UTA Announces Capital Investors
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Seven Summits Pictures & Management David Shapira
SEVEN SUMMITS PICTURES & MANAGEMENT PARTNER & CO-HEAD MOTION PICTURE LITERARY DEPT. (Full -service agency for film and TV) Jeremy Zimmer 8447 Wilshire Blvd., Ste. 200, Beverly Hills, CA 90211. HEAD, BUSINESS AFFAIRS TEL: (323) 655-0101. Gary Gradinger BUSINESS AFFAIRS, ALTERNATIVE TV DAVID SHAPIRA & ASSOCIATES, INC. (DSA) Anne Bartnett (Actors for film and TV; writers) DIRECTOR, UTA FOUNDATION 15821 Ventura Blvd., Ste. 245, Encino, CA 91436. Rene Jones TEL: (310) 967-0480. BUSINESS AFFAIRS AGENTS Thora Leiken, Lauren Menkes, Leroy Simmons Donna Gaba, Marc Kamler, David Shapira, Matthew Shapira, PARTNER, AGENT Susan Simmons, Doug Warner Blair Belcher, Andrew Cannava, Wayne Fitterman, David Guillod, Lisa Hallerman, Tracey Jacobs, David Kramer, Sue THE SKOURAS AGENCY Naegle, Matt Rice, Howard Sanders, Sharon Sheinwold 1149 Third St., 3rd Fl., Santa Monica, CA 90403. AGENTS TEL: (310) 395-9550. FAX: (310) 395-4295. Robert Arakelian, Tobin Babst, Allison Band, Jeremy Barber, Joel Begleiter, Brinda Bhatt, Jason Burns, Carlos Carreras, MICHAEL SLESSINGER & ASSOCIATES Pamela Cole, Stephanie Comer, Jimmy Cundiff, James Degus, (Full -service talent agency for actors) Marissa Devins, Barbara Dreyfus, Gueran Ducoty, Shana Eddy, 8730 Sunset Blvd., Ste. 270, West Hollywood, CA 90069. Jonathan Epstein, DAn Erlij, Jacob Fenton, Charlie Ferraro, TEL: (310) 657-7113. Pete Franciosa, Jay Gassner, Brett Hansen, Lee Horvitz, Lisa VICE PRESIDENT Jacobson, Josh Katz, Keya Khayatian, Rob Kim, Josh Klein, Michael Slessinger Richard Klubeck, Marc Korman, Billy Lazarus, Everly Lee, Stuart Manashil, Leslie Maskin, Nancy Gates, Hayden Meyer, SMS TALENT, INC. Geoff Morley, Dave Park, Jonathan Perry, Rob Prince, Itay (Adult theatrical) Reiss, Shani Rosenweig, Larry Salz, Alex Schaffel, Ruthanne 8730 Sunset Blvd., Ste. -
Sending Agents to the Principal's Office
SENDING AGENTS TO THE PRINCIPAL’S OFFICE: How Talent Agency Packaging and Producing Breach the Fiduciary Duties Agents Owe Their Artist-Clients Brian T. Smith Abstract Talent agents have always been indispensable to writers, actors, and other creative workers in the entertainment industry, providing independent representation to their artist-clients in dealings with sophisticated corporate employers. But following a historical shift in their revenues from commission- ing clients to lucrative television packaging fees, the power and profits of the biggest agencies grew exponentially. Revenues from packaging fees allowed these agencies to diversify into other businesses and attracted outside invest- ment by private equity firms leading to further vertical integration. Now, the largest agencies have turned their eye toward a new revenue stream: producing and owning content through agency-affiliate production companies. These innovations have come at the cost of the independent representa- tion agents are supposed to provide their clients. Packaging and producing by talent agencies and their affiliates breach the well-established fiduciary duties agents owe their clients under the law by aligning the agency’s own interests with the interests of its clients’ employers. Outside investment in the agencies only exacerbates these conflicts. These departures from traditional agenting undermine the avowed purpose of the California Talent Agencies Act: to pro- tect vulnerable artists from the conflicted practices of their agents. While these issues are at the heart of the ongoing industry dispute between the Writers Guild of America and the big agencies, their importance should concern all agency clients and their unions. The California Legislature should amend the outdated Talent Agencies Act to enumerate and reaffirm the fiduciary duties * J.D., UCLA School of Law, 2020; B.A., Tufts University, 2007. -
Inclusion in the Director's Chair 2007 to 2017
