******************************* HOW, WHEN & SHOULD YOU HIRE A TALENT AGENT TO REPRESENT YOU? By Don Fitzpatrick 139 Townsend Street Suite #300 San Francisco, CA 94107 (415) 777-2626 ********************************* TO HIRE A TALENT AGENT - Don Fitzpatrick - Copyright 1989 About a year and a half ago I wrote a piece called, "How to Put Together An Audition Tape." Shortly thereafter I said that I would write a second piece on "When and How To Hire A Talent Agent and/or Attorney." After much promise and no delivery - let me start that assignment today. When we started thinking about this paper we contacted many of the main agents and asked them to submit their thoughts on this subject. Like the "Audition" paper - the thoughts contained herein are not necessarily those of just Don Fitzpatrick, but rather the collective wisdom of agents, on-air talent and station management. WHY THIS PAPER ON AGENTS??? Like em. Don't like em. But whatever you think - talent agents are a big part of the TV news biz and they are not going to go away any time soon. Each week, we at Don Fitzpatrick Associates get tens of calls from on-air talent asking us to recommend one agent or another. They call to ask us an opinion on one agent or another. It is our policy not to recommend just one agent. We tell talent to shop for an agent like they would shop for a doctor or attorney. You need to make a few calls and check some references. Remember an agent is YOUR personal representative in a news director's or GM's office. You better make sure that he or she is the right person to represent you. You have to find out about them. You have to know what it is going to cost you. You've got to know their track record. The bottom line is - you've got to find out what they are going to do for you. One way of starting out in a discussion about agents is to discuss the difference between a company like DFA and agents. We, at DFA, are headhunters. We are NOT agents. We DO NOT represent on-air talent. We work for and are paid by television station, network and national syndicator management. Agents are personal representatives of on-air talent. They work for and are paid by on-air talent. Their fee is derived by a contract worked out between the talent and the agent. We'll talk about the compensation and contract between the two parties later in this work. I would like to thank all of the agents and management personnel who contributed to this paper. In particular, I would like to thank the folks at Geller Media Management who spent a great deal of time and effort to put this paper together. But first, let's take a look at a brief history of how the agent got to be here in the first place. HISTORY When broadcasting was in its infancy - first with radio in the 30's and 40's and later with television in the 50's - there were just a few people who called themselves agents. These people confined themselves to stage, film, the recording business, and touring acts where they had a longstanding tradition there. The William Morris Agency is swiftly approaching their century mark as agents. But as just described, most of that century they were representing the acts above and not on-air people. The reason: In broadcasting's infancy (and keep in mind that we are dealing here with news and magazine oriented programs) except for a very few, TV was a relatively low-paying and unsophisticated business. Five events changed the audience's perception of the importance of television and its value as a news and information medium. In doing so these events created a thirst for more and more information. They wanted more and more pictures. The five events that changed television forever: In chronological order: 1. The McCarthy Hearings 2. The U.S. and Soviet Space Race 3. The John F. Kennedy Assassination 4. The War in Vietnam, and 5. The Watergate Hearings The black and white images of Wisconsin Senator Joe McCarthy and his counsel, Roy Cohn, searching for "commies" and "reds" in our government and in unions are still a vivid memory for many of us who watched the early days of broadcast TV. For the first time, students in a classroom, could watch "live" as Alan Shepard or Gus Grissom or John Glenn were launched into space. The announcement of John Kennedy's death at Parkland Memorial Hospital in Dallas launched the career of young reporter by the name of Dan Rather. People watched in horror as Morley Safer and Ed Bradley told the American public of My Lai and the daily atrocities going on in Vietnam, Laos and Cambodia. And who can't remember the late U.S. Senator, Sam Irving firing questions at the three John's (Dean, Mitchell and Erlichman)? Television information entered our living rooms and the American public soaked it up. Slowly, television journalists became more than that - they became personalities. In the 70's - news became profitable. News expanded allowing for more programs, longer programs and the inclusion of many more anchors and featured reporters. Owning a television station in the 70's was a `license to steal.' With this massive increase in profitability came the talent's need to know their own net worth. If the station was making anywhere from 30% to 66% profit increases - what was the talent's contribution to the profit increase? The desire for maximum income and minimum