Motion picture and television talent agent/manager J.J. Harris died of what is believed to be natural causes on Friday afternoon and was found today in her Beverly Hills home by her staff. She was 62. Always classy and funny but never a pushover, she at one time was among the top women talent agents and sole practitioner managers in Hollywood, representing such notable clients over the course of her decades-long career including Kevin Costner, Charlize Theron, Dakota and Elle Fanning, Kate Bosworth, Drew Barrymore, and Scott Bakula. After starting her career at the old William Morris Agency and jumping to UTA as a partner, she started her own management company more than a decade ago. Harris ran One Talent Management until recently deciding to wind down her business. Until her death, she was spending almost all her time on the career of her longtime confidante and client Costner. It was because of him that her office became worried. “She wasn’t returning my calls or texts. Then Kevin called her,” her assistant and co-manager Sharon Vitro tells me. “It’s one thing for her to ignore me. But she doesn’t ignore Kevin ever.” Her staff went to her home and discovered her body. Through the years, Harris was an outspoken feminist who challenged mano-a-mano the Hollywood men’s club that long ruled actor representation. Bluffing her way into the William Morris accounting department as a secretary, Harris rose through the ranks to become a young but …
EXCLUSIVE: Motion picture lit agent Rebecca Ewing has parted ways with UTA. Deadline has learned that non-partner Ewing, who had been with the agency for almost a decade, exited last week after informing UTA she was looking for a change. “Rebecca is a great agent and colleague and we’re going to miss her,” a UTA spokesman said today. “We look forward to working with her in the future.”
EXCLUSIVE: Sara Ramaker who was repping clients from Will.I.am and Stacy Ferguson to Zoe Kravitz and Snoop Dogg for acting has exited. Will.I.am’s acting and ancillary work except for DJ-ing already left for CAA in February. Sources claim this is the 8th senior talent agent to leave or be exited from Paradigm in the past two years and that the tenpercentery has decided not to replace them with senior reps. Here’s why: “We have a great core of young agents in the talent department handling young clients. We are grooming what we think is a tremendous next generation of young talent agents by internally promoting them,” an insider tells me. Then again, like all the Hollywood agencies, Paradigm is looking to trim overhead.
Those two asshole agents are back in another sketch… Written by and starring Brian Henderson and Enver Gjokaj. (Henderson snagged an agent after Deadline ran Frenemies, Power Lunch).
EXCLUSIVE: I’ve learned that Scotland Yard has informed Hollywood music agent Julie Colbert that her cell phone calls were intercepted because she represented Welsh pop star Charlotte Church. The WME tenpercenter who works for music clients in film and television was back and forth between Los Angeles and London when the hacking occurred, my insiders say. That’s because, at the time, Church was working closely with the crossover agent and even staying as a guest in Colbert’s home for several months to get away from the paparazzi constantly trailing the singing sensation. ”Scotland Yard told Julie, ‘Your number came up as one of the ones that was hacked,” an insider tells me. I understand that Colbert hasn’t decided yet whether to file a claim because of the hacking. That might prove touchy because her agency William Morris Endeavor Entertainment does a lot of business with News Corp subsidiaries like Fox Broadcasting, Twentieth Fox TV, and the Fox Filmed Entertainment Group.
No information was provided Colbert exactly who did the hacking: News Corp’s journalists or private detectives. But Bloomberg reported earlier today that Glenn Mulcaire, the former News Corp private detective who hacked phones for the company’s News Of The World, had an unidentified WME agent’s numbers as well as Charlotte Church’s New York publicist Kevin Chiaramonte of Paul Freundlich Associates among thousands of pages of notes seized by police. That agent, I’ve learned, was Colbert.
