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In the face of the entire huge Fox Group, aa is indeed nothing, but being able to gain such a huge force is beneficial to your superiors. Moreover, the successful people of aa service project are far more than those of the losers, and it is not a bad thing to cooperate with them. Instead, they can gain a strong help outside the company. ([?([([(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((

For AA, the directors of production departments of six major film companies that tend to cooperate with them can allow them to continue to maintain their dominant position in the industry and even further expand this advantage when facing fierce competition from many opponents.

Bill Rossis and Cara Faiss' reactions were not surprising to Murphy, especially AA's attitude. Now, facing the group-based six major Hollywood companies, they have long lost the strength of Michael Orwitz during their tenure.

You should know that those who compete with AA for business are not only other brokerage companies, but also some people who have transferred from the entertainment brokerage industry.

When Murphy and Cara Fais left Bill Roses's office and went down to the hall of the Death Star Building, such a person suddenly appeared.

"Hello, Director Stanton."

A middle-aged man stopped Murphy and Cara Fais and introduced himself, "I am Mach de La Cres from the Artist Management Group and brought Mr. Michael Orwitz's greetings."

Murphy was a little surprised when he heard this thunderous name, but he still nodded calmly and said, "Hello."

The man named Mach de La Cres looked at Cara Fais and said, "Can we talk about it alone?"

Before Murphy could speak, Carafes was the first to tell him that dinner would be better someday, and I'll leave first."

Murphy nodded, "I'll call you another day."

Seeing Cara Fais walk out of the Death Star Building, Murphy then retracted his gaze and turned to the man opposite him.

"Can you please come here?" Mach de La Cres led the way, and Murphy followed. The two went to the second floor cafe together, found a quiet booth near the window, and after they were about to come to coffee, they were looking at each other.

Few people who worked hard in Hollywood in this era do not know Michael Orwitz's name. This Hollywood legend in the 190s was the absolute overlord of the entertainment agency industry. For the sake of the company's business, he could not only stick out his butt and dance on the dinner table to please the company's customers, but also brutally break into the six major companies. The mid-1990s was the dividing point between Michael Orwitz's life and career. In order to become a real Hollywood-level boss, he gave up his establishment and went to the position of Walt Disney EO, but he did not succeed this time. Walt Disney EO and Michael Eisner became his Waterloo.

However, Michael Orwitz, who left Walt Disney, also fully saw his abilities and advantages, founded an artist management group company, and returned to the entertainment brokerage industry.

Murphy speculated that their purpose for finding him was very simple, and it was nothing more than to dig for BSP. Sure enough, Mach de Lacres directly and clearly stated his purpose, "Director Stanton, Mr. Orwitz appreciates your ability very much and is optimistic about your potential. I asked me to come here this time to invite you to join the Artist Management Group."

"I am very proud to be praised by Mr. Orwitz, and very honored." After Murphy said politely, he declined politely, "I have worked with AA very happy and have not left BSP at the moment; "You don't need to leave AA." Mach de Lacres glanced at Murphy in doubt, and immediately understood, and said quickly, "You join the Artist Management Group and are in AA."

"Uh..." Murphy couldn't understand at all. When will the Talent Brokerage Act allow two brokerage companies to be signed at the same time?

Mach de Lacres saw Murphy misunderstanding and quickly explained, "The Artist Management Group has long given up its brokerage business and is now a manager management company."

"So that's how it is."

After saying this, Murphy figured it out. After spending several years in Hollywood, he certainly knew that the agent and the manager were completely different.

Unlike the entertainment brokerage industry across the Pacific, in Hollywood, brokers and managers strictly hold the complete work of brokers for practitioners in the industry.

According to the laws and industry unions of California, brokers and managers can be said to have a clear right to divide brokers can get jobs for clients. Their job is to reach as many transactions as possible for clients to get jobs. The manager's responsibilities are to design, plan clients' careers, and build clients' career paths. Their job is to provide career consultation for their clients and provide advice and advice for the career choices provided by brokers.