INCLUSION IN THE DIRECTOR’S CHAIR? EXAMINING , POPULAR FILMS USC ANNENBERG INCLUSION INITIATIVE @Inclusionists FEMALES ARE OUTNUMBERED IN THE DIRECTOR’S CHAIR PERCENTAGE PREVALENCE OF FEMALE DIRECTORS ACROSS , FILMS, OF FEMALE 4% in percentages DIRECTORS 8 7.5 7.3 RATIO OF MALES TO FEMALES 4.1 4.2 3.6 3.7 22:1 2.7 2.8 1.9 1.9 TOTAL NUMBER OF DIRECTORS 1,223 ‘07 ‘08 ‘09 ‘10 ‘11 ‘12 ‘13 ‘14 ‘15 ‘16 ‘17 THE DIRECTOR'S CHAIR IS WHITE AND MALE ACROSS , FILMS AND , DIRECTORS... Of the 64 Black or Of the 39 Asian African American 60 or Asian American directors... directors... 5.2%OR WERE BLACK OR AFRICAN AMERICAN 36 3.2% 4 3 OR WERE ASIAN OR ASIAN AMERICAN FEMALE MALE FEMALE MALE © DR. STACY L. SMITH Inclusion Initiative SINGLE TAKE: FEMALES ARE MORE LIKELY TO MAKE ONE FILM THAN MALES NUMBER OF FILMS MALES FEMALES One Two 21.5% Three Four 12.1% Five+ 11.6% 6.4% 2.3% 4.7% 55.3% 83.7% 2.3% 0% AGE IS RELATED TO DIRECTING ASSIGNMENTS FOR FEMALES DIRECTOR GENDER BY AGE s s s s s s s TOTAL FEMALES 0 11 26 8 7 0 0 52 MALES 8 269 525 254 73 24 6 1,159 Information for 12 individuals could not be confirmed. PIPELINE PROBLEMS: CAREER PROGRESS STALLS FOR FEMALES PERCENTAGE OF FEMALE DIRECTORS BY MEDIA PLATFORM 27.5 22.2 23% 17 DROP FROM NARRATIVE INDEPENDENT FILMS TO TOPGROSSING 4 FILMS Narrative 1st Time Episodic Top-Grossing Independent Episodic TV TV Directors Films Films Directors © DR. -
List of L.A. Talent Agencies
FEBRUARY 17, 2020 LOS ANGELES BUSINESS JOURNAL 19 for rich paydays — “overscale” compensation — though collective bargaining agreements are Creative Differences: The Writer’s Guild of America has important in setting a base. Dispute Between Agencies, been embroiled in conflict with talent agencies since April. Another wrinkle is that much of Holly- wood’s top talent also works as producers — which are employers. That means the likes Writers Likely to Continue of Steven Spielberg, Tom Hanks and other Standoff is separate from other labor contracts multi-hyphenates (particularly writer-produc- ers) can have economic stakes on both sides of The labor dispute over talent agency packaging fees is boiling the triple-witching negotiating table. over, but it sits outside of Hollywood’s triple-witching contracts. Co-chairing the DGA in negotiations are directors Jon Avnet and Todd Holland. Avnet In April, the Writer’s Guild of America instructed its members produced “Risky Business,” launching the act- to fire their agents — and most did though not all, according to ing career of Tom Cruise. Emmy-winner Hol- news accounts — igniting a static trench warfare that is ongoing. land directed episodes of ABC’s “Black-ish.” In a boost to the WGA, some small and medium-size talent The DGA went first in earlier triple witch- agencies recently signed franchise agreements with the union, ing contract-negotiation cycles, in part because breaking ranks with the Association of Talent Agents, an directors have a reputation for reaching deals industry trade group. without resorting to strikes. The DGA only WGA efforts to abolish the packaging practice date to the stopped work once, in 1987, resulting in a short 1970s, when talent agencies began taking their fees directly walkout. -
Mentor Matches
Class of 2020 Participants and Mentors Entertainment Track Zachary Maltzman Cara Rifkin Entertainment Track Chair Entertainment Track Chair Zachary Maltzman is the CFO Cara Rifkin is the Vice President of of Eastman Music Company. Programming for Lando Entertainment, a non- Eastman is a musical instrument scripted television production company. She manufacturer operating under has also produced over 15 series for Food the Eastman brand names in addition to S.E. Shires Network and HGTV, winning an Emmy Award for Outstanding Co., Wm S. Haynes, Bourgeois Guitars, and Backun Culinary Program in 2016. Cara holds a BS in Theatre and Art Musical Services. Zachary is a CPA with a BS in History from Northwestern University and an MA in Journalism Accounting from the University of Maryland. from USC. A native of Los Angeles, Cara prides herself on knowing where to find the city’s best tacos. CLI Participants Mentors Brian Bellinkoff Aaron Leibovic Filmmaker and Creative Director, Selects Media Managing Partner of Leibovic