investment became the name of the game for news as it had been for other divisions of company operations. The successful on-air team became a more recognizable factor in the dollar success of news. So the fight to get the most "saleable" team at the lowest cost became the mission of the negotiators for the station and/or broadcast groups. With television management sophistication growing - on-air talent now found themselves facing experienced corporate negotiators. On-air people found the need to match this sophistication with one of their own, and they wanted a larger piece of the pie that they helped create. To some extent salaries escalated because more than one news organization bid on the services of an experienced anchor. Sometimes people were hired (such as in the case of Jerry Dunphy from KNXT to KABC in Los Angeles - and more recently, Dunphy from KABC to KHJ) from the competition. This can easily turn into an expensive proposition. Competition and supply and demand help shape the salary structure in the news business as well as in any other field. Attorneys and agents with experience in related fields stepped forward to fill the need that this activity created. As deals became bigger and more complex, agents and representatives took on increasingly important roles. WHAT IS AN AGENT OR AGENCY? WHAT IS A REPRESENTATIVE? The term "agent" or "agency" is little understood and sometimes sends fear through the mind of a news director or general manager. Most states and some cities require an agent or employment agency to be licensed by the government if its principle business is helping people to find a job. It is only where the seeking of employment is incidental to the business that a license need not be obtained. Most of the small handfull of `superagents' are licensed by the appropriate governmental authorities. One agent told us that it would be more technically correct to use the word `representative' as the generic term to describe the agent, manager, lawyer or accountant who represents news personnel. Who is represented? In Hollywood and New York theatre, television, film, music variety, etc. every segment of the business is represented: performers, writers, designers, editors, producers, directors, etc. In the news business in recent years representatives have not only been employed by on-air people but all of the classes of behind the scenes people as well: producers, writers, etc. And, would you believe that many members of management are also represented? Certainly in the larger cities, news directors, key management, network vice-presidents, group stations, network division heads and the presidents themselves. HOW MANY REPRESENTATIVES ARE THERE? No one knows for sure. New agents seem to pop up each month only to fade into obscurity in the ensuing months. There is a very small handful of the "A" team representa- tives, maybe 8 or 9 companies, who function at both a network and local level from coast to coast. These are the regular players who have been in the business for many years and have developed the reputation and "reach" to be on that list. As the news field grew rapidly so did the number of agents. There are also B, C and F agent lists, so to speak. Most cities throughout the country have one or more representatives. Most often they are attorneys who got into the business by chance, perhaps handling their friend's or next door neighbor's contracts and then another and another. Few, if any, of these function outside of their home city, state or region. Although one or two of their clients may have moved to bigger places. These are the folks with limited reach and limited services. There are the BIG agents like a Richard Liebner, Jim Griffin or Alfred Geller. There are `smaller' agents (in sheer numbers of clients) like a David Crane or Conrad Shadlen or Bill LaPlante. (I'm defining big here as agents who have marquis level clients such as a Rather, Jennings or Chung as well as tens, if not hundreds, of clients in addition. A smaller agent may have a marquis client or two but not the sheer numbers of clients as the biggies.) In no way do we want to imply that a BIG agent is better than a `smaller' agents. Both types bring something to the representation `party.' You, as a reporter or producer, must investigate both types of representatives and determine what will work best for you - in your situation. There is an `A List' of representatives - folks like Bienstock, Geller, ICM, Lindner and William Morris who have the national reputation and reach to help talent move from station A to station Z. There are probably several dozen lesser agents, not on the "A," list who have reputable clients and good relations with news directors nationally. There are probably several hundred agents who are either more local in nature or limited in their experience or "reach." It has been suggested that the number of agents has been shrinking and will continue to do so. Given the new economics of the broadcasting business and as cutbacks, forced retirements, firings and downsizing occur, there is more of a tendency to work with the tried, true and established individuals. At the end of this work we will give you a list of agents. A list as complete as we can find. We will not identify who we think are on the "A," "B" or "F" lists. If you are a good journalist you should be able to find that information out on your own. Also, although we consider our opinion to be a "learned" opinion - it's just that, our opinion and you (or others) may disagree. The purpose of the work is to help you make your own decisions and not for us to influence on who you ultimately (if at all) you decide to represent you. WHAT IS THE ROLE OF A AGENT? 