Podcasts about United Talent Agency

Matt is joined by David Kramer, the new CEO of United Talent Agency, to discuss his new position, how the talent representation business has changed, industry challenges like the content slowdown, the transition from linear to streaming, labor unrest, AI, and the end of packaging. They also discuss whether private equity has been good or bad for the agency business and how the talent pay structure is changing (03:03). Matt finishes the show with an opening weekend box office prediction for ‘How to Train Your Dragon' (26:47). For a 20 percent discount on Matt's Hollywood insider newsletter, ‘What I'm Hearing ...,' ⁠⁠⁠⁠⁠⁠⁠⁠click here⁠⁠⁠⁠⁠⁠⁠⁠.Email us your thoughts! ⁠⁠⁠⁠⁠⁠⁠⁠thetown@spotify.com⁠⁠⁠⁠⁠⁠⁠⁠ Host: Matt Belloni Guest: David Kramer Producers: Craig Horlbeck and Jessie LopezTheme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

Keywords:  mergers, acquisitions, management consulting, technology, startups, venture capital, incubators, sports management, entrepreneurship, COVID-19, broadcast technology, mergers and acquisitions, problem solving, AI in business, scalable business models, business integration, technology adoption, small business growth, operational efficiency, entrepreneurial strategies Summary:  In this episode, Charles Sims shares his extensive experience in management consulting, technology, and venture capital, focusing on mergers and acquisitions. He discusses his journey from working with small businesses to becoming the CTO of the LA Clippers and the United Talent Agency. Charles emphasizes the importance of technology in business operations and the role of effective communication in securing investments. He also highlights common mistakes startups make and the differences between angel investors and venture capitalists, especially in the context of the COVID-19 pandemic and its impact on the industry. In this conversation, Charles Sims discusses the evolution of broadcast technology, the importance of problem-solving approaches in chaotic situations, and the impact of AI on small businesses. He emphasizes the need for modular and scalable business models, the significance of navigating complexity in business systems, and the creative deal-making process in mergers and acquisitions. The discussion also highlights the advantages small businesses have in adapting quickly to changes and leveraging technology for operational efficiency. Takeaways Charles started in management consulting, focusing on operational and IT strategies. He served as CTO for the LA Clippers, revolutionizing their technology. At United Talent Agency, he developed a passion for mergers and acquisitions. Charles launched Investimate, a platform for business planning and investment analysis. He emphasizes the importance of a well-packaged narrative for startups. Startups often fail by dumping too much information into their pitches. Investors prioritize operators over ideas when making decisions. Angels have more tolerance for failure compared to VCs. COVID accelerated technological advancements in the industry. Transparency with investors can lead to valuable support and connections. Broadcast technology has evolved significantly post-COVID. The hurricane approach involves structured problem-solving in chaos. Staying agnostic and modular in technology choices is crucial. AI's growth is linked to the API ecosystem. Small businesses can move quickly to capitalize on opportunities. Creative deal-making is essential in mergers and acquisitions. Scalability in business models is key to long-term success. Avoid relying solely on people; focus on product scalability. Utilizing existing blueprints can save time and effort. Embrace technology to automate and streamline business processes. Titles Navigating Mergers and Acquisitions with Charles Sims From Consulting to CTO: Charles Sims' Journey The Intersection of Technology and Business Operations Investing in Ideas: The Role of Operators Building a Virtual Incubator for Startups Sound Bites "Every business is a software business." "We can move very quickly from idea to MVP." "Ideas are free." "Your investors are there to help you." "Don't hide, be transparent." "COVID helped us launch our music side." "We had to quickly build on top of it." "Stay as agnostic and modular as you can." "We could get you from zero to 60." "Don't reinvent the wheel." "You don't have to go to MBA school." Chapters 00:00 Introduction to Charles Sims and M&A 03:03 Charles's Journey in Management Consulting 05:51 CTO Experience with LA Clippers 09:01 Transition to United Talent Agency 11:58 Launching Investimate and VC Insights 14:50 Building a Virtual Incubator 17:55 Common Mistakes of Startups 21:04 The Role of Angels vs. VCs 23:52 Impact of COVID on Business 27:08 Lessons from Acquiring the Forum 28:03 The Evolution of Broadcast Technology 34:24 The Hurricane Approach to Problem Solving 40:08 Navigating Complexity in Business Systems 46:04 The Impact of AI on Small Businesses 52:54 Creating Scalable Business Models 58:11 Engaging with Charles Sims

Donna Sharp, Managing Director for MediaLink and current partner at United Talent Agency, joins AMA's Bennie F. Johnson to talk about why it's important to lean into luck, why we should measure authenticity, and why culture is a skillset.

In this episode entitled, How Top Booking Agents REALLY Spot Breakout Artists, we sit down with veteran United Talent Agency UTA  music agent Ben Hogan to uncover the crucial role of live music in building a successful artist career. Ben shares his journey from raver to music promoter, reveals why live performance can outlast streaming success, and explains the importance of creative teams and real-world experience in the industry. Perfect for aspiring agents, artists, and anyone looking to make their mark on the live music scene!

In Hollywood's latest changing of the guards, Jeremy Zimmer has announced that he will be shifting from his post as CEO of United Talent Agency to executive board member. What's behind the shuffle?  Plus, longtime Warner Bros partner, Village Roadshow recently filed for bankruptcy — even as arbitration continues over alleged financial losses due to the WB's decision to release the Village Roadshow backed The Matrix Resurrections (2021) simultaneously in movie theaters and on Max. Kim Masters and Matt Belloni are here to unpack. Masters also speaks to documentarian Alex Gibney about his mysterious new HBO project — The Dark Money Game. Gibney shares some big news about a change within Jigsaw (his production company). Plus, he reveals a very busy slate that includes projects on college culture wars, Luigi Mangione, and an ever-expanding documentary series about Elon Musk. 

In Hollywood’s latest changing of the guards, Jeremy Zimmer has announced that he will be shifting from his post as CEO of United Talent Agency to executive board member. What’s behind the shuffle?  Plus, longtime Warner Bros partner, Village Roadshow recently filed for bankruptcy — even as arbitration continues over alleged financial losses due to the WB’s decision to release the Village Roadshow backed The Matrix Resurrections (2021) simultaneously in movie theaters and on Max. Kim Masters and Matt Belloni are here to unpack.   Masters also speaks to documentarian Alex Gibney about his mysterious new HBO project — The Dark Money Game. Gibney shares some big news about a change within Jigsaw (his production company). Plus, he reveals a very busy slate that includes projects on college culture wars, Luigi Mangione, and an ever-expanding documentary series about Elon Musk.   

Kaye Kramer and Catherine McCord are taking their years of collected experience to help female founders launch and grow their businesses through Founder Launch Lab. The program is designed to bring together a dynamic cohort of like-minded peers along with the experience, mentorship, and personalized coaching that Kaye and Catherine bring to the table. The 9-month program supports founders in mastering business fundamentals, refining growth strategies, and optimizing operations.Kay Kramer is an entrepreneur, founder, senior executive, non-profit board member, and certified career coach specializing in leadership, executive strategy, and career transitions. Kaye's experience in the entertainment industry includes representing talent at United Talent Agency, overseeing production as a movie executive at Interscope Films, and leading Nielsen Entertainment as Executive Vice President. Her entrepreneurial ventures include serving as COO of The Babybox Co., co-founding Nursery Works, and founding Step Up Women's Network, where she also served as CEO.Catherine McCord is the founder of the popular website Weelicious.com. McCord has authored several books, including Smoothie Project, Weelicious, Weelicious Lunches, and Meal Prep Magic. She has appeared on The Today Show, Good Morning America, the Kelly Clarkson Show, the Food Network's #1 rated Guy's Grocery Games, and is a regular on the NBC Emmy Award-winning show Naturally, Danny Seo. In today's episode, Nada sits down with Kaye and Catherine to talk about their partnership serving entrepreneurs. They believe female founders are uniquely suited to launch successful businesses but lack the space to ask, learn, and connect. The two offer two key pieces of advice when starting a business or partnership and share a belief that age is not a limitation; it's an asset. For more information, check out their website. Be sure to listen to Kaye's earlier Liberty Road Podcast Episode, How to Delegate Your Vision for Success. Follow on Instagram: @kayepkramer and @weelicious.Please follow us at @thisislibertyroad on Instagram; we want to share and connect with you and hear your thoughts and comments. Please rate and review this podcast. It helps to know if these conversations inspire and equip you to consider your possibilities and lean into your future with intention. Hosted on Acast. See acast.com/privacy for more information.

Keith Arem and Chris Yates unveil 'Frost Road', a groundbreaking apocalyptic horror graphic novel that plays like "a zombie movie in reverse", and our guests reveal the science behind this project of salt, sound, and survival.• A story that blends the emotional intensity of The Last of Us with the atmosphere of A Quiet Place and dread of Silent Hill• Keith brings extensive experience of over 30+ years from the video game (Call of Duty, Spider-Man) and the music industry• Chris contributes expertise from Disney, United Talent Agency's graphic novel division, and publishing• Kickstarter campaign offers unique rewards, including mentoring sessions and industry access• Collaboration with Dead Meat YouTube channel• Project already completed with fast fulfillment timeline targeting Comic-Con this summerBack the Frost Road project on Kickstarter by April 10th to help fund printing and fulfillment of this unique post-apocalyptic story!PCB Entertainment | Follow PCB on Instagram | Follow Keith Arem | Follow Chris Yates

In this episode, I was lucky enough to interview Charles Sims, CEO and founder of Investimate.Charles shares how he grew up around innovation and leadership inspired him to build and scale ventures, starting with a paintball supply company as a child. His ability to adapt and thrive in chaos earned him the moniker "Hurricane CTO" during his tenure with organizations like the LA Clippers and United Talent Agency, where he became known for troubleshooting crises and bringing stability to high-pressure situations. Now, with Investimate, he is channeling his expertise into a platform that helps founders refine their pitch decks, evaluate market opportunities, and secure investment with data-driven insights.Reflecting on past challenges, Charles discusses a missed acquisition opportunity where he struggled to frame the value proposition, only to later see the deal double in value after another company acquired it. This failure pushed him to develop structured frameworks for assessing investments more effectively. He also emphasizes the importance of leadership, not just in taking accountability but in fostering growth by allowing others to take risks while providing a safety net. Sit back and listen as Charles highlights the resilience and adaptability required to navigate the entrepreneurial world, making him a valuable voice in the startup ecosystem in this episode of The First Customer!Guest Info:Investimatehttps://investimate.ioCharles Sims' LinkedInhttps://www.linkedin.com/in/charlessims/Connect with Jay on LinkedInhttps://www.linkedin.com/in/jayaigner/The First Customer Youtube Channelhttps://www.youtube.com/@thefirstcustomerpodcastThe First Customer podcast websitehttps://www.firstcustomerpodcast.comFollow The First Customer on LinkedInhttp://www.linkedin.com/company/the-first-customer-podcast/