The once venerable Wall Street Journal needs to get a clue when it comes to reporting about Hollywood agents. Accompanying today’s story about WME’s ‘Camp Allen’-like conference which the agency held at La Costa Resort last month, is a Getty Images picture that’s identified as Ari Emanuel. But it’s not. I’ll let Deadline readers have fun, but betcha this is what Ari would look like if he were gentile. In fact WME is busily trying to find out who this guy really is because no one knows. (P.S. I didn’t write about the agency’s non-showbiz confab at the time because we’d had too many posts about WME in a row. Holler if you want to hear about it…)
EXCLUSIVE: The talent agent came from UTA right after David Guillod arrived and specializes in Latino actors, has some good clients including Demian Bichir and Gina Rodriguez. He left Paradigm to go to APA this afternoon.
“I had a dream I was going to speak to you,” Ryan Hayden said when I got him on the phone this morning. I asked the self-employed talent agent if he’d been having a bad day when he wrote the nightmare of an email below. “Actually, I was having a great day,” replied the one-time ICM assistant. Go figure:
From: Ryan Hayden from Ideal Talent Agency
Date: Tue, Jan 31, 2012 at 11:14 PM
Subject: Open Letter About Pilot Season
The majority of you don’t need to be told this, some of you I only included so that you know how serious I am about pursuing pilots for you, and everyone please know that post pilot season, its back to nice, forgiving Ryan and business as usual.
But we are now very much in pilot season. I am making a call to upwards of 100 casting directors or studio casting heads every day, often multiple times to the same casting director.
During the next month, if what you’re calling or emailing me about does not pertain in some way to a major feature film role that you know definitively is currently casting or does not pertain to a series regular role, I do not want to know about it. Period.
If you have an issue with that, I ask that you kindly find an agent whose priorities are chasing SAG Ultra Low budget roles rather than potentially multi-million dollar pilot roles.
Yes, I will close deals on smaller projects. Yes, I am still submitting on these
EXCLUSIVE: Jim Berkus remains chairman and just sent out a notice to staff. Jeremy Zimmer is one of the Hollywood agency’s 6 owners and is a UTA co-founder and managing director. The 53-year-old Zimmer tells me that he took on the CEO role because “it’s important as the company reaches outside its traditional business into finance, international and digital. It’s a title people more readily identify with. My opinion is that this is only 10 years overdue — which is why we’re doing this right now.” Zimmer immediately becomes the agency’s heir apparent to Berkus. Zimmer told me that UTA “is in a great place in terms of stability and solidarity. And also to some degree the partners are acknowledging the role I played in helping us accomplish some of that stuff. It’s positioning for the future.” The other 6 UTA owners are Berkus, Peter Benedek, Jay Sures, Tracey Jacobs, and David Kramer. Zimmer now oversees more than 125 agents and 350 employees in Beverly Hills and New York in motion pictures, television, music, intellectual property, digital media, video gaming, branded entertainment as well as film and television packaging, film finance, corporate consulting, branding, licensing, endorsements, and the representation of production talent.
Zimmer was once known as the bad boy among Hollywood agents but has worked hard to become relentlessly respectable inside the agenting profession. What kept his career going despite some stops and starts was that he was known for …
This video reminds me of an article I once wrote about Hollywood power eaters. How if you feel intimidated you can simply order a small side salad. Or a steak “blood rare” to scare your companion and close your deal in record time. Enver Gjokaj and Brian Henderson may be familiar to you already from their online sketches and this one may or may not be about 2 junior agents. ”It’s been passing around a lot of industry offices with a lot of ‘I’ve totally had that lunch!’,” Henderson emails me. Enjoy:
EXCLUSIVE: I’m hearing that CAA’s top video game agent has just informed the tenpercentery that he’s heading for rival UTA. Ophir Lupu is one of the video game industry’s top agents and co-head of the video game department at Creative Artists Agency. He’ll head UTA’s Video Games practice. Lupu represents leading developers in console gaming as well as in the fast-growing social, casual and mobile gaming sectors. Lupu was named co-head of CAA’s video game department in May of this year. He has spent his entire career at CAA, which he joined in 2000 after graduating from George Washington University. At CAA, Lupu represented such industry leaders as Ken Levine (“BioShock”), Patrice Desilets (“Assassin’s Creed”), Warren Spector (Disney’s “Epic Mickey”), Cliff Bleszinski (“Gears of War”), That Game Company (“Flower”), Crytek (“Homefront 2”), Klei Entertainment (“Shank”), Trapdoor, Inc. (“Warp”) and Tomonobu Itagaki’s Valhalla Studios (“Devil’s Third”), among others. Lupu earlier this year orchestrated the acquisition of client Area/Code by Zynga.