1. The classic role of the agent remains the negotiation of contracts for on-air persons. Most representatives still perform only that function, and it is clearly an important one. As in all else, there are only a few that do it very well. A few do it badly. And the majority on the bell curve who do it adequately. But everyone calling themselves an agent or representative performs this primary function. 2. The second classic role of the representative is to seek and obtain work for clients. Only a handful of representatives are able to perform this function effectively and consistently. Most representatives don't have the "reach" or pull to open the lines of communications between them and a news director. The job search requires many years of experience on the part of a company that sets as one of its goals the obtaining of jobs. It requires years of relationships with news directors, general managers and others. This "reach" across the country is of utmost importance. Equally as important is an organized and comprehensive approach to the job-seeking process. Too often the agent fulfills only the nominal requirements for job-seeking. He gives the client a hint or two about the preparation of an audition tape, and sends a few of the client prepared tapes out to a minimal list of places or adds part of it to a reel with other available clients. This process may produce some success, but largely by chance. Most "A" list agents believe that in an environment of stiff competition, the only reasonable assurance for success is a well planned, comprehensive, individualized submission process. That process involves detailed work on the audition tape and all accompanying materials. It involves preparation of the tape, careful consideration of stations and cities to which the material is sent, and follow-up. Without exception each client has a custom built tape which hopefully will show off his or her abilities to their utmost. Actually, the better agents view the job-seeking process as involving a continuing presentation of their client list to potential employers. They like to keep the industry abreast of the ongoing progress of their clients' work. 3. The third function of the representative is to help the client in solving problems that management is having with the individual. Unfortunately, that too often plays a relatively minor role with most representatives, since they spend the bulk of their time in areas 1 and 2. 4. Usually, they can only assist in what might best be described as behavioral problems requiring crisis intervention. The better agents believe that the representative should make every attempt to maintain periodic contact with the news director of a client's station in order to track the progress of their client's work and prevent problems from growing unattended. In both good and bad times, a fully informed agent can be helpful in seeing that his client understands what management is asking and is working productively as part of the news team. 5. A small number of agents or representatives supply financial assistance. Some representatives provide a good deal of financial services, including creating budgets, paying bills, doing tax returns, and perhaps providing some direction in tax and investment planning. However, some agents are interested in more personal services. One agent, for example, also includes help with both the growth of their clients' on-air skills and total career management. Good agents are concerned about how the client is doing in his job, both on and off the air. Typically, the following questions might be among those that the agent might consider for their client: When fate (or a change of management) dictates an "enforced" move, what should that change be? How can a client conduct himself in the newsroom in order to make the maximum contribution as a team player at the station, and therefore advance his/her career? How can the client be active in the community? How can the client's on-air skills grow in view of the limited time the news directors and/or research companies have available for providing help? What is the quality of the client's writing and how can it be improved? What about appearance -- hair, clothing, makeup? How can an anchor get out to report? How can he/she enterprise stories? Does the client understand research, how it works and how it effects him? Where there's the will, how can a reporter get to test his anchor wings? How can the client understand what management is asking him to do, and find a way to fulfill those expectations? How can a client prepare for the uncertainty and instability of this business so that he/she has the option to make intelligent and desirable choices when a career move is required? What life choices dictate all of the above -- family, locale, working environment and a satisfying job description -- and how can we best play our role in helping the client