According to Statista and the Forbes Business Council, new technologies are transforming how fans experience live sports, both inside and outside the stadium. A global survey conducted in April 2023 revealed that nearly 80 percent of respondents reported an increase in their spending on technology-enabled merchandise, such as virtual reality headsets and wearable tech devices. Technology has become an integral part of our lives, and the sports industry is no exception. Recent advancements, including video analysis, wearable technology, and virtual reality training programs, have significantly enhanced the sporting world.   These innovations have not only changed how athletes prepare for competition but have also had a profound impact on businesses, creating both new opportunities and challenges across various sectors.   Charles Sims' journey is filled with rich stories and insights from behind the scenes of major acquisitions and transformative ventures in the ever-evolving tech industry. On his podcast, “The Next Pivot with Charles Sims,” he invites listeners into the offices, hallways, and boardrooms of the tech world. The show provides deep industry knowledge through compelling narratives that educate and inspire. Additionally, he co-hosts “Capital Grit,” which helps listeners understand the current investment landscape and reveals the intricacies of fundraising, investing, and venture capital.   For eight years, I served as the CTO for the LA Clippers under Steve Ballmer, where I played a pivotal role in transforming the team's technology infrastructure and driving innovation in sports tech. After that, I spent three years as the CTO for United Talent Agency, the third-largest media and entertainment agency in the world, where I led major technological advancements and strategic initiatives. My expertise lies at the intersection of technology and business. I have a unique ability to demystify complex technical concepts and highlight their real-world value, regardless of the audience's background. Whether it's developing strategic technology roadmaps, leading innovative projects, or mentoring teams, my focus is always on driving success through empathy and innovation.   Known as the 'Hurricane CTO,' Charles Sims is a seasoned tech evangelist, investor, and keynote speaker with over 15 years of experience at the intersection of technology, sports, and entertainment. He has been involved in more than $1.5 billion in mergers and acquisitions, leading transformative initiatives that combine innovation with human-centric design.   For more information: https://www.hurricanecto.com/  LinkedIn: @CharlesSims

In this episode of The Speed of Culture Podcast, Matt Britton speaks with Julian Jacobs, Head of UTA NY and Co-Head of Entertainment Marketing at United Talent Agency. Julian shares insights on how UTA bridges the gap between brands and culture, fosters meaningful partnerships with entertainment properties like Barbie and White Lotus, and navigates the evolving creator economy.Follow Suzy on Twitter: @AskSuzyBizFollow Julian Jacobs on LinkedInSubscribe to The Speed of Culture on your favorite podcast platform.And if you have a question or suggestions for the show, send us an email at suzy@suzy.com Hosted on Acast. See acast.com/privacy for more information.

In part one of this two-part podcast, John Reardon and Marc Berliner dive deep into a discussion about how the watch community creates and consumes content -- notably around all things Patek Philippe. Marc Berliner's insight as a watch collector and professional from the world of entertainment is both unique and insightful. Marc is a veteran collector, buyer and seller of fine vintage timepieces, as well as a freelance writer for the watch and jewelry industry. Over the past 25 years, Marc estimates that he has brought and sold around 250 Patek Philippe wrist and pocket watches. His career in the entertainment industry spans over 30 years, beginning at the United Talent Agency in 1991. Today, he is an independent film and TV producer working on a slate of feature films and TV projects, while maintaining his passion for Patek Philippe vintage timepieces.

Episode 132: Trust & Fear   Talking about fiction is our JAWN slushies. Join us as we discuss Terry Dubow's "The Q," a short story that sounds like it wants to be a crime novel: a murderer gets out of jail and asks to stay with his pen pal. The surprise is that the piece is also a gentle story of male friendship and compassion. We're drawn to the story's ability to showcase the odd-ball sincerity of letter writing, and the strange, retro experience of having to wait for a response. Can you imagine? Putting a letter in a mailbox? Waiting for a reply that has to make its way to you through actual space and time? Does anyone remember licking a stamp? We're here for it, Terry Dubow. Tell us a story.    At the table: Kathleen Volk Miller, Marion Wrenn, Jason Schneiderman, Samantha Neugebauer, Dagne Forrest, Lisa Zerkle, Divina Boko, Jess Fielo (sound engineer) Born outside of Los Angeles, Terry spent most of his adult life in the great city of Cleveland, Ohio. He is now in the middle of a planned mid-life crisis and living with his wife of 30 years in Marin County, California. While he works at a school that sits directly across from San Quentin, the origin of “The Q" comes directly from his uncle-in-law, Gary Weske, who 20 years ago told a version of it that stuck in Terry's head ever since. Thanks, Gary! Over the last years, Terry has published more than 25 stories, most recently in The Meadow (upcoming), Litro, Clockhouse, and The New Ohio Review, which nominated his story “Bandits” for the Best of the Net. His frustratingly unpublished novels are represented by Lisa Grubka at the United Talent Agency.    

In this episode, John Duffin sits down with Charles Sims, a seasoned tech evangelist and investor with 15 years of experience navigating the intricate landscapes of technology. Charles shares his journey from IT management consulting to his strategic roles at the LA Clippers and United Talent Agency. Learn about Charles' unique approach to empathetic innovation, systematizing processes, and leveraging AI to drive business success. The key to Charles' unprecedented success, lies not just in the accomplishments- we also discuss the importance of authenticity, cross-departmental collaboration, effective use of generative AI tools, as well as the documented success of intuitively KNOWING how to speak with the highest level senior executives. This manner of speaking to, and with business leaders and teams, fosters respect...and results!! Charles also talks about his transition into the startup world and offers insights for business owners on integrating AI and maintaining creativity within structured frameworks. Don't miss this insightful conversation packed with valuable lessons for anyone looking to enhance their technological skills, communications ability, true authenticity, resilience, and business strategies! 00:53 Meet Charles Sims: Tech Evangelist 01:44 Empathetic Innovation in Technology 03:20 Navigating IT and Technology Shifts 05:47 From Consulting to Internal Innovation 12:22 Broadcast Technology and NBA Innovations 17:52 Strategic Selling and Budgeting 28:00 Challenges and Successes in AI 30:39 Transitioning from Major Organizations 32:02 The Crossroads of Innovation 32:42 A Life-Changing Dinner 33:35 Diving into AI 36:14 Overwhelmed but Valuable Lessons 39:35 Systematizing Success 45:34 Leveraging AI for Creativity 52:17 Authenticity in Business 58:35 Final Thoughts and Farewell https://www.linkedin.com/in/charlessims/

Ceri is joined by Marine Tanguy, the pioneering founder of MTArt Agency. From managing a gallery at 21 to founding the art world's first talent agency at 25, Marine shares her journey of revolutionising how artists are represented and supported. Ceri and Marine talk about building resilience, visual literacy, and creating new opportunities for artists. Marine also opens up about overcoming personal challenges, including a public hate campaign while pregnant, and shares her innovative approach to artist representation. KEY TAKEAWAYS Marine built MTArt Agency on a philosophical foundation first, establishing clear manifestos about the future relationship with the arts and the alignment of medium and concept before focusing on business applications At 25, Marine created a new business model in the art world by shifting focus from gallery spaces to a service based agency, enabling broader opportunities for artists beyond traditional art sales Marine's experience of managing a hate campaign while pregnant led her to find strength in ballet, demonstrating how physical practice can help manage the mental challenges of leadership Coming from a teaching family background, Marine approached her financial education systematically, surrounding herself with knowledgeable investors who could contribute expertise beyond just funding Marine's approach to talent spotting comes from genuine enthusiasm - she describes herself as someone who rushes back to the office excited to champion new artists she's discovered and thinks that much of the art world today is lacking this type of enthusiasm. As one of the first B Corp certified companies in the art world, Marine used this framework to create measurable accountability in an industry that traditionally lacks formal regulation. Despite managing 50 artists and over 300 projects, Marine maintains a "log in, log out" approach to social media. Marine's company has grown to a £35 million valuation by creating opportunities across multiple sectors from public art to brand partnerships, whilst many more traditional galleries are struggling in the current market. BEST MOMENTS "We are in the art world where being enthusiastic is something that's actually quite rare. It's seen as either quite young or naive or too keen to a degree. But I love my enthusiasm." "The traditional way is really being challenged as we speak." "I haven't studied finance, but I was aware it was something that therefore I was not knowledgeable in, so I made a point of becoming knowledgeable in it." "I think realistically with talent, it's really a balance of hard work, ethics and research, but it's also a question of talent." "You just know when an entrepreneur walk into a room versus someone that has put a deck together with a few clever facts versus someone that has really walked in and you know that they can deliver what they're saying." "Making sure that they diversify, that they reach out as much to public art commissioners, to brands, to digital partners, like they really think outside the box." "Ballet is also muting your brain for an hour and a half, which is really good for your anxiety." EPISODE RESOURCES Marine is represented by United Talent Agency for her writing and TV career. Instagram: @marinetanguyart PODCAST HOST BIO With over 30 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today!  https://cerihand.com/membership/  **** Build Relationships The Easy WayOur self-study video course, "Unlock Your Artworld Network,"  offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/**** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative.

Recorded live at Advertising Week New York 2024, AW360 returns for its record 10th season, speaking with the best and brightest in the industry. In this episode, we speak with Toni Wallace, Partner & Head of Global Music Brand Partnerships at United Talent Agency

Ziad Ahmed is a 25-year-old social entrepreneur, speaker, and strategist – who is the Head of Next Gen @ UTA Marketing. As a teenager, in 2016, Ziad founded JUV Consulting, a Gen Z company connecting clients with the zeitgeist. JUV then worked with over 30 Fortune 500 and launched the first-ever major industry conference with only Gen Z speakers: ZCON. Because of JUV, Ziad was named to Forbes' #30Under30 list when he was 19 years old. In 2024, United Talent Agency acquired JUV Consulting, forming the Next Gen practice of UTA Marketing, where Ziad is continuing to lead his team's award-winning work at the intersection of content, community, and culture. He speaks often on the power of his generation, and he seeks to use his voice to push the envelope forward wherever/however possible. He has spoken everywhere from Cannes Lions to the White House to VidCon to Advertising Week – and has been featured everywhere from CNN to Vice to the Guardian.