UPDATE: Vanity Fair Editor in chief Graydon Carter announced this morning that legendary Hollywood agent Sue Mengers died Saturday night at her Beverly Hills home after a number of small strokes. She was 81. Mengers was surrounded by three of her closest friends: Ali MacGraw, Joanna Poitier, and Boaty Boatwright. “Sue was unlike anyone I’ve ever met – a true original,” said Boaty Boatwright, the ICM talent agent. ”Her name became synonymous with women and what she helped us all to accomplish, but her legend is really the vitality with which she lived life, and her wit, which will be celebrated in stories throughout our community for years to come.”
Reclusive in her dotage due to ill health, Mengers made her last major public appearance on May 24th, 2010, when she was interviewed by CAA’s Bob Bookman in the Ray Kurtzman Theater of the agency’s Century City headquarters. It followed a renaissance of sorts for Mengers. Instead of the legendary dinner parties she used to host, she held intimate luncheons in her home for Hollywood power players. (And sometimes tête-à-têtes with today’s agency bosses like Bryan Lourd and Ari Emanuel who regularly picked her brain.) With her blowsy blondness, withering sarcasm, and Borscht Belt banter, Mengers was an unlikely mentor to agents everywhere. Because, at one time or another, this superagent had repped Barbra Streisand, Candice Bergen, Peter Bogdanovich, Michael Caine, Dyan Cannon, Cher, Joan Collins, Brian De Palma, Faye Dunaway, Bob Fosse, Gene Hackman, Sidney Lumet, Ali McGraw, Steve McQueen, Mike Nichols, Nick Nolte, Tatum O’Neal, Ryan O’Neal, Anthony Perkins, Burt Reynolds, Cybill Shepherd, Gore Vidal, Richard Benjamin, Paula Prentiss, and Tuesday Weld in their heyday as a movie rep at CMA (1969-1975), ICM (1975-1986), and William Morris Agency (1988-1990) at which point she retired from the biz altogether.
I had spoken to Sue off and on over the years. Then one day after I started my Deadline Hollywood blog, Mengers invited me to her home for a long chat. It began one of the most fun reporter-source relationships I’ve ever had. She was a wealth of information for me about what was happening behind-the-scenes in Hollywood. And she always had those withering sarcasms at the ready. Her plump white flesh still draped in a sea of caftans and mumus, eyes framed in huge tinted glasses, with a soft breathy voice and the mouth of a stevedore, taking hits from an always lit joint, the 5’-2 1/2” inch Mengers was the exact opposite of the stereotypical image of a Hollywood agent, not the cigar-chomping salesman nor the smooth-talking sleek-dressed tenpercenter. Her enemies dismissed her as loud, overbearing and vulgar. But to the stellar list of above-the-title clients in her heyday, Mengers was therapist, confessor, Jewish mother, best friend and unflagging chief advocate.
The protégé of powerful agents Marty Baum and David Begelman and Freddie Fields, Mengers became as infamous as her mentors. She was certainly as talked-about and could boast her own litany of Hollywood lore. There was the story about the time Mengers dropped her card in a star’s soup at Sardis. Or pulled up at a stoplight next to Burt Lancaster, rolled down her window, and offered to represent him. And then there was the day Mengers dropped by director Otto Preminger’s New York office and declared, “I’m the only agent who actually gives head if you hire the client.” (Preminger burst out laughing and immediately contracted for an actor.) But few will ever top her one-liner to Barbra Streisand when the actress turned up on Charlie Manson’s list of celebrity targets after Roman Polanski’s pregnant wife Sharon Tate was murdered: “Don’t worry, honeee. They’re only killing bit players.”
