Robinson does not even recognize her husband dutifully sitting at her bedside. In the book Robinson recounts the many episodes involved as she recovers. At first she slowly regains pieces of her memory, with her childhood life in 1944 Los Angeles coming back the clearest. She still does not remember that her parents are dead, however, or that the children she remembers have grown. Nevertheless she uses clues from these memories and from photos to start piecing her life together. In one instance she calls up an old childhood friend from grade school to see if he remembers her. The friend, actor Robert Redford, does remember her, and the two meet to reminisce about childhood. Eventually Robinson returns to writing, a task doctors never thought she would perform again. In Booklist, reviewer Marlene Chamberlain said that "Robinson provides a colorful, sometimes frightening roadmap of her efforts" and called the book "a particularly moving account." A contributor to Publishers Weekly called the tale "an unflinching account of amnesia and the terror of being a writer without memory." And Jonathen Lethem in a review for Salon.com called it "a gemlike, seductively readable and quietly moving memoir." Robinson also teamed up with her husband Stuart Shaw to write a dual memoir, in which the husband and wife team tell of their meeting and finding love when they thought romance was gone forever from their lives. In the book, the authors employ the "his" and "her" points of view. Although some reviewers found the story dull, Melissa Hirschl, writing for Wrangler News in Tempe, Arizona, called it a "compelling" book that was "candid and insightful." "I'm most unhappy when I'm not working," Robinson told Hirschl.
Recommended publications
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • Access the Best in Music. a Digital Version of Every Issue, Featuring: Cover Stories
    Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE MARCH 25, 2020 Page 1 of 28 INSIDE Coronavirus Causes Dip in • Paradigm’s Streaming, But Children’s Music, Coronavirus Layoffs Panned by Music Video on Demand & Catalog Industry: ‘This Is Really Just Greed’ Are Bright Spots • LA Clippers Owner Reaches $400M BY ED CHRISTMAN Deal to Purchase The Forum From MSG Music industry executives hoped that the coronavirus Within that, all sales formats, as summarized by • Radio Stations quarantines might buoy music streaming activity with albums plus track equivalent albums, fell a whopping Adjust to Social- so much of the population isolated indoors. So far, 25.6% last week to 1.94 million from the prior week Distancing, Work- the opposite has occurred. In the last two full weeks total of 2.61 million units. From-Home Studios as the Covid-19 pandemic was spreading across the Before Covid-19 took hold in the U.S., streaming Amid Coronavirus world, the U.S. industry has had a moderate downturn was soaring: the week ending March 5 marked 2020’s • As Dow Jones in streaming, with even bigger drops in physical. highest streaming week, with 25.55 billion plays. Scores Single-Day Two weeks ago, in the week ended March 12, the But there is a bigger cloud on the horizon: as mil- Record, Live Nation industry saw a dip in music streaming — down by 1% lions of people lose their jobs due to the vast economic & MSG Stocks Post to 25.3 billion streams from 25.55 billion streams. But shutdowns, some music executives fear that they will Big Gains it would appear that the longer people stayed out of get rid of fixed expenses —- namely, music stream- • Spotify Pledges the office, the less music they consumed.
    [Show full text]
  • A 24-Decade History
    THE FLEA THEATER NIEGEL SMITH ARTISTIC DIRECTOR CAROL OSTROW PRODUCING DIRECTOR presents A 24-DECADE HISTORY OF POPULAR MUSIC: 1776-1836: WORK IN PROGRESS Conceived, written, performed and co-directed by TAYLOR MAC Music Director/Piano/Backing Vocals Co-Director MATT RAY NIEGEL SMITH Costume Designer Dramaturg MACHINE DAZZLE JOCELYN CLARKE Associate Producer Associate Producer KALEB KILKENNY ALISA E. REGAS Executive Producer LINDA BRUMBACH Co-Produced by POMEGRANATE ARTS AND NATURE’S DARLINGS A 24-DECADE HISTORY OF POPULAR MUSIC is commissioned in part by Carole Shorenstein Hays, The Curran SF; Carolina Performing Arts, at the University of North Carolina at Chapel Hill; Center for the Art of Performance at UCLA; Hancher Auditorium at the University of Iowa; Lincoln Center for the Performing Arts; Museum of Contemporary Art Chicago; New Haven Festival of Arts & Ideas; New York Live Arts; OZ Arts Nashville; University Musical Society of the University of Michigan. This work was developed with the support of the Park Avenue Armory residency program and the 2015 Sundance Institute Theatre Lab at the Sundance Resort. A 24-DECADE HISTORY OF POPULAR MUSIC was made possible with funding by the New England Foundation for the Arts’ National Theater Project, with lead funding from The Andrew W. Mellon Foundation. BRIAN ALDOUS LIGHTING DESIGN MILES POLASKI SOUND DESIGN LILLY WEST SOUND ENGINEER MICHAL MENDELSON STAGE MANAGER FEATURING TAYLOR MAC, Vocals with Matt Ray, Music Director/Piano/Backing Vocals Bernice “Boom Boom” Brooks, Drums Viva De