Law Group Brian’s career as an award-winning Aaron is an attorney who co-founded and independent producer/director/editor spans manages Health Advocates and Leibovic Law feature-length documentaries for Netflix, Hulu, Group. Aaron has supported and been active and Amazon to television shows and specials on the boards of many Jewish organizations: for DIY, Great American Country, Comedy Central, and Showtime. Camp Ramah, Ziegler School of Rabbinic Studies, Sinai Temple, In 2018, he founded Selects Media, a production company Sinai Akiba Academy, Milken Community Schools, BJE and specializing in branded content and social media ad optimization Federation. -
Islamist Influence in Hollywood
Islamist Influence in Hollywood Islamist Influence in By Deborah Weiss, Esq. War is peace. Freedom is slavery. Ignorance is strength. − George Orwell Politics is downstream from culture. − Andrew Breitbart Center for Security Policy Press For more information about this book, visit SECUREFREEDOM.ORG Islamist Influence in Hollywood is published in the United States by the Center for Security Policy Press, a division of the Center for Security Policy. Copyright @ 2018, by Deborah Weiss, Esq. All rights reserved ISBN-13: 978-1985619043 ISBN-10: 198561904 The Center for Security Policy Washington, D.C. Phone: 202-835-9077 Email: [email protected] For more information, visit SecureFreedom.org Book design by Bravura Books Contents Foreword ...................................................................................................... 1 Introduction: We Are at War .................................................................... 5 Chapter 1: Hollywood as a Target For Civilization Jihad and Influence Operations: Background Information ............................... 7 Jihad Does Not Require Violence ..............................................................7 Islam is a Political Religion .........................................................................7 The Muslim Brotherhood In America .......................................................9 What Is an Influence Operation? .............................................................10 The Role of Hollywood .............................................................................12 -
Women in Film Annual Report Gender Parity: the View from Here19 Staff
20WOMEN IN FILM ANNUAL REPORT GENDER PARITY: THE VIEW FROM HERE19 STAFF Kirsten Schaffer, Executive Director Maikiko James, Director of Programs Amy Guy, Director of Development Alison Emilio, Director of ReFrame Genevieve Winters, Director of the WIF Help Line Ashley Chrisman, Manager of Operations and Events Melissa Verdugo, Manager of Programs Katherine Spada, Communications Manager OUR MISSION Ebony Adams, Manager of Public Programs Women In Film advocates for Toni-Marie Gallardo, Development and and advances the careers of Communications Coordinator women working in the screen Angel Hunter, Program Coordinator industries — to achieve parity Raissa Reis, Office Coordinator and transform culture. WIF BELIEVES THAT… • Gender parity—defined by equal opportunity, pay, and representation—is a requirement of healthy civil society. • Despite progress, systemic bias in the screen industries persists; it manifests in forms both conscious and unconscious. • This bias is intersectional across race, ethnicity, ability, age, class, sexual orientation, and gender identity. • This bias informs the decision-making process of both men and women. • Women helping women cultivates the next generation. • Awareness of systemic imbalance is the precedent to Culture Change. Culture Change is the precedent to Policy Change. • Parity is only possible when decision makers change culture and policy, and hold themselves, their teams, and their businesses accountable for its implementation. • Parity is good business. Parity, inclusivity, and equal representation are non-negotiable requirements of sustainable media businesses. 02 Welcome From the Executive Director 03 Welcome I became the Executive Director of Women In Film in April of 2015, a few Message days before launching the third round of research examining the careers of women in Hollywood, in partnership with Sundance Institute and USC. -