It only added to Sue’s celebrity that she was that rarest of Hollywood creatures — a top female talent agent. In the old days, the successful women agents represented one huge star, many times an actor they had fallen in love with. Sue Carol not only promoted Alan Ladd as an actor but married the man. Eleanor Kilgallen, Monique James and the rest of famed “The Ladies” at MCA were out of the business, having jumped to Universal when Lew Wasserman folded the agency. Few had replaced them. Most women agents were literary agents who handled writers and directors, not superstars. But Mengers not only handled superstars, she became one herself, featured on 60 Minutes and by Dyan Cannon in the 1973 film The Last of Sheila, and eventually in Time magazine: “She has just about everything else she wants. Except George C. Scott as a client, and a body like Candice Bergen’s.”
It didn’t take pop psychology to see how much of Mengers’ ballsiness was simply a cover for the scared and insecure little girl inside. She had been turned out early into a tough world. Born in Hamburg, Germany, into a poor Jewish family, Mengers and her parents barely escaped the Nazis by fleeing to the United States, first living in Utica, New York, and then settling in the Bronx. Her father committed suicide when she was just 12. Menger’s family didn’t speak a word of English, and she learned the language sitting in darkened movie theaters in the Bronx, while dreaming of one day becoming a movie star herself. Later, she even took elocution lessons, hoping to get into acting. “She wanted to be a movie star,” her one-time colleague Tom Korman told me. “If she’d had her druthers, she would have been Marilyn Monroe.” Instead she embarked on a life of helping talent achieve their own stardom. And beneath the insecurities and the self-deprecating humor, Mengers was hard as nails. She was charming, but she was also crafty and, if need be, coldly cutthroat.
She began her showbiz career in 1955 as a secretary at the agency MCA, then at Baum-Newborn where she impressed Marty Baum with her aggressiveness and ingenuity. If he needed something, she would find a way to get it for him. Then Mengers landed at William Morris, once again as a secretary but determined to move up in the business. She started out the way she would operate for the next 20 years, by making friends like Gore Vidal. “She was this pretty, mildly zaftig blonde, and she twinkled,” Vidal recalled. “Once, I heard this laugh inside the agency, I looked out the door, and there she was at the keyhole, eyes and ears both. Frankly, I think she just wanted to have an adventurous life.”
Mengers became a baby agent in the theater department. Instead of calling legend David Merrick cold, Mengers devised a scheme to establish a relationship with the producer. She rented a mink coat (something Mengers would do on more than one occasion in the early years) and floated into Sardis, where she headed straight for Merrick’s table and began suggesting people she said would be perfect for parts in his plays — like Ginger Rogers as a replacement in Hello, Dolly. For months, each night Mengers dropped Merrick three similar passing ideas. Of course, the agent didn’t represent any of the big names she tossed around. But she made her pitches with humor and style and, gradually, the producer looked forward to their conversations. The fact was, Mengers had good ideas. Before long, other producers wanted to talk to her, too.
In 1963, Mengers decided to strike out on her own with agent Tom Korman. When Mengers couldn’t get the people she wanted on the phone, she began sending them funny telegrams. “No one knew who I was, and nobody cared,” she explained. “And, in order to make an impact, I guess I became outrageous.” She used to joke she was so driven, she “would have signed Martin Boorman.” But people began taking note. When she called Sidney Lumet at midnight to sell him a client, the director told her, “If you’re this pushy, I want you to be my agent.”
