Hollywood Director 1992

[Chapter 28: Agent]

"Hey, Link, are you moving? Why not hire a moving company?"

Sam Haskel strode into the living room, casually asking.

"It's just a few boxes. I can drive them myself."

Link made two cups of tea and set them on the coffee table to offer to Sam.

"News reports said you endured a lot to make your film, and seeing your place, it really is true. But look at the outcome -- you've become a box office sensation, a shining new director, and you've earned it all."

"Thanks! I just made one moderately successful movie; I can't call myself a genius director yet," Link replied humbly.

"Sure you can. Over the last few decades, many young directors who made low-budget box office hits went on to do well. Look at Steven Spielberg, David Lynch, and James Cameron. The difference with you, Link, is that you made your mark younger. I truly believe your future in the entertainment industry will rival theirs."

Sam Haskel paused, looking out the window as sunlight reflected in his dark brown eyes.

"But becoming famous young comes with its troubles. You'll face a lot of jealousy and scrutiny, just like how Robert Downey Jr. publicly called you out and didn't apologize. Then there were those media reports surfacing with negative news about you. It's all an open shot.

If you were our client, once these things came to light, we'd help you manage it immediately to protect your public image.

I know you want to be a pure filmmaker, quietly making movies, but this is Hollywood -- a battleground for fame and fortune. No one gets to simply stand aside and enjoy the accolades."

"Yeah, I get it, and I hear what you're saying. But I've heard that management companies often meddle in their clients' work, leading to missed opportunities or terrible scripts, and I've even heard of worse things. That's what gives me pause," Link said, shrugging his shoulders.

Sam Haskel took a sip of his water but caught a whiff of something faintly alcoholic. He didn't let it bother him and set the cup down, smiling. "Link, that's not only your hesitation; it's a common thought among many before joining a management company. Everyone wants a pleasant work relationship without ongoing conflicts or disputes.

As a management company, we aim to profit and grow. We wouldn't target our clients without cause, as that would ruin our relationship with them and tarnish our reputation. No company would undertake anything that could harm its own growth.

We at William Morris Agency have been around since 1898 and have represented thousands of stars over the years. While we may not be the most profitable agency in Hollywood, we are known for having the best reputation. With nearly a century behind us, scandals have been rare, and you can check for yourself.

CAA is strong, but they frequently intervene with their clients' projects, leading to conflicts. ICM is more focused on musicians. Link, as long as you agree to join WMA, we can put in the contract that we won't interfere with your personal film projects. Whatever films you decide to make, the scripts you choose, the actors you cast -- all of that will be entirely up to you. We won't interfere or take a commission.

We'll only take commissions from projects we participate in -- those where we've helped you secure scripts or assemble a crew, or gotten you endorsements. In other words, we'll only benefit from our work with you, not from what you do independently. The contract can reflect that."

"Oh, so if you don't interfere with my personal projects and won't take a commission from them, if I make personal films for the next few years and WMA can't benefit, what's the advantage of signing with you?" Link asked.

"Ha! There are plenty of advantages. First, if you can successfully make multiple films without relying on the company, it shows you're incredibly talented as a director. Having a client like you would be a valuable asset.

Second, being with WMA means that when a film opportunity arises, we'll hear about it first and can recommend suitable actors for you. But remember, that's just a recommendation; the choice is entirely yours. That's another resource.

And one last point -- this is Hollywood, a competition for fame and fortune. No one can go it alone forever. The benefits you gain alone can't compare to those of a collaborative effort. You might doubt that now, but once you've worked with a company, you'll come to believe it. I think you understand that."

At this point, Sam Haskel paused, winking with a smile. "You're a very promising director. Being signed by us is undoubtedly better than going to a rival agency."

...

Those last two points were the crux of his argument. Sam knew as long as Link was in Hollywood, he couldn't remain independent for long.

The reason was simple: Link couldn't ensure every film would be a success, nor could he promise everything would run smoothly. If his next film -- or the one after that -- flopped or underperformed at the box office, he'd naturally seek help.

If he wanted a longer-lasting career, make blockbusters, earn higher pay as a director, or win awards, a management company's assistance became necessary.

Bringing on Link was also a strategic step for the agency. Before 1975, WMA was the most powerful agency in Hollywood and the only real powerhouse.

In 1975, five discontented agents at WMA, including Michael Ovitz, Ron Meyer, Martin Baum, William Habor, and Roland Perkins, left because they were unhappy with the seniority system there and founded CAA.

After more than a decade, CAA became the strongest agency in the world, with countless stars on its roster.

Especially after the passing of the old head in 1986, WMA was overrun by CAA, losing many clients in the process. The agency needed to attract fresh talent to bolster its strength and influence.

A twenty-year-old director who had created box office magic like Link was an excellent target. When Sam Haskel learned the firm was interested in signing Link, he took on the job to secure the contract.

Initially, he thought it would be easy; many people would consider an offer from a big management firm like WMA an honor and accept quickly. Given Link's youth and average background, and considering he had little industry connection at the time, this should have been easier.

But to Sam's surprise, Link turned him down. Despite being in the presence of a big name like WMA, Link didn't show the excitement Sam expected and instead displayed a maturity beyond his years.

Sam realized he needed to adopt a serious stance regarding this matter. After discussing it with the company, he approached Link again with more attractive terms, hoping to finalize the agreement first before a competitor snatched him up.

Understanding Link's cautious nature, Sam decided to appeal to his sense of sincerity.

...

"Link, the benefits of joining a management company absolutely outweigh the drawbacks. Even if you don't join WMA, I feel this way. I really hope you'll reconsider and let WMA's team support your career."

Sam Haskel fixed his steady gaze on Link, honesty in his expression.

"Mr. Haskel, you've made some good points; please allow me to think it over and I'll give you an answer within three days."

"Alright, Link, I'll await your good news."

After seeing Sam Haskel off, Link went back to packing up his things and preparing for the move.

*****

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