Another unusual podcast. Jennifer begins by talking about her meeting over at United Talent Agency where they're talking with her about doing some shows... and then spoke about her "uncorked event" in Manhattan Beach last Monday. We then spoke about a book she's been reading that on the back cover talks about someone meeting Jimi Hendrix on the flipside - someone who has shown up often in our sessions, whether in the books BACKSTAGE PASS TO THE FLIPSIDE or TUNING INTO THE AFTERLIFE. (People who report being greeted by him on the flipside included Janis Joplin (who left the stage a few months after him) by Charles Grodin who saw him as a talk show host, by John Lennon who saw him waiting for him onstage to play "Blue Suede Shoes."  Also Harry Dean Stanton said he was playing at the Monterey Pop festival, and later Fred Roos said the same about seeing Jimi on the flipside.  Everyone recognizes him. I was at a screening of a new film called "Rebel With a Cause" a documentary about the late great actor and humanitarian Charles Grodin.  It's a terrific film with interviews of Robert De Niro, Martin Short, Steve Martin and others.   Jennifer hasn't seen the film, no one has seen the film, but Charles was able to answers questions about the screening and about the content of the film.   Then a number of people stopped by to talk about the film, about how they all get to watch the film because people they know in our group of the flipside were in attendance, and by connection, so were they.  Kurt Cobain, Amy Winehouse (both answer questions), Heath Ledger - as well as Paul Allen, Junior Seau and Dave Duerson - who were reminding Jennifer this morning about how "oxygen therapy can help with brain trauma" - in reference to fellow football player Brett Favre announcing he has Parkinson's.  I'm sorry I didn't get to everyone.  I like to point out that people can talk to them if they take the time to ask them questions and wait for the answers.  The answer might not be verbal, they may be visual.  Another mind bending session - and it ends with a conversation with Phil Hartman - someone Jennifer didn't know, but who Charles Grodin was instrumental and helping to get an audition with his friend Lorne Michaels, who cast him in the SNL show. Phil talks about seeing Belushi on the flipside, and about his reaction to seeing Charles Grodin as well. It's all mind bending, but that doesn't stop us from sharing this information. Hope it helps. 

In this episode, Hilliard and guest co-hosts Dijorn & Trinea Moss sit down for a super entertaining conversation with. Literary Manager Zack Zucker from Bellevue Productions. It is a kickass, two hour podcast where we peppered Zack with writer/filmmaker questions and he dropped nothing but industry game!About Zack:Prior to joining Bellevue, Zack worked at Google, United Talent Agency, and Twentieth Century Fox. He also produced independently.On the feature side, his clients have placed #1 on the 2020 and 2021 Black Lists and had films premiere at Sundance, SXSW, TIFF, and Tribeca. On the TV side, his clients have sold to the likes of Fox, Hulu, Netflix, Sony, eOne, and Village Roadshow, and have written on such series as Fight Night, FBI: International, Frasier, Manifest, Flatbush Misdemeanors, and AJ & the Queen.As a producer, his feature, THE NOVICE, premiered at the 2021 Tribeca Film Festival, where it won multiple awards including Best US Narrative. The film went on to sell to IFC Films and was nominated for five Independent Spirit Awards, including Best Feature.Zack attained a Masters of Fine Arts from the University of Southern California's Peter Stark Producing Program and a Bachelor of Arts from the University of Michigan.Our Motto: "We keep it GAME all day!"For information, merch (T-SHIRTS/HOODIES), and all things Rant Room!NEW WEBSITE:SCREENWRITERSRANTROOM.COMSubscribe, like, follow, share & 5-star review!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Hilliard Guess on all social media IG: @ScreenwritersRantRoomGuests: @thedtmossteam @dijornm@neababaytmWE ARE NOW OPEN TO SPONSORSHIPS AND BRANDING OPPORTUNITIES⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠: Screenwritersrantroom@gmail.comWe invest countless hours per week to deliver the actionable content that goes into this podcast. We appreciate your support!SCREENWRITER NETWORKS:OBSwriter.comBTFC.orgSend in a voice message: https://podcasters.spotify.com/pod/show/screenwriters-rant-room/messageSupport this podcast: https://podcasters.spotify.com/pod/show/screenwriters-rant-room/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PODCASTS WE SUPPORT:2 Writers Talkin Shit: https://podcasts.apple.com/us/podcast/2-writers-talking-shit/id1671253747Hollywood Confessional: https://podcasts.apple.com/us/podcast/hollywood-confessional/id1628848064?i=1000630276175The Qube & Queer News: https://podcasts.apple.com/us/podcast/queer-news/id1595777135A Conversation With Floyd Marshall Jr: https://podcasts.apple.com/us/podcast/a-conversation-with-host-floyd-marshall-jr/id1544499834THEME SONG: Jack SpadeWEBSITE:Abigail Bloom & Laura HuieLOGOS: Rachel MusikanthRANT ROOM TEAM:Richard Scott - Creative ProducerTyler Musikanth - Associate ProducerBrooke Baltimore - Marketing Togo - MarketingJade Hunter Alessandria - BTS --- Support this podcast: https://podcasters.spotify.com/pod/show/screenwriters-rant-room/support

Reza Izad is the Co-CEO and Co-founder at Underscore Talent, a leading next-generation management firm that is known for its successful and diverse creative talent. The company represents a diverse list of top YouTube, TikTok, Instagram, Twitch, Snapchat, gaming, culinary and podcast content creators. He was also the co-founder and CEO of Studio71, a multi-platform media company that combines “digital-first” creators and brands. The company is the #1 YouTube partner in minutes watched. Prior, Izad led the music department at The Collective Management Group and United Talent Agency working with artists such as Linkin Park, Kanye West, Eminem, Justin Timberlake and Prince.

Gen Z is an important stakeholder for companies: they're powerful consumers, passionate activists, and many are already part of the workforce. But when it comes to engaging Gen Z, older generations are the ones studying them—and deciding what will work best. This felt counterproductive to 16-year-old Ziad Ahmed, who questioned why decisions about his generation were being made without them. And so Ziad founded JUV Consulting in 2016—when he and his co-founders were still teenagers—to help companies make decisions and create campaigns with diverse Gen Zers at the table. We invited Ziad to speak about how, eight years later, JUV Consulting has created purpose-driven and inclusive campaigns for top companies, driven by the belief that the future revolves around co-creation, community, and challenging conventions. Since this conversation was recorded, JUV Consulting was acquired by United Talent Agency. Listen for insights on:The fundamental topics and methods to engage Gen ZFinding common ground across generationsInvesting in and engaging Gen Z influencers Resources + Links:Ziad Ahmed's LinkedInUTA Acquires JUV ConsultingZiad Ahmed on EarnedCoachtopiaJUV Consulting's Pro-Living Campaign (00:00) - Welcome to Purpose 360 (00:13) - JUV Consulting's Ziad Ahmed (02:48) - Who is Ziad? (04:21) - Getting Gen Z in the Room (06:46) - JUV Consulting (08:45) - Their Purpose (10:18) - Key Issues (12:17) - Impact (14:06) - Convincing Their Teams (15:23) - Coachtopia (18:30) - Developing Strong Relationships (19:02) - Z Confrontation (19:45) - Another Example (20:32) - Influencers (23:52) - Saying ‘No' (24:01) - Pro-Living (27:17) - Messaging in a Political Year (28:43) - Last Word (30:14) - Wrap Up

In this episode of Art Smack, Jerry Gogosian and her new co-host Annie Taylor kick off season two with a lively and somewhat chaotic introduction, setting the tone for an episode filled with personal anecdotes, insights into the art world, and a candid discussion about the intersections of art, business, and ethics. Annie brings a rich background in art history and business from her studies in Louisiana, experiences working at an auction house and Art Basel's satellite fair, and her current role in Fine Art Logistics. As the episode unfolds, does a play-by-play of Frieze Los Angeles, Felix, and all of the parties surrounding last week's celebrations. Annie and Jerry also delve into more serious topics, including the departure of the previous co-host Matthew, who left the art world to pursue more lucrative endeavors, ahem, finance. This episode also introduces our transition adding a video component to the podcast & adding new levels of awkward to the podcast :) The discussion takes a deeper dive into the challenges and pressures of pursuing an MBA, with Jerry sharing personal struggles and revelations about sunk costs, risk aversion, and the stark realities of legal and ethical business boundaries compared to the art world's more fluid norms. This episode's narrative weaves through tales of personal growth, a surprising opportunity with United Talent Agency, and a commitment to making strategic financial decisions as an artist. The episode encapsulates a the blending of art and commerce, and the importance of embracing change and opportunity without losing sight of one's roots and values in the art community. --- Send in a voice message: https://podcasters.spotify.com/pod/show/jerrygogosian/message

The Talk of Fame Podcast got to chat with Swish Goswami! Swish is a Canadian entrepreneur, author, speaker, investor, and content creator. He is the CEO of Surf, a white-label loyalty and rewards platform that helps enterprises capture consumer data ethically, reward consumers sustainably, and monetize their audience effectively. Surf has worked with several blue chip companies including Netflix, Amazon Prime Gaming, L'Oreal, United Talent Agency, and EA. Surf has made 2 acquisitions and raised over $8M to date from several NBA players, creators and venture firms. Surf has been featured in several publications including the BBC, TechCrunch, WSJ, etc. Swish is also the co-founder and co-host of the Track Limits podcast. The podcast is focused on telling the in-depth stories of various personalities in Formula 1 from mechanics and drivers to team bosses and content creators. Swish has released the book “The Young Entrepreneur” under the Kogan Page imprint in several languages. He has been a brand ambassador for K-Swiss for the last few years and is the Board Chair for the League of Innovators. Through his angel fund AGEX Capital, Swish is an advisor/investor in popular organizations like FaZe Clan, Othership, Wombo, Upstream. Swish has been recognized as a LinkedIn Top Voice with over 200M content views and was the co-founder of LinkedInLocal. FOLLOW ME:  INSTAGRAM:  Officialkyliemontigney  Talkoffamepod  Facebook:  Officialkyliemontigney  Talkoffame  Twitter:  Kyliemontigney4  ABOUT ME:  Hi, I am Kylie! I love sports, spending time with my family, traveling, and meeting people that inspire me. I love listening to other people's stories and sharing their journeys.