It was only a matter of time before Mengers ran into David Begelman, maybe the only other agent in New York who could match Mengers quip for quip. The CMA chief had been running into this loud, funny, opinionated woman all over New York. She seemed to be everywhere. One night after the theater, Begelman stopped by Sardis and spotted Mengers sitting with his clients Paul Newman and Joanne Woodward. The next day, Newman telephoned Begelman. “Gee, there was an awfully bright person I met last night,” Newman said. “Blonde. I don’t remember her name. But I think she’s got a terrific idea. She said that if she represented me and Joanne, she’d get Arthur Miller and Bill Inge to collaborate on writing a play for us.” Begelman was thinking that Mengers had chutzpah. Another night, Begelman’s biggest star, Barbra Streisand, told him all excited, “Sue just signed Dirk Bogarde for films in America!” Now Begelman knew that Bogarde had never done a film in the United States, and never would. Mengers had put one over. Not long after, Begelman hired Mengers to work at CMA. “It was 50% because I thought she had potential to be a great agent and 50% to get her out of my hair,” he explained years later.
By that time, some of the creme de la creme of the Broadway set were all Sue’s friends and clients. She was responsible by virtue of who she knew and who she had signed for putting CMA in the Broadway business. Mengers’ real strength was connecting with people. Her whirlwind energy and expletive-laced bon mots made her someone people loved to be around. Her enthusiasm was infectious. Fields and Begelman recognized Mengers’ gifts and helped her hone them.“We just kind of invented a character for her to play, which she was able to play almost naturally at a time when the industry needed some flamboyance,” Fields told me.
Then CMA sent her to Hollywood to become a movie agent. “We brought her out here initially to get her exposed to people,” Fields recalled. Hollywood turned out to be the perfect stage for Mengers’ antics. Typical was the night Mengers was having dinner with publicist Warren Cowan and mentioned how much she liked actor Maximillian Schell. Cowan offered to arrange a meeting. “Oh, I don’t need a meeting,” Mengers shot back. “He took me out last week and tried to fuck me. And he isn’t even a client.”
Mengers signed Ryan O’Neal after seeing him at a party and screaming, “When are you going to dump your asshole agent?” She picked up film critic turned director Peter Bogdonavich before Columbia released The Last Picture Show. She just happened to run into Ali MacGraw on the Paramount lot one day after the actress was engaged to Mengers’ producer friend Robert Evans. “I took one look at her and I fell in love instantly,” Mengers recalled. Over and over, the agent would take her unknowns and front-load them into packages with her bigger stars, then sell them all for astronomical salaries to her loyal coterie of studio pals. For months, Mengers had pushed her buddy Evans to cast Faye Dunaway in his new movie, Chinatown. Evans, however, had been holding out for Jane Fonda. “If you don’t give me an answer in twenty-four hours, Faye Dunaway is going to do Night Moves with Arthur Penn,” she screamed at Evans over the phone. Evans finally bit, but not for the $250,000 Mengers was demanding. “Seventy-five thousand or I’m going with Jane,” the producer told her. Mengers let fly a stream of expletives, but a half hour later she was back accepting the offer. After the deal was signed, Mengers gloated to Evans. “Honeee, guess what? There was no picture with Arthur Penn. I made it up.” To which Evans replied, “Guess what? Fonda already turned us down.”
But it wasn’t easy for Mengers in the motion picture department. “I always thought she was quite heroic because the boys were really mean to her,” recalled Jeff Sanford, one of her CMA colleagues. “It was very competitive at CMA, and it always seemed that nobody really treated her terribly nice. The first time anybody took Sue seriously was when Barbra Streisand came to Hollywood.”