Printing Instructions
© PRINTING INSTRUCTIONS Please follow these easy steps to print out the following addresses onto mailing-label sheets. STEP 1 – Do a test print: Print out at least one page of the addresses from this PDF onto regular paper. To be extra safe, print this entire PDF from page 2 until the end. (Starting at page 2 will avoid printing this instruction page.) STEP 2 – Take a sheet of blank mailing labels ( Avery 5260 or Avery 5160 labels ) and put it on top of your print-out test. Hold this up to a light source to see if the addresses on the print-out line up correctly with the size of the mailing labels. Make any necessary adjustments to your printer settings to ensure that the addresses will fit correctly on the mailing labels. STEP 3 – Load the mailing-label pages into your printer. Note: Labels are thicker than regular paper, so be careful to not overfill your printer tray or you may get a printer jam. STEP 4 – Print out one page of addresses onto a mailing-label sheet as a test. Look at the print-out to make sure that the alignment is correct. Make any necessary adjustments to your printer settings. Repeat until the test labels are correctly aligned. STEP 5 – Print all of the address labels from page 2 until the end of the PDF document. You may want to print only one page at a time to be safe; or print out all pages at once if you're sure it'll work. STEP 6 – Now peel the labels off of the sheets and place them on your postcards or envelopes to send your headshot & resume to industry professionals. -
Litigators and Dealmakers
Hastings Communications and Entertainment Law Journal Volume 43 Number 1 Winter 2021 Article 2 Winter 2021 Litigators and Dealmakers: A Comprehensive Critique of the California Labor Commission’s Solis Decision and the Talent Agencies Act in the Context of the 2018-2019 WGA-ATA Packaging Dispute Tyler J. Emerson Follow this and additional works at: https://repository.uchastings.edu/hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Tyler J. Emerson, Litigators and Dealmakers: A Comprehensive Critique of the California Labor Commission’s Solis Decision and the Talent Agencies Act in the Context of the 2018-2019 WGA-ATA Packaging Dispute, 43 HASTINGS COMM. & ENT. L.J. 1 (2021). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol43/iss1/2 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. 2021 LITIGATORS AND DEALMAKERS 1 Litigators and Dealmakers: A Comprehensive Critique of the California Labor Commission’s Solis Decision and the Talent Agencies Act in the Context of the 2018-2019 WGA-ATA Packaging Dispute By TYLER EMERSON* I. Introduction FADE IN: INT. BEVERLY HILTON HOTEL - DAY At 3:00 in the afternoon on April 12, 2019, aDversaries in presseD power suits glare at each other across a large table. The situation is tense. On one side are representatives for the Writers Guild of America, the largest union for television anD film writers in America. -
Matrix 3 Columns
Case 16-11596-KG Doc 2 Filed 07/01/16 Page 1 of 293 Deadline 1 WORLD SYNC INC Case 16-11596-KG10 ITEMS LESS, Doc LLC 2 Filed 07/01/16 Page10 2ITEMS, of 293 LLC DEPT 781341 ATTN: LORI MCCREARY ATTN: LORI MCCREARY P.O. BOX 78000 1221 SECOND STREET 1221 SECOND STREET DETROIT, MI 48279-1341 SANTA MONICA, CA 90401 SANTA MONICA, CA 90401 10 ITEMS, LLC 11:24 DESIGN ADVERTISING 120DB FILMS LENDING LLC STROOCK & STROOCK & LAVEN LLP 323 CULVER BLVD 75 MILL RIVER ROAD 2029 CENTURY PARK EAST, SUITE 1800 PLAYA DEL REY, CA 90293 SOUTH SALEM, NY 10590 ATTN: ERIC F. HARBERT LOS ANGELES, CA 90067 123OLAP LLC 140 WEST 57TH STREET BUILDING 148845 CANADA INC. P.O. BOX 459 C/O JEFFREY MANAGEMENT CORP 3440 COTES DE NEIGES STE. 2 PLYMOUTH, CA 95669 200 WEST 57TH STREET MONTREAL, QC H3H 1T8 CANADA NEW YORK, NY 10019 15 MINUTES 1727 HUDSON HOSPITALITY LLC 17K ASL LLC 145 WEST 28TH STREET 6541 HOLLYWOOD BLVD ATTN: BRENT BAUM 12TH FLOOR LOS ANGELES, CA 90028 7444 WOODROW WILSON DRIVE NEW YORK, NY 10001 LOS ANGELES, CA 90046 17K ASL LLC 19 PRODUCTION LIMITED ("19") 1966 TOUR HOME MOVIES HOLMES WEINBERG PC 33 RANSOMES DOCK DBA 1966 TOUR HOME MOVIES 30765 PACIFIC COAST HIGHWAY, SUITE 411 33-37 PARKGATE ROAD 365 E. AVENUE DE LOS ATTN: HILLARY BIBICOFF LONDON SW11 4NP UNITED KINGDOM THOUSAND OAKS, CA 91360 MALIBU, CA 90565 2 LIVE MUSIC 20TH CENTURY FOX (US) 20TH CENTURY FOX (US) 1286 WOOSTER AVE ADDRESS UNAVAILABLE AT TIME OF FILING ADDRESS UNAVAILABLE AT TIME OF FILING AKRON, OH 44307 21 CLUB 219 PRODUCTIONS, INC. -