(Season 8 is in partnership with ⁠ADCOLOR⁠. ADCOLOR champions diversity and inclusion in creative industries) Shawn Finnie is an entertainment executive with over a decade of experience and most recently served as the Executive Vice President, Member Relations and Awards to the Academy of Motion Picture Arts and Sciences. He oversaw member relations, and global outreach for the organization's global membership of more than 10,000+ artists, filmmakers and executives as well as overseeing Academy Awards processes for submissions, rules, and voting. He has created, hosted, and co-produced various pieces of award winning content for the organization such as “Academy Dialogues: It Starts with Us”. Focused on race, ethnicity, gender, history, opportunity, and the art of filmmaking, these discussions featured high-profile figures such as Bryan Stevenson, Whoopi Goldberg, Lee Daniels, Lulu Wang, Eva Longoria, Roger Ross Williams, Delroy Lindo, Anita Hill, Geena Davis, and Ava DuVernay. In addition, he co-produced additional digital content series such as: Academy Greenroom, Academy Panels and Oscar nominee content. Finnie launched Academy Affinity groups. This member led, staff supported group(s) were created exclusively for members to amplify the voices in the following communities: Black, Indigenous x Native American, Middle Eastern, West Asia North African, LGBTQIA+, Asian, Latinx, and AccessAbility. The focus of the groups is centered around community, advocacy, empowerment and education with the intention to create equity for all voices to impact systemic change. Finnie's focus is Community, Culture, and Connectivity. He is signed to United Talent Agency as a speaker and has collaborated with multiple organizations, communities, and leaders to speak and share personal experiences and initiate action-oriented conversations surrounding mental health, personal journey, and dealing with adversity. He is committed to ensuring that solid representation of diverse voices and backgrounds are included, engaged, and activated.

Ben Hogan from United Talent Agency is one of the most successful and in-demand booking agents in all of dance music. He has helped build the careers of dozens of artists including Marshmello, Jauz, Slander, NGHTMRE, Svdden Death and many more.In this episode we talk about what it takes to get signed to an agency, when is the right time in an artist's career to look for an agent and the importance of thinking long-term and making decisions to invest in the big picture of your career, art and legacy.Follow Ben and UTA here:https://www.unitedtalent.comhttps://www.instagram.com/unitedtalenthttps://www.instagram.com/hogieknowsbestAnd visit my site to join the mailing list, book a free coaching call or get in touch:https://www.nikcherwink.com

Discover exclusive never-before-seen content from Blanke on the 9th episode of “The XLNT Show” where we discuss Bio Hacking, New EP, Starting Mid-Tempo, Aeon Mode, staying healthy and writing on tour.Join our Patreon for the Full Unedited Episode including more in depth production from Blanke as well as exclusive conversations you cant hear anywhere else.⭐️ SUPPORT THE POD ⭐️➡️  ⁠⁠https://aimw.short.gy/SUPPORTTHEPOD⁠⁠⭐️ #1 Sample & Preset Packs [Use code "THEXLNTSHOW" for 10% off your next purchase ⭐️➡️ ⁠⁠bit.ly/XLNTSOUNDPACKS⁠JP Orchison, under the moniker Blanke, has elevated his music venture from Australia to a global phenomenon. With a deal inked with United Talent Agency, Blanke's inaugural year in North American Touring included headlining prestigious festivals like Paradiso, Global Dance, Hard Summer, Dancefestopia, and EDC Las Vegas. Notably, he supported Illenium on the 'Ascend' Arena Tour and commenced 2020 with a substantial 40+ date tour across North America as the main support for Black Tiger Sex Machine. Recognized as the Break Out Artist of 2019 by Subreddit R/EDM, Blanke has received unwavering support from international dance music media, including Run The Trap, YourEDM, Billboard Dance, and Dancing Astronaut. After concluding his 'Earth To The Stars' headline tour and Festival Tour of North America & Australia, Blanke continues his unstoppable momentum with upcoming collaborations featuring Kompany, AU5, and Seven Lions. Beyond his success, Blanke has redefined the bass music genre, showcasing versatility from melodic bass compositions to exploring drum and bass with his project, ÆON:MODE. Returning to Monstercat on November 9th with "Crashing Hard," featuring singer-songwriter Casey Cook, it marks the lead single from his forthcoming EP, 'Emergence.' This release underscores Blanke's status as an inspirational figure, proving that producers can venture into diverse musical territories.

United Talent Agency is accused of sending a previous draft of royal author Omid Scobie's bombshell book to Dutch translators which contained the names of two royals at the center of a race row, RadarOnline.com has learned.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

My guest today is United Talent Agency co-founder and CEO, Jeremy Zimmer. Jeremy helped build UTA from a boutique literary agency into one of the three major talent agencies, that represents celebrities like Chris Pratt, Timothée Chalamet, Kevin Hart, and Bad Bunny. We talk about his motivation for joining at a talent agency at age […]