It was Begelman who gave Mengers her biggest client. For a decade and a half, Sue Mengers and Barbra Streisand became Hollywood’s most famous pairing. Their rise to prominence was inextricably linked in everyone’s mind. Their relationship went far beyond the bonds of mere agenting. There was an immediate and total kinship. Both had strong personalities they used to mask the scared insecure girls hiding within. In the meantime, Mengers had befriended Elliott Gould and, through Gould, had met Barbra. Begelman acceeded to Mengers’ pleas to handle Streisand. It served both women well. Mengers had a gut feeling of knowing when to push her clients into projects, and when to ask the moguls to pay for the moon. In 1971, she sold the romantic farce What’s Up, Doc? to Warner Bros, packaging Bogdonavich with Streisand and O’Neal. At the time, O’Neal had barely made above scale for Love Story, and Bogdonavich’s The Last Picture Show was still in rough cut. But Mengers went for the big money. The What’s Up Doc? deal caused Mengers’ stock in Hollywood to soar. Yet before that 60 Minutes interview, Mengers was more nervous than anyone the producers had ever put before the camera. Wallace’s last question was, “Do you ever pinch yourself and say, ‘Who, me?’” Mengers replied, “Yeah, a lot.. And then I say, ‘Who deserves it more?’ ”
Beginning in 1975, Marvin Josephson merged CMA and IFA and soon more agencies into a loose amalgamation of autonomous corporate cultures flung together known as ICM. Mengers would be working there without Freddie or David who had both left the agency business for greener Hollywood pastures. “She was scared to death,” recalled Fields. “She always needed support.” So Mengers played her hand with all the savvy she could muster. If Josephson wasn’t going to make it worth her while to stay, Mengers let it be known she would jump to a studio for big money from her close pals there. For starters, the agent made sure everyone in town knew about her trip back to New York to talk to friend Barry Diller, the new head of Paramount. Soon after, word spread she was talking to another friend, Ned Tanen at Universal. Warner Bros president John Calley got a call from Mengers one day: “Why is Warner’s the only company that hasn’t approached me for a job?” And Stan Kamen began courting Mengers seriously about joining him at William Morris Agency for a super-pairing.
Josephson finally caved and gave the agent a huge five-year contract. (Josephson maintained Mengers was being paid $175,000 a year; Mengers claimed it was $250,000, plus a $40,000 expense account.) With no visible personality at the helm, the new agency was identified mostly with Mengers, who continued to live off her press clippings. But Mengers was not a manager or, for that matter, even a team player; the agent attended to the business of her own personal fiefdom. ICM’s problems were not her problems. She cared more that at Hollywood screenings, the town’s elite would linger after the closing credits just to hear her priceless bon mots — especially if the picture were a bomb. She signed the Industry’s most respected director, Mike Nichols, to her list of prestigious clients. (“Even I’m awed,” Mengers quipped). Sue Mengers was it, made more so by her famed parties at her Beverly Hills homes.
Like a Hollywood salon, Mengers’ guestlists were an eclectic mix of writers, executives, actors, socialites, and artists. On any given night, sitting around the living room or talking out on the patio were Elizabeth Taylor and Princess Margaret or Julie Christie or Mikhail Barishnikov besides David Geffen and John Calley. Even Woody Allen would show up to mix with studio moguls like Frank Yablans. Mengers also made sure to include models, actresses or whatevers. Ali MacGraw once told me what she remembered most about Sue’s parties were “half the group getting stoned in a corner, and the other half hoping to get lucky.”
EXCLUSIVE: Here’s more proof that there’s life after Hollywood. At the age of 43 (yesterday), she’s going back to her real name of Elisa Hallerman and into a new profession as a licensed drug and alcohol counsellor after 15 years as a successful talent agent handling TV and movie stars. She started as an assistant and rose to become a UTA partner and co-head of the talent department that handled marquee comedy talents like Vince Vaughn, Jonah Hill, Jason Bateman, Owen Wilson, and Ben Stiller. In 2008, she left UTA and joined Endeavor as a partner. After the takeover of William Morris Agency, she continued as a tenpercenter at the combined WME. For the past year she’s been planning her transition out of the agency biz and now she’s decided this week is her last at WME. ”She’s following her heart,” one of her pals tells me. That’s because she’ll be using her professional experience in the service business and her life experience with close to a decade of sobriety to start a case management business for the drug/alcohol dependent as well as run a sober living home for young male addicts.
UPDATE: ICM’s John Sacks Jumps To CAA, ICM’s Steven Fisher Joins UTA, And Rivals Pursuing 2 Key ICM TV Lit Agents
UPDATE: I’ve found out that ICM talent agent Steven Fisher just joined UTA. Last week he also asked ICM to let him out of his contract. He had been at ICM for the last 7 years, where he started his career.