In other words, the broker provides the client with employment opportunities, while the manager advises the client to accept what opportunities.

"Director Stanton, we're not asking you to quit aa," Maher de Lacres said in time. "Just want to act on your manager's business and plan a better career for you."

Murphy doesn't know much about the manager's industry, so of course he won't agree or refuse immediately.

"I need to think about it," he said.

According to his own judgment, while having four brokers to serve, it seems that there is no need to add a manager?

Moreover, based on the agent's commission, if a manager is added, his income will probably be reduced by another 5% to 10%.

Michael Orwitz's name is indeed very loud, but Michael Orwitz today is far from Michael Orwitz's original AA, and it doesn't have that much attraction to him.

Being attracted to Michael Orwitz and specifically found is indeed a kind of honor. It can even become a capital to show off when you say it out, but this is essentially a business. No matter from any perspective, he should choose a more successful collaborator now.

After leaving the cafe, Murphy thought for a moment and dialed the number of Robert Downey Jr., who is a veteran of Hollywood and a family of entertainment, must have a deeper understanding of managers.

Indeed, Robert Downey Jr. knows more about many things in the industry than he has been in the industry for a few years.

He also gave Murphy's suggestion that if he reiterated, he would not need a manager. If he wanted to accept a manager, it would not take long for the manager and the brokerage company to have a conflict, and he would inevitably make a choice between the two.

Because now, under the banner of a manager's company, many of what they do are actually broker-based work. The two were not complementary but competitive relationships ten years ago.

Later, Robert Downey Jr. simply came out to have supper with Murphy, explaining to him the current situation between the two.

In Hollywood, no person or company engaged in or employed in the production and production of films, or possesses any interest in any production, production, or company, shall directly or indirectly engage in the business of a broker or enjoy the interests of a broker, whether in a person or company.

California's Talent Brokerage Act is an industry law specifically designed to regulate the entertainment brokerage industry. The bill emphasizes that only brokers can obtain jobs for relevant practitioners and uses a series of provisions to protect them from infringement by their agents in the business practice process, such as prohibiting brokers from providing clients with errors or misleading information about their job opportunities; prohibiting clients from sending clients to work in unsafe places; prohibiting brokerage companies from hiring "prostitutes, gamblers, alcoholics"; prohibiting providing illegal job opportunities to minorities; prohibiting sharing commissions with clients' employers.

The legislative spirit of this law is to maintain and strengthen the distinction between brokers and managers to protect the interests of clients, stating that “no one can engage in the work of a broker without obtaining a license granted by a labor commissioner.”

The law clearly states that the agents of relevant practitioners must obtain a broker's license before they can take on the job.

In other words, if a manager is an illegal job as a broker, the artist can report to the labor specialist and seek compensation. After verification, the labor specialist will cancel all contracts signed by the manager and his artist and confiscate illegal income in the past year.

Moreover, major unions in Hollywood also stipulate that entertainment agents must hold photos and are licensed by them.

Under the dual regulations of state laws and industry regulations, brokers have become a profession that enjoys privileged and is strictly protected in entertainment brokerage business, but there are strict restrictions under "privileges".

For example, when Murphy signed a contract with AA, the contract signed for the first time was valid for one year and the contract renewal period was up to 3 years;

For example, the broker's commission is set to an upper limit, which must not exceed 10%;

For example, the agent is prohibited from producing or enjoying the work results of his clients, and the agent shall not directly or indirectly enjoy the interests of the production company or bank company that produces any film;

Vice versa, any person or company engaged in or employed in the production and production of films, or owns any interest in any production, production, production company, shall not engage in the business of a broker or enjoy the interests of a broker, whether in the person or company.

These strict restrictions are all to avoid "conflict of interest", that is, if the broker obtains job opportunities for his client, the broker is entrusted by the client, and while seeking job opportunities, he must of course maximize the benefits of his client. The commission reward is also set to make the interests of the two. However, if the broker is a producer, the producer's goal is of course to control costs and maximize future profits, which is contrary to the goal that the broker should have, that is, it will bring losses to the client.
Chapter completed!