ABERTURA SEGUNDA-FEIRA, 6 DE NOVEMBRO DE 2023. EU SOU LEO LOPES  E ESTÁ NO AR O CASTNEWS, O PODCAST SEMANAL QUE CHEGA A SUA EDIÇÃO DE NÚMERO 40 COM INFORMAÇÕES SOBRE TUDO O QUE ACONTECE DE MAIS IMPORTANTE NO MERCADO DE PODCASTS NO BRASIL E NO MUNDO. Escalada O aumento cada vez maior da relação das crianças com o podcast, o uso majoritário da publicidade em podcast para a construção de marcas, o fim do podcast Foro de Teresina após a saída de seus hosts e a nova temporada do primeiro podcast sobre true crime do Norte do Brasil estão entre as principais notícias que você vai ouvir nesta 40ª edição do Castnews! NOTÍCIAS 1. Alguns episódios atrás, a gente já comentou sobre como as crianças têm sido um público novo e engajado com o podcast no último ano, e desde então, mais pesquisas têm sido feitas pra levantar informações sobre o público infantil de podcast. Um estudo recente da United Talent Agency revelou que 48% das crianças nos Estados Unidos ouvem podcasts toda semana, e 67% delas ouvem pelo menos uma vez por mês. A pesquisa All Ears, de onde vieram os dados, foi realizada com 5 mil pais e mães americanos que ouvem podcasts com os filhos. A pesquisa indicou que a maioria das crianças escolhe os podcasts por conta própria, e que as recomendações de familiares e amigos são mais confiáveis do que as recomendações recebidas nas redes sociais. Episódios de 10 a 20 minutos de duração são os preferidos da criançada, com o YouTube e o Spotify mantendo o posto de canais mais populares. Outro dado de grande destaque na pesquisa, foi que quase 90% dos pais entrevistados estão dispostos a pagar por assinaturas de podcast para seus filhos. Os motivos variam: 60% dos pais demonstraram interesse em episódios “bônus” e acessos antecipados, e 71% pagaria para que as crianças consumissem o conteúdo sem anúncios. Vale lembrar que a publicidade voltada pra crianças pode ser um assunto polêmico, e não é regulamentada da mesma forma em todos os lugares, inclusive aqui no Brasil é proibido, então como o público infantil de podcasts é novo, esse debate ainda pode ir longe. 2. Na última atualização do iOS 7, a Apple fez algumas alterações nos downloads automáticos de podcast. Antes, quando um usuário não ouvia um podcast por um tempo, quando ele voltava, todos os episódios não-reproduzidos eram baixados automaticamente. Agora, o aplicativo não faz mais o download automático de episódios passados, ele só retoma de onde o ouvinte parou. Ou seja; se o usuário não for manualmente atrás dos podcasts que parou de acompanhar, ele não vai receber ou ser notificado dos episódios perdidos. Se o podcast for serial, vai ficar claro pro ouvinte que ele perdeu conteúdo. Mas, se não for, existe uma grande chance de que vários episódios nem entrem no radar dos ouvintes que acompanham pelo Apple Podcasts. Além disso, episódios que forem adicionados a mais de 7 dias também não vão ser baixados automaticamente. Essas mudanças da Apple causaram uma preocupação pros produtores de podcast: como é que vão ficar as métricas de download? São vários fatores que podem contribuir com a queda da audiência e dos downloads, mas esse sistema tem uma chance enorme de causar diminuição no número de plays. Sem precisão nas métricas e sem os anunciantes tendo as impressões reais dos podcasts, como será que vai ficar essa questão à longo prazo? Vamos acompanhar e te atualizar de todos os desdobramentos. AINDA EM NOTÍCIAS DA SEMANA: 3. E ainda dentro do mesmo tema, o PodNews atualizou recentemente sua página “Entendendo Estatísticas” para incluir informações sobre o YouTube e o Spotify for Podcasters. A página explica como as plataformas fornecem dados de métricas incluindo downloads, streams, plays e números de audiência. A atualização apresenta informações sobre como gerar dados de desempenho no YouTube Studio Analytics, que é pra ajudar os podcasters a compreenderem como está sendo o consumo dos seus programas. O conteúdo é de aproveitamento geral, mas a página é focada nos podcasts estadunidenses. Comenta nas nossas redes sociais se você gostaria que o Castnews fizesse a versão em português desse guia! 4. Na semana passada um novo editor de podcasts de código aberto foi lançado em sua versão alfa: o Coalesce AI. O programa transcreve o áudio do podcast, permitindo que os usuários editem o texto diretamente na plataforma, com as alterações sendo refletidas no áudio. O Coalesce AI diz também oferecer recursos de colaboração instantânea, ferramentas de edição de áudio intuitivas e o ajuste de timing do episódio de forma rápida e fácil. Quem quiser testar a ferramenta pode criar uma conta no site oficial da empresa e dar seus feedbacks sobre o software no grupo oficial do Discord. 5. Estamos chegando no fim do ano, época em que o Spotify libera o Wrapped, aquele evento que relembra as principais músicas e podcasts ouvidos pelos usuários durante o ano. Como a campanha é global e as pessoas compartilham suas listas nas redes sociais, o Spotify lançou dicas para os podcasters aproveitarem o Wrapped 2023 pra alcançar novas audiências. O checklist inclui personalizar a página do podcast, instruções de como adicionar recomendações de episódios e vincular redes sociais, além de promover o engajamento com o público utilizando as caixinhas de perguntas e respostas. O Wrapped 2023 está previsto pra acontecer no início de dezembro. E MAIS: 6. Você lembra que em vários episódios passados a gente já falou sobre como a publicidade em podcasts é um investimento cada vez mais certeiro para as marcas? Continua tão relevante quanto antes. Um estudo da IAB divulgado na última semana mostrou que mais de 60% da publicidade em podcasts é direcionada para a construção de marca, e que os investimentos aumentaram 13% nos últimos 2 anos. Além disso, a inserção de anúncios dinâmicos responde por mais de 90% das receitas publicitárias (sendo 30% deles em áudio). Mais uma vez a gente tem motivos pra acreditar que o ano que vem vai ser o ano do podcast! Se depender das expectativas de receita publicitária, vai ser mesmo. 7. E nessa última semana a equipe do Castnews não economizou nas dicas de produção pro seu podcast: tem dicas de como construir uma introdução pro seu programa, tem matéria sobre a quantidade ideal de anúncios em um podcast, e tem até instruções práticas de como alavancar o seu podcast conquistando cada vez mais audiência. Não é pouca coisa, e definitivamente são conteúdos fundamentais pra todos os produtores que querem mostrar um trabalho caprichado e polido. Então não perde tempo, assim que esse episódio acabar, acessa a aba de Produção lá no portal do Castnews em castnews.com.br e pega todas as dicas pra melhorar seu podcast cada dia mais. HOJE NO GIRO SOBRE PESSOAS QUE FAZEM A MÍDIA:  8. Os jornalistas Thais Bilenky e José Roberto de Toledo anunciaram em suas redes sociais seu afastamento do podcast Foro de Teresina da Revista Piauí. A saída dos jornalistas foi seguida pelo encerramento do próprio podcast, anunciado em uma nota da revista cinco dias depois do anúncio de desligamento dos jornalistas. O afastamento dos dois foi algo que ninguém tava esperando, gerou bastante especulação, e outros jornalistas que já trabalharam na Revista Piauí chegaram a se pronunciar em solidariedade à Thais e José Roberto. O motivo que levou ao fim do Foro de Teresina, segundo o pronunciamento da Revista Piauí, foi a “falta de condições pra que o podcast continuasse operando como antes”. O episódio final do podcast foi conduzido pelo Fernando de Barros e Silva e publicado no feed do Foro na última sexta-feira. 9. A Ambev realizou a segunda edição do projeto InPulso, focado em alavancar os projetos independentes de criadores de conteúdo periféricos. Os participantes selecionados receberam treinamento e mentoria sobre gestão de pessoas, diversificação de receita e uso de novas tecnologias – questões bastante comuns no mercado de podcasting, principalmente entre os criadores independentes. Como sempre, a gente vai parabenizar a iniciativa aqui no Castnews, e reforçar a importância de diversificar as vozes na podosfera e de abrir cada vez mais espaço pra quem quiser falar e produzir conteúdo. Que o podcast seja cada dia mais democrático e acessível à todo mundo. 10. E falando sobre o cenário de podcasts no Brasil e as oportunidades do setor, o Guilherme Sagas, CEO e cofundador da produtora HD1, bateu um papo sobre o tema com a equipe do Castnews na última semana. Ele também comentou sobre a rotina de produção da HD1 e disse que todo ano a empresa seleciona alguns projetos de podcasts narrativos para integrar o catálogo de originais da produtora. Ficou interessado? Então não deixa de conferir a entrevista na íntegra lá no nosso portal. SOBRE LANÇAMENTOS: 11. A segunda temporada do podcast “Além do Crime”, o primeiro true crime da região Norte do Brasil, vai ser lançada na próxima quinta-feira, dia 9 de novembro. No programa, as apresentadoras Bruna Chagas e Penélope Antony abordam crimes chocantes que aconteceram no Amazonas e no Brasil. A nova temporada conta com convidados que estiveram envolvidos nos casos, como peritos e psicólogos, para explorar a mente do criminoso e o impacto na vida das vítimas. A gravação do podcast pode ser acompanhada ao vivo pelos canais do On Jornal às quintas-feiras, e toda sexta-feira os episódios vão ser disponibilizados nas principais plataformas de áudio. 12. No dia 31 de outubro foi lançado o “Podcast Graveyard”, ou, em tradução direta, o “Cemitério de Podcasts”, uma nova produção da OneFinePlay. O programa conta histórias de podcasts que foram abandonados, analisando os motivos que levaram ao fim. O objetivo é ensinar aos criadores de conteúdo o que fazer, e o que não fazer na criação de um podcast. O Podcast Graveyard quer quebrar o estigma em torno do fracasso e incentivar criadores a abraçar sua autenticidade e prosperar no mercado de podcasts. Os primeiros episódios já estão disponíveis nas principais plataformas de streaming (em inglês). RECOMENDAÇÃO NACIONAL:  13. E na recomendação nacional da semana, a gente tem uma minissérie em áudio que, de tão bem divulgada, chegou a deixar alguns usuários do twitter preocupados. O Mundo Freak lançou na semana do Halloween a série “O Ruído”, que acompanha a trajetória da jornalista Daniela Tavares, uma personagem fictícia que muita gente acreditou que era real. O enredo acompanha o sumiço da Daniela, que desaparece assim que começa a investigar a morte misteriosa de um músico em uma cidade universitária. A série é uma produção original do Mundo Freak com a produtora Paratopia, tá super imersiva, super bem editada, e foi feita com áudio binaural, igual França e o Labirinto – que a gente também já falou aqui no Castnews. Então já sabe, né? Use fones de ouvido se for possível, que é pra entrar na história de cabeça mesmo.  Os 5 episódios da série já estão disponíveis na íntegra no feed do Mundo Freak nas principais plataformas de áudio. E você sempre pode divulgar trabalhos e oportunidades dentro da indústria do podcast, aqui no Castnews. Sejam vagas remuneradas ou vagas de participação em projetos, manda pra gente no e-mail contato@castnews.com.br que elas vão ser publicadas na nossa newsletter, que é enviada duas vezes por semana: na quarta e na sexta-feira. Além disso, você também pode mandar uma pequena apresentação do seu podcast, e se ele for o escolhido, vai aparecer aqui na nossa recomendação nacional da semana. ENCERRAMENTO E CTA E ESSAS FORAM AS NOTÍCIAS DESTA QUADRAGÉSIMA EDIÇÃO DO CASTNEWS! VOCÊ PODE LER A ÍNTEGRA DE TODAS AS NOTÍCIAS E ASSINAR A NEWSLETTER EM CASTNEWS.COM.BR. AJUDE O CASTNEWS A CRESCER ESPALHANDO O LINK DESTE EPISÓDIO EM SUAS REDES SOCIAIS E ASSINANDO O FEED DO PODCAST PARA RECEBER EM PRIMEIRA MÃO OS EPISÓDIOS ASSIM QUE FOREM PUBLICADOS. VOCÊ PODE COLABORAR COM O CASTNEWS MANDANDO SEU FEEDBACK E SUGESTÕES DE PAUTA NOS COMENTÁRIOS DO SITE OU PARA O EMAIL PODCAST@CASTNEWS.COM.BR. SIGA TAMBÉM O @CASTNEWSBR NO INSTAGRAM, NO TWITTER E NO THREADS E ENTRE NO CANAL PÚBLICO DO CASTNEWS NO TELEGRAM EM T.ME/CASTNEWS_BR PARA RECEBER NOTÍCIAS DIARIAMENTE. O CASTNEWS É UMA INICIATIVA CONJUNTA DO BICHO DE GOIABA PODCASTS E DA RÁDIOFOBIA PODCAST E MULTIMÍDIA.  PARTICIPARAM DA PRODUÇÃO DESTE EPISÓDIO ANDRESSA ISFER, BRUNA YAMASAKI, EDUARDO SIERRA, LANA TÁVORA, LEO LOPES, RENATO BONTEMPO E THIAGO MIRO. OBRIGADO PELO SEU DOWNLOAD E PELA SUA AUDIÊNCIA, E ATÉ A SEMANA QUE VEM!See omnystudio.com/listener for privacy information.

In this episode, we will speak with Isaiah Jones, a Comedy Touring and Live Events Agent at United Talent Agency in New York. Initially from Dinwiddie, VA, we will talk about his passion for music and percussion and how that led him to serve as the Brand Manager and Speaking Agent for Marcus Johnson, an esteemed international jazz pianist, producer, entrepreneur, author, and philanthropist. Now growing as an Agent in Comedy Touring, Isaiah represents and books various talent for live events, including stand-up comedians, digital creators, podcasters, kids' character-based live stage shows, and more.

Do you ever find yourself asking yourself quietly (or loudly) ‘is this it?. ‘Is this everything I was put on this Earth to experience?'. Or ‘when I just get X, Y or Z I'll be happier?' Alternatively, do you find yourself thinking you have most of the things you should have to be happy, but something is missing? Maybe you keep partying, on repeat, or relying on drugs or alcohol to get through the week? Do you want more but don't know where to go next? If the answer is yes, you're not alone. Sobriety didn't revolutionize Dr. Elisa's life as she hoped it might. In fact, it was the moment when Vince Vaughn fired her from her position as his best-in-the-business, high-flying manager at United Talent Agency that the rest of her life truly began.  Next, the Universe guided her on a journey to becoming a Doctor in Depth Psychology with a focus on Neuroscience and Trauma, and then onto founding the first-ever Recovery Management Agency.Today, Louise & Dr. Elisa discuss: The feeling of 'I'll be happy when I just get there.' The concepts of trauma, chronic trauma, and their connection to our physical body. How the limbic system can't communicate with you in words; it can only communicate in feelings and energy. The concept of 'wearing a mask' in day-to-day life and losing ourselves in this identity. How we have a 'crisis of meaning' and what to do next What it means to have a spiritual practice (and how to start). How rejection is always redirection, plus How to help someone who is navigating addiction Louise also shares her own personal stories around her own recent rejection, redirection and soul whispers- as well as her own journey with asking frequently ‘is this it? -----⭐ Want more bonus episodes, Home Truths, Voice Notes from Lu and access to our community area The House? Join OPENHOUSE PREMIUM for all of this + exclusive access to our 'Ask A Therapist' room with guaranteed therapist responses. Plus, enjoy all episodes ad-free! Join OPENHOUSE Premium here: https://openhouse.supercast.com/ ⭐ -----Join OPENHOUSE PREMIUM now at: https://openhouse.supercast.com/Connect with Louise on Instagram: @iamlouiserumballFollow Louise (The Therapy Girl) on TikTok: @thetherapygirl__Connect with OPENHOUSE: @theopenhousepodcastConnect with Dr. Elisa Hallerman on Instagram: @drelisahallerman Purchase Dr. Elisa's book: SOULBRIETY- A Plan to Heal Your Trauma, Overcome Addiction, and Reconnect with your Soul. Contact Recovery Management Agency Music Sources⠀ Vibe With Me by Joakim Karud http://soundcloud.com/joakimkarud⠀ Music promoted by Audio Library https://youtu.be/-7YDBIGCXsY Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jeremy Zimmer was not supposed to be heading one of the "big four" talent agencies in Hollywood. As a child, he struggled in school and eventually dropped out of college to become a parking lot hustler, making money running schemes as a valet and spending nights partying. But that all stopped suddenly one day when he was violently attacked on the job. When he got back on his feet, he found new focus and began his improbable rise to the top of the talent agency world.