    [Show full text]
  • Milken Institute Global Conference from Theappstore Orgoogleplay
    MISSION STATEMENT Our mission is to increase global prosperity by advancing collaborative solutions that widen access to capital, create jobs and improve health. We do this through independent, data-driven research, action-oriented meetings, and meaningful policy initiatives. 1250 Fourth Street 1101 New York Avenue NW, Suite 620 137 Market Street #10-02 Santa Monica, CA 90401 Washington, DC 20005 Singapore 048943 Phone: 310-570-4600 Phone: 202-336-8900 Phone: 65-9457-0212 #MIGLOBAL AGENDA | LOS ANGELES | APRIL 28 - MAY 1 E-mail: [email protected] • www.milkeninstitute.org download the Global Conference mobileapp download theGlobalConference descriptions and up-to-date programming information, information, descriptions andup-to-dateprogramming AT YOUR FINGER TIPS YOUR AT To find complete speaker biographies, panel findcompletespeakerbiographies, panel To SEE: requests andconnectwithparticipants requests CONNECT: speaker biographies,andvenuemaps Milken Institute Global Conference Global Institute Milken from the App Store orGooglePlay. theAppStore from CUSTOMIZE: the full agenda, panel descriptions, the fullagenda,paneldescriptions, and personalschedule opt-in to make meeting opt-in tomakemeeting your profile your profile MIGlobal WILSHIRE BOULEVARD WILSHIRE ENTRANCE 11 12 13 14 15 16 SALES & CATERING WELLNESS GARDEN CORPORATE EVENTS 21 CA WILSHIRE GARDEN TERRACE LOBBY EXECUTIVE GIFT SHOP BAR 17 18 19 20 OFFICES 4 Networking Areas 8 PAVILION LOUNGE VALET 22 7 5 Pavilion Lounge 9 6 Lobby Bar 10 Wilshire Garden Circa 55 (Lower Level)
    [Show full text]
  • Made for TV Monsters: How Has the Rise of Horror on US Television Impacted on the Spectacle and Acceptability of the Genre?
    Made for TV Monsters: How has the rise of horror on US television impacted on the spectacle and acceptability of the genre? Stella Marie Gaynor Submitted in partial fulfillment of the requirements of the degree of Doctor of Philosophy September 2018 School of Arts and Media University of Salford, UK Table of Contents CHAPTER 1 INTRODUCTION ........................................................................................ 1 CHAPTER 2 LITERATURE REVIEW............................................................................... 7 2.1 Introduction. ............................................................................................................ 7 2.1.1 Horror Film. ........................................................................................................ 9 2.1.2 US television Industry ...................................................................................... 19 2.1.3 US television Drama. ....................................................................................... 21 2.1.4 Show runners and creative autonomy. ............................................................. 22 2.1.5 Spectacle. ........................................................................................................ 26 2.1.6 US television Horror. ........................................................................................ 31 2.2 Methodology. ......................................................................................................... 42 CHAPTER 3 INDUSTRIAL CONTEXTS: THE RISE OF HORROR
    [Show full text]
  • Labor Day Weekend Brings Hot Weather to the Palisades
    20 Pages Thursday, September 10, 2020 ◆ Pacific Palisades, California $1.50 Labor Day Weekend Brings Palisades Businesses, Schools Hot Weather to the Palisades Respond to Updated Orders By LILY TINOCO By SARAH SHMERLING Reporter Editor-in-Chief he Los Angeles County De- hat normally is a last hur- partment of Public Health rah of summer was com- Tannounced updated COVID-19 Wpletely turned around in 2020 as business and school operations on temperatures reached 100 degrees Wednesday, September 2. and Palisadians remained under The county will allow limited safer at home orders in response on-campus operation for schools, as to COVID-19 over Labor Day well as indoor operations for hair weekend. salons and barbershops. The previous holiday week- Starting Monday, September end, Fourth of July, beaches 14, schools will be allowed to throughout the County of Los offer in-school services for small Angeles were closed to prevent cohorts of students with individ- Corpus Christi School Rich Schmitt/Staff Photographer crowds, but this weekend, beaches ualized education plans, students remained opened, with Beaches & who require instruction for English son instruction so long as the cam- remain unchanged at this time, ac- Harbors urging visitors to follow as a second language, and students pus was permitted to do so. For the cording to the press release from all public health guidelines. who need assessment or special- time being, elementary and middle Public Health. Unless eating, drinking or in ized in-school services, so long school students will be learning on- “Right now, a cautious and ti- the ocean, beachgoers were re- as the school is able to implement line, while preschool students meet trated reopening—with close mon- quired to wear face masks.