EXCLUSIVE: I’ve learned that talent agent John Sacks asked ICM to let him out of his contract because he was being pursued by two top agencies, UTA and CAA. Today he decided to join CAA. Now rival tenpercenteries are in hot pursuit of 2 more ICM reps: TV lit agents Josh Hornstock and Mickey Berman whose deals are up in 5 months and who are considered good manpower. CAA WME and UTA are all after this pair who work closely with both of ICM’s bigwigs Ted Chervin and Chris Silbermann.
And round and round they go. Just days after Paradigm poached the key members of Abrams Artists’ Youth Department, Abrams has hired the agents of the Youth Department at Buchwald/Fortitude. We hear the entire department — head Pamela Fisher, senior agent Chrissy Eaden and junior agent Famata Kamara — left Buchwald/Fortitude yesterday and will start at Abrams on Monday, bringing their clients with them. They’ll join Domina Holbeck and Jeremy Apody already in Los Angeles and Ellen Gilbert, Bonnie Shumofsky, and Rachel Altman already in NYC. The move comes three months after Don Buchwald & Associates, where the three agents had been based, teamed with Fortitude. Meanwhile, CEO Harry Abrams got on the phone with Deadline today and denied that having primary agents Wendi Green and Jen Millar with good clients from his youth department leaving to join Paradigm is “disastrous”. (Their clients include Angus Jones, the highest-paid “child” actor from Two And A Half Men, Vanessa Marano, and Madeline Carroll.) But Abrams did confirm that what we’d heard; that Marna Palmer, a prominent commercial agent, and Brandon Martinez, the sole agent in the company’s New Media division, decided to depart as well. The CEO told Deadline that Palmer is relocating while Martinez is getting into the music biz.
EXCLUSIVE: I’ve learned that, when the final deal is done, the bulk of the youth department at Abrams Artists Agency will be leaving to join Paradigm. Making the move are Abrams agents Wendi Green and Jen Millar, who are bringing to Paradigm their biggest clients, including Angus Jones, the highest-paid “child” actor from Two And A Half Men. Sources are telling me this is a “devastating loss” to Abrams Artists Agency. “It’s a big deal as it opens up an entire new essential department for Paradigm which is not only a great business in its own right but also helps develop the major stars of tomorrow for the talent department.” The new hires will report to Norm Aladjem, the chairman of Paradigm’s management committee, who was driving this deal. Paradigm is mum, but insiders are denying there’s any Paradigm-Abrams merger in the offing.
CAA has hired A&E VP Development Scott Lonker to be an agent in the NY alternative TV department. Here’s what’s interesting: Lonker used to be a William Morris agent. And good friends with Jon Rosen, who runs East Coast TV for WME, where he’s a board member. Word is that CAA “overpaid” to snag the well-liked Lonker. “That is the common theme there,” my insider says.
Eli Frankel, the former SVP of Magical Elves, which produces all those unscripted shows like Top Chef, has fired CAA and hired WME. Frankel is currently under an overall deal at Lionsgate TV (also a WME client).
This is from the Screen Actors Guild website:
SAG Agent of the Month
Who will be the next SAG Agent of the Month?
Hey, SAG performers! Are you represented by a terrific, franchised agent that you believe does not get the recognition that he or she deserves? Is your agent always there for you, guiding your career, advising you, watching your back, and generally being a mensch without much fanfare or praise? Well, now is your chance to change all of that!
Let us know why your agent is the best agent out there and he or she may be the next SAG Agent of the Month. Tell us (and the world) in your own moving way why your agent is special to you. And, if chosen, SAG will run a picture of your agent (and you!) celebrating your agent’s star status as SAG Agent of the Month.
Mention this program to your fellow SAG performers, and keep those letters coming. We will choose a different agent at the start of every month and feature the honoree on SAG’s website for the world to see. With your help, your agent can finally get those richly deserved kudos!