David Weintraub Is an Industry Veteran With Over 25 Years Of Experience In All Areas Of The Entertainment Business. He got his start in the industry in the A&R department of Interscope Records and Death Row Records, working with the entire roster of hip-hop superstars.   David then went on to work for Eminem on his first two albums. Shortly after, he moved on to become a talent agent at William Morris Agency and United Talent Agency. And he then left the agency business to become a TV show creator, talent manager, and executive producer in Hollywood.   But his rise in the industry didn't stop there… Since then, David set out to become the producer and creator of some of the biggest hit TV shows on television. Two of his hit TV shows, Sons Of Hollywood and Hollywood Hillbillies, also closely documented his real, raw and unfiltered journey in show business with his clients.   Throughout the years, Weintraub has produced over 1,000 hours of television episodes for some of the biggest networks in the world, such as VH1, A&E, E Entertainment!, WeTv, Bravo, Reelz, Fox, CW, MTV, CMT, Food Network, TLC, HGTV, NICK, TV One, Bet and Discovery.   Some of David's most notable clients include Too Short, Ray J, E40, Mike Tyson, Trisha Paytas, Birdman, Warren G, Spencer Pratt and Heidi Montag, Scott Storch, Dennis Graham, Jermaine Dupri, Tha Dogg Pound, Justin Timberlake, Mount Westmore, Paris Hilton, Kim Kardashian, Jeff Bridges, Harrison Ford, Eminem, Gwen Stefani, Scott Disick, Chuck Lidell, Soulja Boy, and Tana Mongeau, just to name a few.   David is the most sought-after pop culture manager and the force behind the representation of many of your favorite Bravo housewives, VH1 Love & Hip-Hop stars, and many other talents from Jersey Shore, The Kardashians, The Hills, 90 Day Fiancé, Selling Sunset, Dancing with the Stars, Too Hot to Handle, and The Masked Singer. ​   In this episode you will take away 3 promising insights (plus many more)   -       How he was able to navigate each level in Hollywood…   -       Why the influencer is the new celebrity.   -       The origins of how he got his feet under himself so fast!       3 of David's Best Quotes!   “You have to show your heart of what you want to do, and I wanted to achieve”   “I wanted to figure out the business”   “It's who you know and who you get your information from”       Follow David:   https://www.dwetalent.com/ https://www.instagram.com/sirdavidweintraub/ https://twitter.com/dwetalent     Buy the Hollywood Handbook: https://thehollywoodhandbook.com/       Watch the FULL Interview on YouTube: https://youtu.be/wmS6gJiaATE         Other great podcast guest episodes:     Marla Maples on Being Reborn Again and Living on Purpose   https://podcasts.apple.com/us/podcast/always-on-the-grow-with-manny-vargas/id1150064033?i=1000613489510   Born to Perform and Persevere with Jaclyn Marfuggi Caprio   https://podcasts.apple.com/us/podcast/always-on-the-grow-with-manny-vargas/id1150064033?i=1000610828215       Subscribe and Listen to the Always on the GROW with Manny Vargas Podcast on other platforms:     Spotify:   https://open.spotify.com/show/4r7UJnPOK226P61eGCQ1o2?si=3cfa99ca922a4373   Amazon:   https://music.amazon.com/podcasts/81b57b24-ac69-4ee5-a02f-deb817096b4f/always-on-the-grow-with-manny-vargas   Stitcher:   https://www.stitcher.com/show/a-desire-to-inspire-with-manny-patrick       Follow Manny:   http://thisismannyvargas.com   Linkedin: https://www.linkedin.com/in/manny-var... Instagram: @thisismannyvargas https://www.instagram.com/thisismannyvargas/ Twitter: @themannyvargas https://twitter.com/themannyvargas FB: @thisismannyvargas https://www.facebook.com/thisismannyvargas TikTok: @thisismannyvargas     https://www.tiktok.com/@thisismannyvargas

Avery and Sam sit down with United Talent Agency's Lesley Silverman to talk about career paths in Web3 and how talent agencies can help.This week's guest is Lesley Silverman, Head of Web3 at United Talent Agency. UTA represents many of the most dynamic artists in the Web3 space as well as many of the top actors, directors and creators in the world. We discuss her journey from lawyer to Web3, how creatives are approaching the space and how supporting artists is more about patronage than financial gain.Links mentioned from the podcast: Grimes says she made more from NFTs than musicOnchain SummerPaypal launches stablecoinFollow us on Twitter: Sam Ewen, Avery Akkineni, CoinDesk, Vayner3"Gen C" features hosts Sam Ewen and Avery Akkineni, with editing by Jonas Huck. Executive produced by Jared Schwartz and produced by Uyen Truong. Our theme music is "1882” by omgkirby x Channel Tres with editing by Doc Blust. Artwork by Nicole Marie Rincon.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Avery and Sam sit down with United Talent Agency's Lesley Silverman to talk about career paths in Web3 and how talent agencies can help.This week's guest is Lesley Silverman, Head of Web3 at United Talent Agency. UTA represents many of the most dynamic artists in the Web3 space as well as many of the top actors, directors and creators in the world. We discuss her journey from lawyer to Web3, how creatives are approaching the space and how supporting artists is more about patronage than financial gain.Links mentioned from the podcast: Grimes says she made more from NFTs than musicOnchain SummerPaypal launches stablecoinFollow us on Twitter: Sam Ewen, Avery Akkineni, CoinDesk, Vayner3"Gen C" features hosts Sam Ewen and Avery Akkineni, with editing by Jonas Huck. Executive produced by Jared Schwartz and produced by Uyen Truong. Our theme music is "1882” by omgkirby x Channel Tres with editing by Doc Blust. Artwork by Nicole Marie Rincon.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Miami, by way of Seattle! For this episode, which we recorded in-person while at EVMC in Seattle, we talk with Liz Roca, Director of Tour Marketing at United Talent Agency (UTA). She tells us what it means to work for an agency, and how that role varies and compliments venue and promoter marketing. Liz, who previously has worked on the promoter and venue sides, goes through tips and discusses challenges having worked on all sides of the live event industry. We talk about the rapid growth of Latin music and how tours for Bad Bunny and Karol G, two artists UTA represents, have expanded to stadiums dates, and how the connections fans have with the artists and their work ethic has lead to their continued success at that level. Liz talks about the start of her career, doing advertising for the Miami Herald, and how she transitioned into marketing at the newly opened American Airlines Arena (now Kaseya Center), where she worked for close to 20 years. Hear about her decision to leave and explore the promoter side, challenges during the pandemic, and ultimately her currently role with United Talent Agency. Liz, who is known by her friends as someone who lives life to its fullest, talks about the importance of prioritizing experiences, family, and friends, and not taking anything for granted. Enjoy this informative, fun episode all about the many sides of live events and why it's important to live with intent.Liz Roca: Instagram | LinkedInUnited Talent Agency: Facebook | Twitter | Instagram

The gaming industry has experienced its fair share of ups and downs over the last few years, much like the rest of the media space. But it seems that the chips have fallen in a way in which gaming creators, specifically those who stream their content on live platforms like Twitch, YouTube and Kick, are in a position of power. At least, that's how Damon Lau, head of gaming and esports at United Talent Agency, is measuring the recent trajectory of the industry. With video streaming platforms like Twitch constantly changing the revenue share models for creators on the platform, competing platforms like YouTube, Kick and even TikTok are stepping up to try and win over creators' exclusive streaming rights. On the latest episode of the Digiday podcast, Lau discusses how his clients are thinking about their partnerships with streaming platforms, as well as how advertisers are starting to go to creators themselves for native advertising deals, rather than going through the platforms with their ad dollars.

Sara McLay is a Director at UTA Ventures, the growth arm of the United Talent Agency. First, Sara talks about her career journey through the entertainment industry and delves deeper into what UTA is, specifically highlighting the unique role she has on the Ventures team. Next, Sara explains what the Creator Economy is and how celebrities like Mr. Beast have been able to leverage their talent and platforms in this new economy to create business empires. Afterward, Sara discusses how UTA aims to capture value in this type of economy by investing in and partnering with celebrities who have followings that aspire to consume like and emulate their celebrity icons. Finally, Sara explains how to break into the entertainment and venture industries, and she also provides examples of notable brands and celebrities she collaborates with through UTA.