The Business of Television
SW Law Entertainment & Media Law Conference Only INTRODUCTION In August 2015, John Landgraf, the Chief Executive Officer of FX Networks, stood up before a room full of entertainment reporters at FX’s semiannual pre - sentation to the Television Critics Association and declared: “There is simply too much television.” The audience could be forgiven its surprise to hear the well-respected CEO of one of television’s biggest success stories of the past decade make such a pro- nouncement. After all, since taking over the network in 2004, Landgraf had focused FX (a network whose early years were characterized primarily by reruns of Married . With Children and basic cable exhibition of major theatrical action films) on developing daring new original content, in substantial volume, and with great success. Bold shows like The Shield, Nip/Tuck, and Justified—characterized by high production values, edgy themes, flawed and complicated protagonists, and complex serialized storylines—helped define the prevailing style of premium television programming throughout the late 2000s and early 2010s. Landgraf had guided FX from relying primarily on outside suppliers to fill its programming hours to an integrated network/studio operation through which FX developed and produced much of its own best content (thereby reaping even greater financial rewards from its shows’ success). He even helped launch a companion network, FXX, as a home for some of FX’s more off-beat shows (and a means of expanding the network’s available inventory of prime timeslots to bring new shows to mar- ket). At the time of Landgraf’s 2015 speech, FX’s brand was one of the strongest in television, and its approach to programming had proven highly influential on both traditional basic cable rivals such as AMC and upstart digital platforms like Netflix and Amazon. -
Los Angeles ATTENDEE BIOS
ATTENDEE BIOS Wendy Abrams, Founder, Cool Globes Wendy Abrams is an environmentalist and social activist. She is the founder of Cool Globes, Inc., a nonprofit organization dedicated to raising awareness of climate change that originated as a project stemming from the Clinton Global Initiative in 2006. Designed to utilize the venue of public art and education, the inaugural Cool Globes: Hot Ideas for a Cooler Planet exhibit opened in Chicago in 2007 and has since traveled to three continents. In 2015, Cool Globes launched a campus activist initiative, KNOW TOMORROW, with the goal of amplifying the voices of youth speaking out on climate change. Abrams proudly serves on the Leadership Council for Robert F. Kennedy Human Rights and has participated in delegations to Mexico, Haiti, and the Dominican Republic. She also serves as a trustee for Waterkeeper Alliance, the Center for American Progress Action Fund, and the Amy Krouse Rosenthal Foundation. In 2011, she helped establish the Abrams Environmental Law Clinic at the University of Chicago Law School. She is currently working with the University of Southern California to design a course on the art of activism, which she will convene as an adjunct professor in 2020. Abrams is a principal shareholder of Medline Industries, Inc., the largest privately held manufacturer and distributor of medical supplies in the United States. Abrams graduated from Brown University and received her MBA from Northwestern’s Kellogg School of Management. She lives in Highland Park, Ill., with her husband, Jim. They raised four wonderful children—undoubtedly, her greatest accomplishment. Andrew Barous, Managing Director, New Mountain Capital Andrew D.