    [Show full text]
  • Theo Caesar Sr. Partner/Head Agent/LA Theatrical 90210 Talent 16430 Ventura Blvd., Ste. 200 Encino, CA 91436 US Lisa Martel Head
    Theo Caesar Lisa Martel Facé Sr. Partner/Head Agent/LA Theatrical Head of V.O./Sr. Agent/LA Theatrical LA Head of Comm’l/Agent 90210 Talent 90210 Talent 90210 Talent 16430 Ventura Blvd., Ste. 200 16430 Ventura Blvd., Ste. 200 16430 Ventura Blvd., Ste. 200 Encino, CA 91436 US Encino, CA 91436 US Encino, CA 91436 US Traci Turton Kevin Turton LaRosa Howland Co-Head, NYC Office, Full Service Co-Head, NYC Office, Full Service Head of Youth Talent Dept/LA Theatrical Agent 90210 Talent 90210 Talent 90210 Talent 16430 Ventura Blvd., Ste. 200 16430 Ventura Blvd., Ste. 200 16430 Ventura Blvd., Ste. 200 Encino, CA 91436 US Encino, CA 91436 US Encino, CA 91436 US Sunnee Townes Walter Shaw, Jr. Walter Shaw, III Theatrical Agent, LA Agent Agent 90210 Talent A.M.W. Talent Agency A.M.W. Talent Agency 16430 Ventura Blvd., Ste. 200 121 W. Lexington Dr. 121 W. Lexington Dr. Encino, CA 91436 US Glendale, CA 91203 Glendale, CA 91203 Miles Lozano Harry Abrams Neal Altman Agent Chairman/CEO COO Abrams Artists Agency (Los Angeles) Abrams Artists Agency (Los Angeles) Abrams Artists Agency (Los Angeles) 9200 Sunset Blvd., 11th Fl. 9200 Sunset Blvd., 11th Fl. 9200 Sunset Blvd., 11th Fl. Los Angeles, CA 90069 Los Angeles, CA 90069 Los Angeles, CA 90069 Robert Attermann Marni Rosenzweig Brian Cho COO Senior VP/Head, Talent Dept. CFO Abrams Artists Agency (Los Angeles) Abrams Artists Agency (Los Angeles) Abrams Artists Agency (Los Angeles) 9200 Sunset Blvd., 11th Fl. 9200 Sunset Blvd., 11th Fl. 9200 Sunset Blvd., 11th Fl.
    [Show full text]
  • National Journalism Awards
    Tavis Smiley Joe Mantegna Bob Barker The Luminary The Visionary The Legend Award Award Award 2015 EIGHTH ANNUAL NATIONAL ARTS & ENTERTAINMENT JOURNALISM AWARDS LOS ANGELES PRESS CLUB 8TH ANNUAL National Arts & Entertainment Journalism Awards Los Angeles Press Club Awards for Editorial Excellence in A non-profit organization with 501(c)(3) status Tax ID 01-0761875 2014 and 2015, Honorary Awards for 2015 4773 Hollywood Boulevard Los Angeles, California 90027 Phone: (323) 669-8081 LOS ANGELES PRESS CLUB’S Fax: (310) 464-3577 E-mail: [email protected] Website: www.lapressclub.org The Visionary Award For Humanitarian Work PRESS CLUB OFFICERS JOE MANTEGNA PRESIDENT: Robert Kovacik NBC4 SoCal VICE PRESIDENT: Adam J. Rose Introduced by Dan Lauria CBS Interactive TREASURER: Anthony Palazzo Bloomberg News SECRETARY: Gloria Zuurveen Pace News The Luminary Award EXECUTIVE DIRECTOR: Diana Ljungaeus International Journalist For Career Achievement BOARD MEMBERS TAVIS SMILEY Cher Calvin, KTLA Elizabeth Espinosa, KFI Introduced by Diahann Carroll Mariel Garza, Los Angeles Times Barbara Gasser Hollywood Foreign Press Association Gabriel Kahn, USC Annenberg School of Journalism & Communications The Legend Award Jessica Keating, LA News Group For Lifetime Achievement and Fernando Mexia, Spanish EFE News Service Contributions to Society Carolina Sarassa, MundoFox Ben Sullivan, ScienceBlog.com BOB BARKER Brain Watt, KPCC Introduced by Drew Carey and HONorarY BOARD MEMBERS Interviewed by Robert Kovacik Alex Ben Block Ted Johnson Will Lewis Your hosts Jack Maxwell, Cher Calvin, and Wendie Malick. ADVISORY BOARD Eli Broad Hon. Richard J. Rick J. Caruso Riordan Madeline Di Nonno Ramona Ripston David W. Fleming Hon. Bill Rosendahl Bill Imada Angelica Salas Sunday, December 6, 2015 Sabrina Kay Carol Schatz The Crystal Ballroom, Sherry Lansing Gary L.
