CAA has signed veteran actor Andy Garcia. The actor had been longtime repped by Paradigm, going back to the days of The Untouchables, Godfather III, Black Rain, Internal Affairs and the Ocean’s Eleven films, so he had a good long run there. Garcia will next be seen in Let’s Be Cops, and Kill The Messenger opposite Jeremy Renner. He is percolating some projects that include Hemingway & Fuentes. He intends to direct the script he wrote with Hilary Hemingway, about her uncle Ernest Hemingway. Pic is about how the writer befriended a boat captain, Gregorio Fuentes, who inspires him to write The Old Man And The Sea. Garcia intends to play Fuentes. He remains repped by Brillstein Entertainment.
The Emmy-winning writer-producer is opening a new chapter, moving to CAA after a stint at WME and its predecessor Endeavor. He most recently created and executive produced the CBS comedy series The Crazy Ones starring Robin Williams. Kelley, who pulled the rare feat of winning both the best drama and best comedy series Emmy Awards with The Practice and Ally McBeal in 1999, continues to be with attorney Michael Gendler.
Spain’s top production company has created 14,000 hours of TV programming on both the scripted and unscripted sides and its formats or shows air in more than 145 countries. In Spain, the company produces top series including The Red Eagle (Águila Roja), The Boarding School (El Internado) and The Boat (El Barco), which are also being distributed in other territories. On the film side, its titles include A Night In Old México starring Robert Duvall, which played at SXSW this year and was released stateside by Phase 4 Films. The plan is for CAA to further expand Globomedia‘s opportunities worldwide as well as in the U.S., the latest signal of the importance of Spanish-language programming.
Globomedia continues to be repped in the U.S. by attorney Jeff Finkelstein at Del Shaw.
The correspondence pugilism between CAA and AMC over the agency’s lawsuit with former The Walking Dead showrunner Frank Darabont against the entertainment company over unpaid fees, self-dealing, gross receipts and other claims just put its brass knuckles on again. “AMC’s document requests clearly exceed the bounds of legitimate discovery, as they go far beyond any issues relevant to the instant litigation. Worse, they are manifestly so burdensome and overbroad that compliance would be all but impossible,” said the agency’s lawyer Jerry Bernstein in letter sent this week to Justice Eileen Bransten of the Supreme Court of New York. The correspondence seeking a conference to find resolution in the matter is in response to a letter AMC sent two weeks ago to Her Honor seeking a wide swath of confidential documents from the agency for the case.
“Such a wholesale disclosure of the confidential information of potentially thousands of clients would be devastating to CAA’s reputation and business, would greatly damage CAA’s relationship with its clients, and would have a chilling effect on its competitive position in the marketplace,” the dense July 1 letter says (read it here). “Although prominent, CAA is certainly not the only talent agency in the entertainment industry. CAA’s clients would be outraged at the disclosure of their private information in litigation they are not parties to,” the Blank Rome attorney added. “Moreover, they would not be satisfied that even a ‘highly confidential’ designation of their documents would protect their privacy and their business interests.”
EXCLUSIVE: Alison Pill, who co-stars on Aaron Sorkin’s HBO series The Newsroom, which is returning for its third and final season, has signed with CAA. She had been with WME. Pill was Tony-nominated in 2006 for her performance in The Lieutenant Of Inishmore and also has a SAG cast nom for the Harvey Milk biopic Milk. Her film credits include Woody Allen’s Midnight In Paris and To Rome With Love. She is next up starring alongside Chris Evans, Ed Harris and Tilda Swinton in Snowpiercer, which just opened the Los Angeles Film Festival, and the horror comedy Cooties opposite Elijah Wood and Rainn Wilson. Pill continues to be managed by Joannie Burstein at The Burstein Company.