achieve his goals over the long run? CONFLICT OF INTEREST Perhaps one of the biggest problems facing an agent is the potential for conflict of interest. Although the potential is more likely to happen with the larger agents (many on the "A" list); Many smaller agents also face this dilemma. It is one of the biggest problems and surely the least discussed. Is the newsperson receiving the individual treatment and representation that he or she thinks he or she deserves, or is he or she part of a herd? Does the agent submit his/her clients to management where another of his/her client already exists in the position? Unfortunately, it does occur. When an opening occurs does the representative submit only one or a large number of prospective employees on a reel? The latter, sadly, is common, if not the rule. Is this fair to the client or clients? Most representation agreements attempt to give authority to the representative to engage in conflict of interest. It is true, management make the final decision, but doesn't one expect from his/her agent real salesmanship? Is that possible when the representative is submitting more than one client at a time for the same position, if not dozens. Is this multiple submission ethical? Should the client be told by the agent when this occurs? Should the client seek a release from the agent when a conflict occurs? WHEN DO YOU NEED AN AGENT AND HOW DO YOU CONTACT ONE? "Dear Mr. Fitzpatrick, do you think I need an agent?" We get that question at least fifty times a week and there is no pat answer. The first thing we tell anyone who asks that question is that, "Having an agent will not necessarily guarantee you a better job or money or a better position. It also might, but there are no guarantees in this business." Secondly, and this is a hard soul searching question you have to ask yourself. How good are you? That's a tough one. In the Don Fitzpatrick Associates talent library - we have over 9,000 video tapes of on-air talent in all job categories from anchors to weather to specialty reporters. The vast, vast, vast number of those people are good, solid, average journalists. They cover all of the W's and the H. They get their stories right and factual and won't cause a lawsuit for their station. But when 6:00 or 7:00 pm rolls around - they bolt the station for their family or friends or the local pub. In other words, they like so many other people in this business are just - AVERAGE. Hiring agent is not a magical way of taking average or mediocre talent and selling him/her up to a better job. There are no miracles in television news. Just because you have an agent - even a `designer' agent doesn't mean that you can fool a news director. It doesn't work that way. Cream still comes to the top. Hiring an agent is an individual choice and often circumstances often dictate the appropriate time). As I said earlier an agent needs to be viewed as one of the most critical decisions of your career. (Remember, the house and car analogy)? The need for an agent depends on many facts and circum- stances. For younger folks just starting out in the business it depends on what one wants. Most contracts in small markets are best negotiated directly and without help. Telling your news director in Duluth that your New York agent is flying into town is overkill. That N.D. will probably suggest that you apply for a job in Chicago where agents are more (but not always) welcome. If one wants to move up in the ranks it can be very helpful to work with one of the agent that has the staff, experience and reach to locate a job. Most of the folks in mid-sized and larger markets either have a representative or might be well served to get one. If one is in a larger market and a contract needs to be negotiated, it is best to have legal assistance of some kind whether in the form of a contract attorney or an agent who understands the market's idiosyncrasies. It should be noted that there are a few folks who want to handle their own negotiations; and some of them are effective even in large markets, but this is not necessarily the rule. The best way to approach an agent is the most simple and direct one. Start with either a phone call or a friendly and informative letter enclosing a resume and tape. Awards, distinctions, articles by or about you or other biographical information is helpful. The tape should be constructed similar to the audition tape previously discussed in another chapter. QUESTIONS FOR AGENTS, MANAGERS, LAWYERS AND OTHER REPRESENTATIVES 1. How long has the company been in business? 2. How many clients does the agent(s) have? Ask for a breakdown of the total number. i.e. Female anchors, Male Anchors, sportscasters, etc. 2-A. If the agent represents a great number of sportscasters: How can I be assured that I will be given individual attention and not become just a number? 3. Does it represent someone at my station or in my city? 4. Can I be provided with a client list? 5. Can I speak with the clients? 6. What is the nature of the relationship between the client and the representative after the employment contract is signed? 7. What is the average length of the relationship between the newsperson and the representative, not simply the term of the representation agreement, but the longevity of the relationship on a practical basis? 