Ready to take your brand partnerships game to the next level? In this episode, we discuss things like: hot 2023 brand deal trends Beacons has noticed through administering intimate conversations between creators and brands (that will empower you in your own negotiations with brands); exciting free and budget-friendly creator monetization features available to serious creators through Beacons that you never knew existed (and that go WELL beyond the link-in-bio tool); how Beacons is paving a new path for creator brand partnerships management (including how you can tap into the zero-cost management services provided by the Beacons team); and so much more! Natalie Hart is the Creator Manager at Beacons. In her role, she manages 30+ creators, guiding them through their brand deal processes and strategizing how to best monetize their content. Natalie played a key role in launching the Beacons Management Platform, which helps to scale creators' brand deals and streamline the end-to-end campaign process, and she develops and sources partnerships for Beacons with other innovative companies in the creator industry. Prior to her role at Beacons, Natalie worked in Unscripted Casting at NBCUniversal and Unscripted Talent Representation at United Talent Agency.Beacons is a free, all-in-one platform with all the tools creators need to grow a fanbase and make more money. With features including a fully customizable link-in-bio, a storefront for digital products, a simple lead magnet and email marketing solution, an invoice and W9 generator, a media kit builder, an AI brand outreach tool, and more, Beacons is at the forefront of constructing new economic opportunities for creators. Beacons believes in a world where more people can support themselves while pursuing their passions.CONNECT FURTHER WITH GUEST:Sign Up (Get two months FREE of Link-In-Bio Pro): https://beacons.ai/signup?c=theactualangie Instagram: https://www.instagram.com/beacons.ai TikTok: https://www.tiktok.com/@beacons.ai Twitter: https://twitter.com/beaconsai PRESENTING SPONSOR:This episode of Podfluencer Society is presented by Beacons, the all-in-one link in bio and creator business platform used by 2M+ creators. Get two months FREE of Link-In-Bio Pro: https://beacons.ai/signup?c=theactualangieCONNECT FURTHER WITH ANGIE:Podcast: https://www.yougetwhatimsaying.com Listen Early and Dynamic Ad-Free on Apple Podcasts: https://apple.co/44Y6rbYSocial Media: https://beacons.ai/theactualangie/socialmedia Contact: yougetwhatimsaying.podcast@gmail.com Monetize Your Podcast: https://beacons.ai/theactualangie/monetizeSupport the Show: https://www.buymeacoffee.com/yougetit/membershipADVERTISE ON THE SHOW: To inquire about host-read ads or to become the show's next Presenting Sponsor, please send an email to yougetwhatimsaying.podcast@gmail.com.EPISODE CREDITS:Podcast Logo: Abby MurdockPodcast Cover Photography: April Bowers CreativeBE ADVISED:Formerly titled Podfluencer Society, episodes 1-114 share insights and strategies specifically for podcasters. As the podcast has undergone a complete rebrand, some links and information referenced in earlier episodes have likely changed. Please contact us at yougetwhatimsaying.podcast@gmail.com if you cannot find what you are looking for. The views and opinions expressed in each episode are those of the individual contributors and do not necessarily reflect those of the podcast host and team or the owner of this Intellectual Property. This podcast is not an authority of legal advice, and listeners are encouraged to seek professional counsel with regard to their brand, business, and otherwise. Many of the product and service promotions in each episode are under the negotiated terms of affiliate or sponsorship agreements. If a link is clicked and a purchase is made, an affiliate commission may be received. However, we recommend products or services that we personally endorse and believe may be beneficial to others. This information is disclosed in accordance with the Federal Trade Commission's 16 CFR, Part 255: “Guides Concerning the Use of Endorsements and Testimonials in Advertising."