    [Show full text]
  • Brought to You By
    WHY ACTOR NEED THIS LIST BROUGHT TO YOU BY WHY ACTOR NEED THIS LIST 1 2017 UPDATE Copyrighted Material This is a friendly reminder that the information in this document is copyrighted. I would ask that you do not share this information with others. You personally have purchased this list, and you have the right to use it on your system. Another person who has not purchased this document does not have that right. Please note that it is the sales of this valuable information that makes the continued existence of ActingPlan.com website possible and allows me to continue to provide free advice on the blog. If enough people disregard this simple economic fact, my website will no longer be viable or available. If other creatives think this information is valuable enough to ask you for it, they should think it is valuable enough to purchase on their own. I’ve tried to make the price low enough that just about anyone would be able to afford it while at the same time allowing me to maintain the site and write more advice for actors seeking comprehensive resource about the industry. It should go without saying that you cannot post this document or the information it contains on any electronic bulletin board, websites, FTP sources, newsgroup, or… well, you get the idea. The only place from which this document should be available is on my website at http://actingplan.com. I appreciate your support and understanding. Thank you! Paul Valentino, Acting Plan http://actingplan.com 150 Top Talent Agencies in Los Angeles – 1st edition.
    [Show full text]
  • Liu 1 the DOMINATION of HOLLYWOOD
    Liu 1 THE DOMINATION OF HOLLYWOOD: OWNERSHIP CHANGES AND PRESENT-DAY IMPLICATIONS Ashley Liu TC 660H Plan II Honors Program The University of Texas at Austin May 19, 2020 __________________________________________ Alisa Perren Radio Television Film Supervising Professor Jonathan Cohn Finance Second Reader Liu 2 ABSTRACT Author: Ashley Liu Title: The Domination of Hollywood: Ownership Changes and Present-Day Implications Supervising: Alisa Perren, Radio Television Film; Jonathan Cohn, Finance Over the past century, the ownership of film and television companies has transferred from small-scale, private independent operations to large, often publicly held multimedia conglomerates. What does the ownership landscape for media corporations look like now? How does the current ownership landscape, in which telecommunications and technology companies are more actively involved, impact labor relations and the development of streaming services? This paper seeks to answer the questions above. The first question addresses the historical factors that drove the industry into its consolidated state; it also pertains to the ownership structures of individual media conglomerates, which currently operate across different media sectors. The second question addresses two direct implications of recent ownership changes: heightened labor tensions between the Hollywood writers and their talent agencies, and the traditional media companies’ efforts to join the streaming space to compete with technology companies such as Netflix and Amazon. Liu 3 Table of Contents
    [Show full text]
  • Private Equity Investment and Soaring Agency Valuations
    Agencies For Sale Private Equity Investment and Soaring Agency Valuations INTRODUCTION The two dominant Hollywood talent agencies, William Morris Endeavor (WME)1 and Creative Artists Agency (CAA), have recently transformed themselves from partner-controlled businesses to conglomerates that are majority-owned by private equity funds, sovereign wealth funds, and other institutional investors. The third-largest talent agency, United Talent Agency (UTA), followed suit in August 2018, selling a minority stake to private equity firm Investcorp and pension investment manager PSP Investments. As a result, the top three agencies now operate under the pressure of private-equity-level profit expectations. This has caused a seismic shift away from an agency’s core mission of serving clients over all else, fulfilling its fiduciary obligation to always act solely in the best interests of clients and to avoid conflicts of interest. As detailed in this report, the major talent agencies have taken in billions in outside investment. These investments have been attracted by the agencies’ exclusive access to television and film talent. In addition, investors are drawn to a business model in which the agencies’ own income is divorced from what clients earn. The major Hollywood agencies now make much of their money by demanding direct payments from the studios that employ their clients, known as “packaging” fees, which are unrelated to their clients’ compensation and come directly from TV series and film production budgets and profits. Packaging fees are a conflict of interest because they introduce direct negotiations between the agency and its client’s employer over how much the agency will be paid.
    [Show full text]