8. What is the client turnover rate? 9. Has the representative been sued by its clients, and, if so, for what? 10. What is the standard representation agreement with clients? How long? Are the terms negotiable, and, if so, under what circumstances? Never? Sometimes? Often? 11. What is the financial arrangement? How much will this cost me? When does it start? Do the checks go to the representative? Some agents now request a downpayment before they will begin to submit tapes. Ask them if they subscribe to this policy? If they do so, ask them to spell out the refund of that deposit should you decide to terminate their services? 12. Do all clients pay the same amount or are deals cut? 13. Are there any add-on charges? (i.e. Federal Express charges for overnight? Postage for massive mailings, etc.) 14. When I come to see the representative do I pay for my own transportation? 15. What are the criteria for signing a client? How many are rejected compared to accepted? 16. Does the company represent clients in all size markets and at networks? 17. Does it deal with news directors in all size markets? 18. Does it represent clients all across the country or just in your geographic area? 19. Does the representative visit local markets? 20. What services does the representative perform? Negotiation Job-seeking Others -- Details 21. Does it do public relations formally or informally? 22. Does it handle literary and lecture matters? (This applies in some cases!) 23. Does it provide financial services? If so, what, and how does it charge? 24. What are the office hours? 25. What are the company's qualifications to do what it does? 26. Is there a lawyer in the company? 27. Who prepares the audition tape? Who does the dubbing? 28. How does the submission process work? What is the profile of a major submission; i.e., what kind of written and taped material is sent and by whom is it prepared? To whom does it go? (Some representatives send tapes to three research companies, then call the client and say, "Wow, am I tired, I just submitted you to 400 stations!") Are calls made first to management? Are follow-up calls made? Who pays for the expenses of submission, e.g., tape costs and Federal Express costs? 29. How many employees does the representative have? How many employees directly service the newsperson in other than financial matters? How many clients does each representative service? 30. With whom in your company will I be dealing? 31. Is the representative licensed as an employment agency? If not, why not? COMPENSATION OF REPRESENTATIVES While the amount of compensation paid is, of course, important, it is not -- or should not be -- the first consideration in picking a representative. Fortunately, it is recognized by most that a good representative, lawyer, doctor, architect, etc. is very hard to find, and if one is fortunate enough to find one, that relationship should be cherished, nurtured and held onto. There are many different methods by which a client pays a representative. Lawyers often charge fees based on hourly rates. However, most representatives charge a percentage of the income, generally ranging between 5 and 10%. A very few charge less, a few charge more. Some representatives will negotiate with potential clients and some will not. Saving a few percentage points is really not the main issue, particularly since compensation paid to a representative is considered a business expense, and is therefore deductible under the new tax law. The extent to which any individual may deduct this expense should be determined with the advise of an accountant, tax adviser, or tax attorney. When you sign a contract with your agent you have made a business deal. Similar to the contract you made with your station. The station pays you and you pay the agent, simple huh? We've heard horror stories over the years in which an agent finds a job for his client. Negotiates the deal. However, the on-air client wasn't happy with the money or `only' the three week vacation and decides after signing the contract the he/she will NOT pay the agent POLICIES AGAINST DEALING WITH AGENTS Some stations, yes, some broadcast groups have policies which state that they will not negotiate a talent contract with an agent. Period! Ten years ago there were many stations and many groups which had this policy. Today we are only talking about a handful of stations. This policy has its roots in several areas. We know of an anchor who was offered a job in a medium-sized midwest market. He was offered the job. When the GM discovered his New York agent would finalize the agreement - the GM withdrew the offer. He stated that he had "X" amount of dollars in his budget and that was it. He assumed the agent would try to high ball him and try to squeeze money out of him that he didn't have. Another station had a bad experience with a particular agent and soon after they lumped all agents in the same category - bad apples. (By the way, there are some stations who have policies of paying for headhunter services). In the few cases where such a rule exists, the policy is more often observed in the breach than in the adherence. Today, the worst case scenario is that the station will take such a position only until it wishes to hire a particular person. Even in the face of a stated