CAA has signed Cory Hardrict, who was chased by all the agencies after he landed a coveted role opposite James Badge Dale in Legendary Pictures’ Spectral. Hardrict, who had been repped by SDB Partners, co-stars opposite Bradley Cooper in the Clint Eastwood-directed American Sniper, and his recent credits include Brotherly Love, Transcendence, Warm Bodies and Battle Los Angeles. He’s managed by Matt Luber and lawyered by Karl Austen.
CAA has acquired PGW, a full-service experiential marketing company run by Russ Jones that provides sports marketing programs, lifestyle marketing services, guerilla and grassroots and mobile marketing campaigns, live event production and event marketing strategies, and buzz and viral marketing services. The agency is headquartered in Venice Beach with branches across the country and 165 employees.
“Since we moved into corporate consulting in 2011, it has become a tremendous growth area for CAA Sports,” said CAA Sports co-head Howard Nuchow. “The group, which consists of many of the industry’s best and brightest sports marketing executives, today manages more than $1.5 billion of sponsorship rights deals for leading client brands. CAA Sports Consulting has seen increased demand for experiential marketing, and the acquisition of PGW will enable us to immediately scale those capabilities. We have the utmost respect for Russ and his team and the award-winning work they have done on behalf of their clients, and believe that their like-minded approach to collaboration and client service will be a great cultural fit.”
EXCLUSIVE: CAA has hired Tristen Tuckfield as an agent in its Film Finance & Sales Group, where she will focus on domestic film sales from the agency’s Century City headquarters. Tuckfield moves from Millennium Entertainment, where she had been VP Acquisitions. There, she’d done a lot of work with CAA in numerous film projects and has helped spearhead Millennium’s elevation in the quality of projects they make. Tuckfield will essentially be replacing Dina Kuperstock, a key cog in CAA’s Film Finance & Sales Group domestic sales operation. She has left the industry and returned to school to focus on social work and philanthropic pursuits.
At Millennium, Tuckfield built a theatrical and direct-to-video slate that included such films as Charlie Countryman, The Paperboy, What Maisie Knew, The Iceman, Stuck In Love and Fading Gigolo. Before Millennium, she managed acquisitions and development at Samuel Goldwyn Films.
Katheryn Winnick has signed with CAA. She plays Queen Lagertha on History’s hit drama series Vikings, which starts production shortly on a third season. Winnick has appeared in Ed Zwick’s Love And Other Drugs and Robert Luketic’s The Killers. She continues to be managed by Alchemy Entertainment and is with the law firm Jackoway Tyerman.
Justin Long has inked with Gersh. His recent credits include TV’s Mom, New Girl and Unsupervised, and he stars in Fox’s comedy pilot Sober Companion. Long also has appeared in such features as Ask Me Anything, Live Free Or Die Hard, The Break-Up and Dodgeball and next stars in the films The Lookalike, Tusk and Comet.
AMC wants CAA to open up its files on a wide range of clients in the latest salvo in the legal battle between the entertainment company and former The Walking Dead showrunner Frank Darabont and the agency over unpaid fees, self-dealing, gross receipts and other claims. Actually on this occasion Darabont is not really a player as it is his co-plaintiff that AMC is taking a hefty swipe at in a letter sent to this week to NY Supreme Court Judge Eileen Bransten (read it here). “Plaintiffs cannot have it both ways – to allege that Defendants breached industry custom and practice,but then refuse to produce the documents in their possession that speak directly to and disprove these allegations,” says the June 16 correspondence that asks the judge to order CAA to deliver the docs. AMC claims that CAA are ” insisting that the documents are confidential and the burdens associated with producing them are too high.”
