December 2, 1997
If you think being a top Hollywood agent is always glamorous, think again. Yes, the salaries and perks can be enormous. And getting thanked by a client at the Academy Awards, in front of some 1 billion TV viewers, must be very gratifying. But those benefits go hand in hand with a daily grind and unrelenting stress that few are willing to discuss publicly. "It's like swimming in the ocean. You go through one set of waves, and you can rest for 30 seconds until the next set of waves comes up and you have to negotiate those.
April 29, 1997 |
Historically, it's been common for agents to cross to the corporate executive side of the entertainment business. Nearly two years ago, Creative Artists Agency's founding partners Michael Ovitz and Ron Meyer shocked Hollywood when they made their jump. One of their right-hand men, Sandy Climan, followed suit when Meyer offered him a top executive post at MCA (now known as Universal Studios Inc.).
December 16, 1996 |
A roomful of fancy computers isn't normally sufficient to get the stars to come out in Hollywood. But a veritable mob that included Jennifer Aniston, Woody Harrelson, Sydney Pollack and Barry Diller was on hand last week for the opening of a novel new technology laboratory at Creative Artists Agency. Developed in collaboration with computer chip giant Intel Corp.
January 19, 1996 |
In what is surely the first partnership between a microprocessor manufacturer and a Hollywood talent agency, Intel Corp. and Creative Artists Agency said Thursday that they will jointly establish a state-of-the-art multimedia lab for CAA's clients. Intel will supply the lab with high-performance personal computers and in some cases will make technology available to the lab before it goes to market.
November 10, 1995 |
Coca-Cola Co. on Thursday formally ended its advertising relationship with Creative Artists Agency, forming a new ad company with Walt Disney Co. and three former CAA executives as minority partners. The move had been expected, and ends a 4-year-old venture with CAA in which a Hollywood talent agency for the first time was commissioned to create a major ad campaign.
November 8, 1995 |
Sylvester Stallone on Tuesday signed with International Creative Management, becoming the latest in a series of Creative Artists Agency clients to jump ship since the departure of former executives Michael Ovitz and Ron Meyer. Many in the industry see Stallone's decision as directly linked to the departure of Meyer, a CAA founder and Stallone's agent for 14 years. Meyer's first big deal at MCA, where he is now president, was to sign the actor to a $60-million, three-picture deal.
November 7, 1995 |
Few clients have generated more money for Creative Artists Agency than Aaron Spelling, the prolific television producer who counts among his credits "Love Boat," "Charlie's Angels," "Melrose Place" and "Beverly Hills 90210." So a collective sigh of relief went up among the new owners of CAA this fall when Spelling renewed his contract after two decades of personal attention from Bill Haber, TV agent par excellence and part of the powerful founding triumvirate of CAA that was selling out.
October 27, 1995
Walt Disney Co. named Dan Adler, a former executive with Creative Artists Agency, as vice president of talent and entertainment development for Disney Interactive. Adler, who directed CAA's move into new media, will hire actors and other creative personnel to work at Disney Interactive, which develops educational and entertainment software for computers. * Rosemary Moore, senior vice president of corporate communications of Joseph E. Seagram & Sons Inc.
October 21, 1995 |
Kevin Costner, one of the world's most popular and highest-paid movie stars, has left Creative Artists Agency, dealing the powerhouse talent agency its biggest blow since the summer departure of co-founders Michael Ovitz and Ron Meyer.
October 15, 1995
We are deeply moved by Claudia Eller's coverage of Creative Artists Agency during its delicate recovery phase ("Day One at CAA Sans the Mighty Ovitz," Oct. 3). But before the drastic decision to make Michael Ovitz's office into a sort of corporate rumpus room is institutionalized, consider this modest proposal: Historically, long-distance motor races have begun with the Le Mans-type start: The drivers run for their cars, vault in, start engines and speed off to battle. Why not assemble all of CAA in the spacious lobby, then drop a bottle of Perrier from the upper level?