negative policy, a good agent usually finds a way to reach an accommodation. Enlightened, modern management realizes that it is easier to maintain a comfortable, day-to-day relationship with its employees when negotiations are conducted at arms length. The problem is so small that it is not worthy of much attention. Rarely does a major market have such a policy. Perhaps more important is the guidance some agents give clients in smaller markets concerning advisability of informing their management of the relationship with their agency. Unhappily, the smaller the market the less sense it makes to reveal to management that there is a representative. Often, management in these markets is not used to dealing with representatives, and may be apprehensive that someone so represented will want to leave for larger markets or greener pastures at the earliest possible moment. In any case, stations -- whether in large or small markets -- which try to maintain such a policy, fail to recognize that once negotiations are concluded, the goals of the station, client and representative are the same. THE DISREPUTABLE AGENT Unfortunately, all agents are not reputable. We know of at least one company who utilizes very questionable practices in obtaining clients and in seeking jobs for individuals without the knowledge or approval of that newsperson. This company - the second they receive an on-air talent's tape in the mail will begin immediately to send it out. That might be good for the talent but it also might hurt them It is absolutely amazing to me that a full audition tape could be sent out by a so-called "agent" without the permission or approval of the newsperson. Because an audition tape often leaves a lasting impression on management, it is totally irresponsible not to have the newsperson's approval of the material being submitted. The newsperson should be able to decide what kind of tape best represents his or her interest. This disreputable practice is quite different from that employed by consulting companies which use brief samplings to wet the appetite of a prospective employer so that more and complete material can be obtained directly if the interest exists. Is the agency really representing the newsperson, or is it only dealing with its own self interests and profit motive without due consideration to the position and feelings of the newsperson? It is interesting to note that in a field with little or no standards, so little is done by management and the agents to correct some of the abuses. THE DISREPUTABLE CLIENT From where we sit as headhunters - we see also see newspersons who play one agent off of another. Occasionally, we will get the same newsperson's tape sent to us by two or more agents. When this happens we'll call the agents and ask them if they, " Do you really represent so-and-so?" The answer is usually a qualified `yes.' How can this happen, you ask? The newsperson or potential client send their tape to two or more agents simultaneously seeking representation. Both agents like what they see and send a contract to the newsperson to sign. Meanwhile, the newsperson has two contracts sitting in front of them - unsigned. The disreputable client has told both representatives that they will sign the contract and mail it back to them. The agents believe they now have a verbal contract and begin to circulate the tape. The contracts continue to sit unsigned on the newsperson's desk while the agents go to bat for the newsperson. When we once confronted an abusive newsperson about this practice. They told us that they wanted to get the most "bang for their buck." Whoever got them the big job...it would be that contract they would sign. The other agent, well, hasta luego. This is wrong. This is unethical. Someday it can come back to haunt you - either in a nasty lawsuit or it might tell a potential employer that you are a person that can't be trusted. That might cost you a future job. As we stated earlier - there are many fine trustworthy agents operating out there. If you are looking, find one of them and treat them as fairly as you would have them treat you. A good working relationship with your agent can go a long way - and might help you to go a long way in the process. THE PROBLEMS AND OPPORTUNITIES WITH AGENTS: Since most news directors have to sit across the desk (or over a phone) with agents - we asked several of them to comment on what they see in the industry. Some of these news management types saw both problems and opportunities for dealing with agents. Here are a few of their comments: o News Directors who only look at tapes from agents or look at an agents tape first. This tells people in the newsroom they must be represented. It happens...I've seen it. o `ND's who don't advertise for a position...or go to DFA. Instead they just call their favorite agents. This again sends a message to their people - they must be represented. o Newspeople who think getting an agent is a ticket to a big new successful job. These people are frequently signing with an agent because they are (1) too lazy to send out tapes, or (2) are not as good and marketable as they think they are. o Newspeople who switch agents every year. If someone is good, they'll get their job. Switching agents does not mean someone who didn't get a new job one year will