This latest letter to the judge follows a June 5 ruling by the Judge to allow Darabont and CAA’s lawyers to look at licensing agreements AMC had with Sony over Breaking Bad and with Lionsgate over Mad Men, something the plaintiffs had desired and the broadcaster had resisted. Also, among other things, the judge ordered AMC to hand over all pertinent documents related to The Walking Dead’s finances to determine what came in and based on that what Darabont may be owed. With that in mind, this most recent letter follows the dug-in approach that both sides have adopted in the case first filed by Darabont and CAA in a December 17 complaint. The plaintiffs allege that they were tricked out of contractually assured profits from the blockbuster series and that AMC played a “self-dealing” artificially low license-fee shell game with the show based on Robert Kirkman’s graphic novels. AMC says that’s not true. Earlier
in the case, when it was resisting handing over documents itself, AMC revealed that Darabont had been paid out nearly $3 million for his work on the first two seasons of WD before the producer was kicked off the show in late July 2011.In the letter of this week they say that both sides referred to additional compensation for Darabont as “Modified Adjusted Gross Receipts” in their agreements and documents – which is why they want these requested documents for their discovery process.
EXCLUSIVE: Adrian Lyne has signed with CAA. The helmer, most famous for the steamy provocative thrillers Fatal Attraction, Indecent Proposal, 9 1/2 Weeks, Lolita and Flashdance, most recently was repped by WME. It has been difficult to get him to direct; his last picture was 2002′s Unfaithful, which starred Richard Gere and Diane Lane. Lyne has flirted with a steamy film or two but hasn’t consummated. Maybe CAA will have better luck getting him to close the deal and get back behind the camera.
EXCLUSIVE: In a competitive situation, CAA has signed Danish helmer Jonas Alexander Arnby, a commercials director whose art house horror film When Animals Dream created a stir at Critics Week at the Cannes Film Festival. The film was acquired by Radius-TWC for distribution.
The film is about a teen girl from a fishing village in Denmark whose sexual awakening manifests itself as she becomes a blood-hungry werewolf. The film drew comparisons to Let The Right One In and it was Arnby’s directorial debut.
Here is the film’s trailer:
CAA has signed Alexander Sharp, the recent Juilliard School graduate who has been set to star in the upcoming Broadway play The Curious Incident Of The Dog In The Nighttime. The adaptation of the Mark Haddon novel is transferring to Broadway from London after it won seven Olivier Awards this past season. Marianne Elliot is directing. In his Broadway debut, Sharp will play a 15 year old who’s exceptionally intelligent but ill-equipped to interpret everyday life. When he falls under suspicion for killing his neighbor’s dog, he sets out to identify the true culprit, which leads to an earth-shattering discovery and life-changing journey. Sharp is managed by Elin Flack of Elin Flack Management.
EXCLUSIVE: Over the weekend, Oscar-winning screenwriter Akiva Goldsman and agents at CAA reached loggerheads and made a mutual decision to part company. Today, he has signed with WME. The move will come as a surprise to some because Goldsman had been a CAA client for so long and is a close friend of agency head Richard Lovett, but the way it was described to me, they realized the relationship had run its course. Abruptly.
Songbird Laura Benanti, who just won raves for her portrayal of Rosabella in the Encores! revival of Frank Loesser’s The Most Happy Fella, and as the fiancee foiled by a problem like Maria in NBC’s hit live telecast of The Sound Of Music, has signed with CAA. Previously she was Tony-nominated as Cinderella in Stephen Sondheim and James Lapine’s Into The Woods and had a run in the short-lived series Playboy Club. She’s rumored to be returning to Broadway, probably next season, in another Golden Age musical revival. Benanti is managed by Emily Gerson Saines at Brookside Artist Management.
Literary agent David Larabell has departed Brooklyn-based David Black Agency for CAA‘s Books Department, working out of the agency’s New York office. During his nine-year run at the David Black Agency he spent the last six as an agent repping authors including NY Times best selling non-fic writers Joe Mcginniss (The Rogue: Searching for the Real Sarah Palin), John U. Bacon (Fourth and Long: The Fight for the Soul of College Football), and Nick Schuyler and Jeré Longman (Not Without Hope). At CAA he’ll be identifying publishing opportunities for the agency’s non-author clients.