get one the next. o Agents who "force" their people from market to market to get into bigger and higher paying jobs. Some people can be "sold" to a market but are actually getting into high risk situations they can't be successful in. Agents should move people slowly and UNDERSTAND THE VALUE OF A GOOD NEWSPERSON MAY ACTUALLY INCREASE THE LONGER THEY STAY IN ONE MARKET... LEARNING THE COMMUNITY AND BUILDING A SOLID BASE. PROBLEMS o Agents "overselling" someone who isn't qualified for a position, or "hiding" something in the person's past that an ND should know about. A weakness that needs to be dealt with openly, not hidden. o Newspeople who call an agent every other day to ask where their tapes have gone. o Agents who send out tapes and don't tell their clients where the tapes are going. o Clients who lie to their agent about salary, job status, etc. o Clients who sign with more than one agent at the same time. o Clients who don't pay their agent. These people created the system many agents work under now...your check is directly deposited to the agents bank...they take their percentage...then deposit the rest to the clients bank. o Agents who don't listen carefully to what an ND really wants and sends unqualified people...wasting a ND's time. o Agents who peddle tapes but don't try to help their' client improve...including hiring broadcasting experts who might help their client improve quality..and in turn marketability. o Agents who send a box of tapes for an opening. I've seen it several times. It becomes clear that some agents are more interested in placing anyone, than in placing a specific person. It's also clear that in many cases they didn't listen to what the ND was asking for, thereby wasting time in viewing sessions. o Agents who go after young, inexperienced broadcasters with promises of glory "if you sign with us." Sometimes they do get a fast placement, but most often they send out 50 tapes, no response, and the poor person waits in a small market tied to a % contract. o News Director's who call agents asking for tapes or ND's who look at a tape from an agent first. Yes, there is a role for agents, but any ND (and I've seen plenty of them in person) who puts an agent's tape on a higher level than an individual's tape is creating big problems in the system. A TV consultant has been told hundreds of times by individuals that agents are telling them ND's don't look at tapes that don't come from agents. The problem is many of these cases are true. o Agents who SHOVE their client into moves they should not have made or risky jobs, just so the agent can get the highest salary and therefore the highest commission. Agents should listen clearly to their clients wishes, analyze their strengths and weaknesses, and not put them into positions that are risky for the individual or the station. This may be one of the biggest problem we have with agents today. o Agents who do simultaneous deals with the same person, but don't tell the negotiating ND's until it's too late. Your word must mean something. A negotiation can be tough, but it must be honest and fair. If an agent is shopping someone during real negotiations and not telling the ND, it's simply a case of dishonesty and bad ethics. o Salaries: Yes some TV people may have limited on-air careers and need to get the best going rate, but in many cases the rates some anchors (and a few reporters) are getting is totally too high. Remember folks...we are supposed to be journalists first. If someone wants to go to Hollywood let them be an actor. Salaries can be high, but I think (here's where I get it!!) should be based on performance. The ways to judge the performance: Independent research, newscaster preference levels, newscast ratings, speaking appearances, community involvement, etc. If an anchor gets most of his/her salary from the success of a newscast, you can bet they'll be more likely to work harder, listen to management, help with promos, sell their teases, and care about the quality of the newscasts. Then it's fair---if they helped a station make more money, they should get more money. If they helped a station go down, their salary should go down. o Individuals who lie to an agent. I've seen cases where people signed on with two agents at the same time. I've seen cases where someone with a signed contract didn't pay their agent. (That causes agents to write more complex contracts with individuals). I've seen cases of people who are too lazy to send out tapes so that's why they hired a agent. (Wrong reason!) I've seen cases where people expected immediate great offers by using an agent. (Wrong again folks!) OPPORTUNITIES: o Agents who limit the number of people they represent. o Agents who reject more people than they sign...being selective about what they can offer the person and making absolutely sure the client knows exactly what an agent can and can't do for them. The following is a list of agents whom we deal with on a daily basis. This, by no means, is a complete list of agents. List of Agents: George Bane Robert Barnett 450 South Beverly Drive 839 17th Street N.W. Beverly Hills, CA 90212 Washington, DC 20006 (213) 277-4880 (202) 331-5000 Fee: Negotiable Fee: Charges by the hour Doesn't like Unsolicited Tapes Primarily a negotiator of Primarily a negotiator of