The blood has truly started flowing today in former The Walking Dead showrunner Frank Darabont and CAA’s lawsuit against AMC over unpaid fees, self-dealing and other claims. Just three days after the cable station sent a letter to the judge in the case slamming the producer and the agency’s “ill-conceived theory of the case” and advocating a rejection of the plaintiff’s idea of the disputed confidentiality order, Darabont and CAA have struck back. “Plaintiffs respectfully submit that the Letter Response is either an intentional effort to obfuscate Plaintiffs’ claims or, more likely, designed for purposes unrelated to discovery,” says a letter today (read it here) from Darabont and CAA’s lawyer Jerry Bernstein of NYC firm Blank Rome LLP. “In any event, Defendants are attempting to argue their bizarre contract interpretations during what should be a routine discovery dispute.” Related: AMC Slams “Ill-Conceived” ‘Walking Dead’ Lawsuit From Frank Darabont & CAA The 6-page letter goes on to say that “this could be resolved easily if Defendants agreed that ‘highly confidential’ documents were for outside litigation counsel’s eyes only, or that all parties be treated equally and fairly regarding who may see ‘highly confidential’ documents.” After developing the Robert Kirkman graphic novels into the TV series, Darabont was …
It’s not quite the blood and gore of the zombie apocalypse, but today the legal battle between AMC and original The Walking Dead showrunner Frank Darabont and CAA got more a lot more biting. “Doubling down on their ill-conceived theory of the case, Plaintiffs now seek to use discovery to conduct a fishing expedition through the files of Defendants, a television network, two television studios, and a parent company, to obtain access to highly sensitive proprietary and confidential information that bears no relevance to Plaintiffs’ claims, including highly confidential and proprietary information relating to television shows other than the one at issue, The Walking Dead,” said AMC today in a scathing letter (read it here) to a NY Supreme Court judge. The letter is the latest salvo in the on-going case first filed by Darabont and CAA in a December 17 complaint. The plaintiffs allege that they were scammed out of contractually assured profits from the blockbuster series and that AMC played a “self-dealing” artificially low license-fee shell game with the show based on Robert Kirkman’s graphic novels. AMC, of course, says that’s not the case.
Of course, all that could become irrelevant or at least secondary very soon. “Contracts are not screenplays,” said AMC’s attorney Marc E. Kasowitz with some rhetorical flourish in this most recent letter. “The law does not permit them to be unilaterally rewritten simply because one party dislikes the ending. Yet, that is precisely what Plaintiffs seek in this action.” Once again rejecting Darabont and CAA’s contentions of self-dealing and low license fees in their original complaint last year, the cable station also revealed to no great surprise that they plan to file a motion for summary judgment for liability soon. AMC also let slip that they paid Darabont “close to $3 million” for his work on WD Seasons 1 & 2 before canning him from the show he developed back in late July 2011.
Jack O’Brien, a Broadway polymath as comfortable directing Tom Stoppard chin-strokers as he is developing big Broadway musicals, has signed with CAA. O’Brien, who led San Diego’s Old Globe Theatre from the early 1980s through 2007, helping turn the regional nonprofit into a sometime Broadway tributary. O’Brien, 74, has been nominated for 10 Tony Awards, winning three for his stagings of Stoppard’s sprawling three-part triptych The Coast Of Utopia (2007), Shakespeare’s Henry IV (2004) and the blockbuster musical adaptation of Hairspray (2003). For Lincoln Center Theatre, he made brilliant sense of Stoppard’s nigh incomprehensible Hapgood in 1995. He staged the London bow of Lord Andrew Lloyd Webber’s unfortunate Phantom sequel, Love Never Dies and is currently attached to a long-aborning Stephen Schwartz (Wicked) musical about escape-artist Harry Houdini.
Other notable directing assignments include the musical versions of Dirty Rotten Scoundrels and The Full Monty. A writer, lyricist and producer, he added opera to his portfolio, staging Puccini’s Il trittico for the Metropolitan Opera, among other productions. Accolades include the 2002 Mr. Abbott Award from the Stage Directors and Choreographers Foundation. He was a 2008 inductee into the American Theatre Hall of Fame.