contracts. He represents contracts. Attorney network types. Attorney Sherlee Barish Judy Bowen 407 Broad Street 1260 N. Hayworth Street Milford, PA 18337 Los Angeles, CA (717) 296-5044 (213) 650-0383 90046 Fee: 5 to 10% Fee: 10% Sherlee is a job finder but Judy finds jobs and negotiates does negotiate contracts. Well contracts. Represents KNSD known in the business. anchor Denise Yamada. Bill Cooper David Crane 224 W. 49th Street 2224 Fillmore Street New York, NY 10019 San Francisco, CA 94115 (212) 307-1100 (415) 931-1987 Fee: 10% (Can vary) Fee: 7 1/2% (negotiable) Bill does not like unsolicited David welcomes unsolicited tapes. Most of his clients tapes. A former news director are already working in Top 35 and consultant. He is a job markets. finder. Represents KABC's Marianne Bannister. Steve Dickstein Don Ephraim 1617 JFK Blvd., Suite #1010 172 N. Franklin Street Philadelphia, PA 19102 Chicago, IL 60606 (215) 568-5300 (312) 726-1245 Fee: 8 to 10% Fee: Negotiable Attorney. Finds & negotiates Attorney & CPA. Primarily a contracts. Steve will look at negotiator but does seek jobs. unsolicited tapes but rarely Represents folks like WBBM's takes on small & medium mrk. Bill Kurtis. talent. Ken Fishkin Saul Foos 50 Milk Street - 20th Floor 867 N. Dearborn St. Boston, MA 02109 Chicago, IL 60610 (617) 423-5800 (312) 266-1561 Fee: Variable Fee: 10% first year - 7 1/2 2nd Attorney. Primarily a contract Charges a retainer $1,500 negotiator. Represents KCBS if client makes less than anchor Chris Conangla. $80 K. $2,500 if more. Retainer applied to percentage. Alfred Geller Jim Griffin Geller Media Management The William Morris Agency 250 W. 57th Street 1350 Avenue of the Americas New York, NY 10019 New York, NY 10019 (212) 246-1212 (212) 586-5100 Fee: 10% Fee: 10% Attorney. Offers talent coaching William Morris Agency turns in addition to normal agent 100 this year. Jim represents offerings. Represents Connie folks like Peter Jennings and Chung and Fox's Maury Povitch. Barbara Walters. Ed Hookstratten Laurie Jacoby (Geller Media Mgmt) 9489 Dayton Way - Penthouse 9465 Wilshire Blvd. Beverly Hills, CA 90210 Los Angeles, CA 90210 (213) 273-3777 (213) 271-7900 Fee: Variable Fee: 10% Attorney. The `Hook' represents Laurie is a VP of Geller Media a lot of the biggies in NYC and LA. Management and runs their West Bryant Gumbel and KABC's Paul Moyer coast operation. are just two of the many. Jeff Jacobs Ralph Mann / Wayne Kabak 35 E. Wacker - Suite 780 International Creative Mgmt. (ICM) Chicago, IL 60601 40 W. 57th Street (312) 236-2233 (212) 556-5617 Fee: Variable Fee: Variable Attorney. Almost entirely a One of the larger agencies in contract negotiator. Jeff the country. Ralph and Wayne both represents a woman by the name find and negotiate positions. of Oprah. Art Kaminsky Bill LaPlante Athletes & Artists Media Alliance 421 Seventh Avenue P.O. Box 1984 New York, NY 10001 Burlington, CT. 06013 (212) 695-0300 (203) 673-3044 Fee: Variable Fee: 10% Attorney. Started as a sports Former newsguy turned agent. agent (primarily hockey) but moved Finds and negotiates jobs. into TV news several years ago. Likes referrals over un- Finds jobs and negotiates solicited tapes - but he looks contracts. at everything. Ken Lindner Richard Leibner / Carol Cooper Ken Lindner & Associates N.S. Bienstock 2049 Century Park East - #2717 1740 Broadway - 24th Floor Los Angeles, CA 90067 New York, NY 10019 (213) 277-9223 (212) 765-3040 Fee: 6 to 10% Fee: 6% (some variations_ Attorney. Finds and negotiates One of the largest, if not the positions. Represents folks largest talent agency. Richard like KCBS anchor Bree Walker & represents a guy by the name of WABC's John Marler. Dan Rather & woman called Diane Sawyer. Todd Musburger Pam Pulner 142 E. Ontario - Suite 500 2230 California Street NW Chicago, IL 60611 Washington, D.C. (213) 664-2600 (202) 483-4998 Fee: 5 to 10% (variable) Fee: Variable Attorney. Primarily a Pam both finds jobs and negotiator but does find some negotiates contracts nationwide. jobs. His most famous client Pam represents KNBC sportscaster is his brother: Brent. Brent Lewis. Cynthia Riley Conrad Shadlen 1029 Vermont Ave. NW - Suite 800 141 E. 44th St. Suite #804 Washington, DC 20005 New York, NY 10017 (202) 347-5400 (212) 370-9757 Fee: Not Available Fee: 5 to 10% (Variable) Attorney. Nationwide clientele. Attorney. Nationwide Clientele. Finds and negotiates contracts. Finds and negotiates contracts. Represents GMA's Charles Gibson, Represents WABC's Greg Hurst Arthur Miller, Meredith Vieira & former ABC network correspondent CBS Broadcast Group prexy Howard Edie Magnus. Stringer. Joel Weisman Bob Woolf 200 West Adams - Suite #901 4575 Prudential Towers Chicago, IL 60606 Boston, MA 02199 (213) 782-1212 (617) 437-1212 Fee: 6 to 9% (Variable) Fee: Variable Attorney. Nationwide clientele. Attorney. Primarily a sports Finds and negotiates contracts. agent who negotiates contracts mainly in the Boston area. Other agents associated with the above: Darcy Douzeos with Jeff Jacobs Jerry Krone with Geller Media Management Carol Leff with Art Kaminsky Steve Lefkowitz with N.S. Bienstock Ellen McGeeny with Geller Media Management Betsy Mueller with Cynthia Riley Elena Nachmanoff with N.S. Bienstock Michael Naso with William Morris Agency Stu Witt with N.S. Bienstock