Steve Baldikoski is an Emmy nominated Showrunner known for Fuller House. He's also worked on Last Man Standing, Glenn Martin D.D.S., Wilfred, and Kristie. Join Michael Jamin and Steve Baldikoski for a conversation about how Steve broke in and what it takes to make it in HollywoodShow NotesSteve Baldikoski on IMDB - https://www.imdb.com/name/nm0049747/Steve Baldikoski on Twitter - https://twitter.com/finchbot2000Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptSteve Baldikoski:I mean, you're, you are sort of clued in to, to what your boss likes. Mm-Hmm. , you also have your own tastes. You, you kind of know what the project is supposed to be. I, I, yeah, I don't know. There, there's no formal executive school on how to give notes. That's why it's kind, it's kind of a weird job because there's no training for it. I don't really necessarily know what makes you good or not good.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin. Hey everyone, it's Michael Jamin. Welcome to another episode of Screenwriters. Need to hear this. I got another great guest today. This is my old buddy, Steve Bobowski. Steve has written on some of the, some of your favorite shows, as long as your show's favorite shows are ,Steve Baldikoski:As long as they're, as long as you have Terrible Taste and only watch shows that are gone after 13 episodes, andMichael Jamin:Then, then these are your favorite shows. But I'm gonna start, I'm gonna, in no particular order of, of, I think I'm going in order Teenager Working. Remember that show Dag with David Allen Greer Baby Bob. Oh, we're gonna talk about Baby Bob. Okay. Yeah. A U s A. Andy Richter controls the universe. People like that show a lot. I, I'm with her or I'm with her. I'm with her. I'm with her.Steve Baldikoski:I'm withMichael Jamin:Her. I'm with her . Eight. Eight Simple Rules. The New Adventures of Old Christine. That was a good show. The Jake Effect. Big Shots. True. Jackson, I forgot you worked that out. Wilfred. Which you could thank me for Glenn Martin d s, which you could thank me for Kirsty, which I can thank you for. Last Man Standing, whatever, .Steve Baldikoski:Yeah. They don't have anyone to thank for that.Michael Jamin:Thank for that.Steve Baldikoski:Save Me.Michael Jamin:Jennifer Falls, Ned and Stacy. And then of course, you were the executive producer and showrunner of Fuller House, the Full House remake. Steve, welcome to the big show,Steve Baldikoski:. Thank, thank you for having me. It's very exciting to be here.Michael Jamin:Wasn't it exciting, man? Oh man. Oh, and I have to say, so yeah, so we started out my partner and I hired Steve and his partner Brian, on, on Glenn Martin dds. And we were always very grateful. These guys turned in great drafts and we were always extremely grateful. Yeah, thank you. And then we would just shovel more work as, as for gratitude, we would just shovel more scripts in your face. Write this one now,Steve Baldikoski:, that was one of the highlights of my career. That was some of the best times I've ever had.Michael Jamin:We had some, you know, it's funny, I asked Andy Gordon in in a, in a previous episode, I said, and I'll ask you the same question. If you had, if you could go back in time and either remake any of the shows you did worked on, or like rebooted or just work on it again, what, what would they be? Any,Steve Baldikoski:I thought you were gonna tell me. Andy's answer . AndyMichael Jamin:Said if you want, Andy said, just shoot me. And true. JacksonSteve Baldikoski:Uhhuh . I, I, Glen Martin was a highlight, and and I think it was an underappreciated show,Michael Jamin:Certainly was. AndSteve Baldikoski:If, if it weren't in Claymation, maybe someone would've watched it.Michael Jamin:You know, we went on the internet, Seabert and I, my partner and I, we went on the internet and we found some guy talking about Glen Martin. And it was as if he was in the writer's room. It was as if he was, because he, he was right on the money . Like he knew what was good about it, what was bad about it. He had theories as to why ,Steve Baldikoski:I think you, you talking about Alex Berger, the creator,Michael Jamin:, it wasn't Alex. It was something like, it was something like Whacko on the internet, but boy, he was dead on. He was like, he knew exactly what he was talking about.Steve Baldikoski:. Well, one, one weird thing that that happened to me, this is slightly related. When, when Brian, my old writing partner and I took over for house in the last couple of seasons, it was right before the final season, and it was after Lori Locklin had her collegeIssues, legal issues with varsity Blues. On April Fool's Day, there was this article in some Likee News or something where someone did a whole, it was a fake interview with me, but it seemed like it was real. And the reasonings that they were talking about getting rid of Lori's character and what would happen after, you know, she was divorced from Uncle Jesse on Fuller House. W it was so well thought out that it, I thought it had to be written by also someone in the room, Uhhuh, because they actually knew like, specific arguments that specific writers had in getting rid of this person. And then it turns out, only if you clicked the very bottom did it say April Fools. And it was all phony interview with me,Michael Jamin:But still they got it. Right. But itSteve Baldikoski:Was, it, it was so eerie that it was, it was probably probably had better reasons to include her or not include her than we did. So there are a lot of fans out there who understand the shows just as well as the writers Do.Michael Jamin:I, I think so. I, I think even on, people talk about King of the Hill and they remember episodes. I'm like, I don't remember that one. And then they look it up and go, I, I worked on it. I don't tell me what happened. It's like, I don't remember it. You know, it's from, you know, very important to some of these people. And you know, they, they, they watch it all the time. And I haven't watched it in 20 years. ButSteve Baldikoski:But did you, there was a moment where when on Wilfrid where David Zuckerman, the creator didn't even know that he had a logic fallacy in the first episode. Do you know the story? No. I think he was at Comic-Con and he, he was, he, it it was about the pilot of Wilfred where Wilfred is trying to get through the fence and a regular dog would crawl through the fence, but instead Wilfred has an ax.Michael Jamin:Right. AndSteve Baldikoski:And then they said, well, shouldn't I take the ax from Wilf Fred because it's dangerous? And then David said, wisely said, no, you can't grab the ax cuz that means the ax is real. And the second he said that someone in the audience held their hand up and said, well, what about the Bong? Yeah,Michael Jamin:What about the Bong? Yeah.Steve Baldikoski:And David had never considered that.Michael Jamin:Well,Steve Baldikoski:But Jar, that was fascinating that, that he, they had never thought of it on set, but out there. Got him instantlyMichael Jamin:Etro gave a headache to write and remember, like, what, who, and then, and then your part of Brian's likeSteve Baldikoski:That, that anecdote gave me a headache to mention.Michael Jamin:Yeah, it was, I remember he just like, don't you think people just wanna see the dog danceSteve Baldikoski:?Michael Jamin:See the dog dance? That was his pitch. . Oh man. Oh my God, what a show. But did you ever,Steve Baldikoski:This whole section is even inside Wilf Fred.Michael Jamin:Yeah, it is inside Wilfred.Steve Baldikoski:I don't think anyone would appreciate that. But did youMichael Jamin:Ever, even when you were running Fuller house, did you, did you ever turn to the, what do the fans want? Did you turn to the, because there's a lot of pressureSteve Baldikoski:On that actually, I have to say. That was a huge part of Fuller House and it was one of the things I think that the audience loved. And it was a unique situation for me because I had, still, to this day, I've seen two and a half episodes of the original full House.Michael Jamin:Uhhuh .Steve Baldikoski:So I didn't know anything about Full House, but other people did. And so if we would want to throw in, we call them Easter eggs, right? Throw in little Easter eggs and bring back, you know, some character that was in an, in a single episode 30 years ago, we would bring those actors back and the audience would go bananas. Yeah.Michael Jamin:But how, how can, you didn't watch any old episodes or, you know, there's so much,Steve Baldikoski:Why, why didn't I, orMichael Jamin:Yeah, why didn't you?Steve Baldikoski:Well part of it is I, I didn't want to actually be beholden to any of the other of the old stories.Michael Jamin:Right.Steve Baldikoski:Because I mean, even, you know, like Fuller House is a little bit of an old fashioned show, but we didn't wanna make it just like completely stuck in the past and, and a show that is only about, that's referencing the original show. And that was more helpful to just have a perspective of like, what's it like raising, you know, three kids in, you know, modern day California.Michael Jamin:But did you feel a, a strong, I guess, obligation to make sure the fans were happy? Cuz I'm show the writers are writing for themselves.Steve Baldikoski:Oh, oh, for sure. We were doing that constantly and you know, we, we knew it. There were certain things that were like, you know, throwing red meat to the audience.Michael Jamin:Oh.Steve Baldikoski:You know, kind of like, like, like if you're doing the show Fuller House, no. You know, no matter what the story you're doing is, or whatever, if you have to, you bring in a dog wearing sunglasses and the audience goes bananas. And then how do you talk? And a, a baby runs in wearing the same sunglasses.Michael Jamin:Mm-Hmm.Steve Baldikoski: and then just the, the audience like tears of joy in the audienceMichael Jamin:Because that's, that, that was an old staple in the original show, stuff like that.Steve Baldikoski:Yeah. I mean, that's just the kind of thing that they would stoop to, you know, . And so, no, but it was, but it was this, it was this, the Four House is a show that like, you know, it really, it really affected me as a writer cuz it was really that time when every week there were 200 fans in the audience. Super fans who knew every single episode of Full House and Fuller House. And so you would get this amazing instant recognition from the audience that you're writing for them.Michael Jamin:Right.Steve Baldikoski:Especially when you would have those little Easter eggs and you don't get that on a lot of shows.Michael Jamin:Right. YouSteve Baldikoski:Know, like I, you know, may maybe on your Just Shoot Me you would have just shoot me fans, but every seat every week was a super fan.Michael Jamin:No. The weird thing about Just Shoot Me, you know, cause we was, we were there the first four years and the, the first season, probably the first two seasons that the audience, they weren't fans, they were hostages. There was people who came from Free Pizza, , you can tell they wouldn't wanna be there. . And they know the showSteve Baldikoski:Prisoners,Michael Jamin:Prison Prisoners,Steve Baldikoski:You're sailors in for Fleet Week.Michael Jamin:It's basically that. I mean, people listening, it's like you show up on Hollywood Boulevard and they hand out tickets, Hey, who wants to see a taping of the show? And then anyone would show up and they would stay warm, cause anybody to get outta the rain. ButSteve Baldikoski:These, no, these were people who came from not just around the country, but from literally around the world to see the show. Yeah. And they would th these people would center their vacation on coming to the show. And, and so, you know, I I mean I, it was also amazing to be able to, like, after the show, you know, if you knew who the people were you would bring them down and, and they would just get a kick out of walking around the set. Mm-Hmm. . And that was another kind of highlight every week was, you know, having these people, you know, have this awesome experience that they've grown up with these characters in this set. And then they're running around on the set, you know, now that they're grown up and they've got kids who, who like the shows.Michael Jamin:Now this set was a repeat that wasn't,Steve Baldikoski:That was kind of amazing cuz you would, it it wasn't just, it wasn't just fans, it was two generations of fans. Right. You know, it was like people who are sort of our age and then they're kids. Right. And, and so, you know, when network people talk about family co-viewing, it really was that it was, you know, parents who still love the show,Michael Jamin:But it wasn't the set was a remake. Right. It wasn't the actually,Steve Baldikoski:It, it was a remake. But I'll I'll tell you, and this is also part of the weird experience coming onto the show, cuz neither, you know, I had no appreciation really for a full house at the time. So before the first show, and this was the entire first season before it aired on Netflix there was a curtain covering the set. And before they would announce the actors, they would, they would lift the curtain like it, like it was like at the theater. Right. And the first time for the shooting the pilot, when they revealed that to the audience, people burst into tears.Michael Jamin:Wow.Steve Baldikoski:Just seeing the set and the couch looking just like it did in the eighties. And the way they really, really mimicked the original set, you know, to the Inch cuz they had the original plans. It was amazing to see people moved by a set.Michael Jamin:Yeah, I bet. ISteve Baldikoski:Bet. And yeah. And so, so that was pretty unusual. And then any line would get, even a mediocre line would get an aureus laugh from the audience cuz they were all, they've been waiting for 25 years to see this moment.Michael Jamin:Now, I imagine you had some of the writers in the show who grew up with watching the original Fall House, who knew more about the show than, than you did? Who?Steve Baldikoski:Oh, oh yeah. Yeah. For sure. And that's why also I felt I didn't need to see the show that much. I'm not recommending people shouldn't do homework .Michael Jamin:Now, one of the things that shocked me when we, when we were working with you, this is long, many years ago, and maybe it was only a season one or something. You shocked me when you said that you, at one point you were, you started as a network executive. I was like, you what? WhatSteve Baldikoski:Well, yeah, Stu, a studio, executiveMichael Jamin:Studio. SoSteve Baldikoski:Sorry. Yeah. Yeah. I was, I was I was like a director of comedy development at Universal.Michael Jamin:And so tell tell us what, what that means. WhatSteve Baldikoski:Do, should I go back further? Could goMichael Jamin:Back to where you wanna startSteve Baldikoski:To that point. I mean, I never, I never set out to be a writer. I don't even know if you know any of my origin story about this stuff. Oh. I never really set out to be a writer. I always loved TV, but I also love music in, in movies. But didn't even know I was gonna get into the entertainment business until I was trying to blow a year or two before I would get a little bit of work experience and then back to go to law school. You were gonna law school get an mba and I was never gonna be a part of the entertainment industry, but I just lucked into what turned out to be a great job in the mail room at United Talent Agency, uta. And it was like this moment that U t A was on the rise and I, yeah, I was in the mail room where I'm literally working 80 hours a week delivering mail and reading scripts for free and writing coverage, doing that for five months. Then I got on a desk, I worked for Nancy Jones and Jay Surs.Michael Jamin:Oh boy.Steve Baldikoski:I was their first assistants at United Talent, I believe. And then and then I knew it wasn't for me cuz it was really cutthroat. Yes. I, I was learning what I didn't want to do. And working a traditional office that led to I got a job in development. I worked at Aaron Spelling Productions, and then that job got me wait, howMichael Jamin:Did you get a job in development? Cause it's, it is hard to make the transition from being an assistant at a desk to having a non-a job anywhere.Steve Baldikoski:Oh, oh. I, I was still an assistant for Oh, okay. Years. I was an assistant for spelling for one year. Mm-Hmm. , then I was an assistant. I worked for Jamie Tarsus at b c. Right. And that's, and that was kind of the, the, the pivotal moment in my career. Cuz kind of anyone who was Jamie Tarsus assistant moved on to become the next executive. Right. And so that kind of became my path. I was, I, I never set out to do this, but I just kept at getting a job that was just better than the last one. Mm-Hmm. . So I never had the reason to go back to law school. Right. And it was just like they kept on dragging me back in with a slightly better job. So this one year I spent as Jamie's assistant at N B C Frazier had been bought, but not shot.And then Jamie bought friends that year. I can't remember the names of the other shows, but but like, you know, being on set at the pilot of Friends was really that pivotal moment for me where I thought, oh, th this is, you know, really what I wanna do. Like, and I was on the path to be an executive, but I really would look over and the writers seemed to be having a lot more fun. And that's where I, I didn't really even know it, but that was, that was my path to be to being a writer was just kind of hanging out at N B C and, and seeing how things, you know, being a part of. But evenMichael Jamin:When you were an executive development exec, were you thinking, I want to be a writer? Or were you thinking No, no,Steve Baldikoski:Not really. I, I knew like, the executive path was like, was fine and I did that. And on the executive path, when you're no longer an assistant, you get bumped up and you get the office and it was very kind of, there were a lot of fancy trappings. I would wear a suit and I'd drive around all the networks trying to sell co half hour comedies to the networks. And it was it was a good job. But there was just something I still kept on looking at, you know, the writers who were on the floor and thought they were having more fun.Michael Jamin:But Do you, and you were giving notes to writers Yes. As executive. Do you at any point feel like, I don't really, how might, who might I be giving notes to a writer when theySteve Baldikoski:Oh, I, I, I felt that all the time. And because I felt that, cuz I kind of had so much respect for what the writers did. Yeah. That it was, it was hard for me to give as many notes. Cuz I thought the writer probably already had thought these things throughMichael Jamin:Uhhuh .Steve Baldikoski:But where were youMichael Jamin:Getting your notes from then?Steve Baldikoski:What's that?Michael Jamin:Where were you getting your notes from? Where were you getting your opinions from?Steve Baldikoski:Well, I, I have opinions just like, IMichael Jamin:Wouldn't have, I wouldn't have when I was starting it out, I go, I don't know. That's fine to me.Steve Baldikoski:I mean, you're, you're sort of clued in to, to what your boss likes. Mm-Hmm. , you also have your own tastes. You, you kind of know what the project is supposed to be. I, yeah, I don't know. There, there's no formal executive school on how to give notes. That's why it's kind, it's kind of a weird job because there's no training for it. I don't really necessarily know what makes you good or not good.Michael Jamin:And some, a lot of it is just opinion. But I I sometimes you'll get the same notes and which are fair, which is a, you know, start the story journal, whatever. That's a great note that you're always, this is totally valid note. But sometimes I, you know, I've been in meetings and you're like, you get a note, you're like, but that's just your opinion. This doesn't make it better or worse.Steve Baldikoski:Yes. And, and I mean, obviously, you know, that's something you, you will struggle with till the end of time. Yeah. But, but I also always go back to, you know, I, I think there's a, there's a cartoon about this at, at some point, but, but like, if Shakespeare handed an Hamlet, his agent would give him notes. Yeah. And he would say, Hamlet is inactive. Yeah. And then you would make him Mae swashbuckling hero.Michael Jamin:Yeah. Right. Yes.Steve Baldikoski:And that would ruin Hamlet. So, so like, you know, and, and the problem is that like, the, that agent's note would be a well, well-guided note.Michael Jamin:Yeah. Hamlet, that isSteve Baldikoski:A mm-hmm. is a valid thing for him to say, but it also ruins the inherent art of the piece. Yeah.Michael Jamin:You know? Yeah. Had a kick. ButSteve Baldikoski:Then not that writing Glen Martin was the equivalent of ShakespeareMichael Jamin:In many ways. But it wasSteve Baldikoski:Pretty close.Michael Jamin:It was a little higherSteve Baldikoski:. But ,Michael Jamin:We had some fun on that show. But and then when, when you wanted to make the transition, I don't know how, how, how do you do, how did you do that?Steve Baldikoski:So, so, and once, like, and this is just my case, it was shockingly not that hard. My who became my writing partner was one of my best friends in college. And Brian had always wanted to be a sitcom writer. And just kind of had, kind of flamed out a couple of times. And then he was living in San Francisco and having a really excellent career as a, as an advertising copywriter. And I called him up and I told him I wanted to write sitcom with him. And he said no. And then he say he changed his mind.Michael Jamin:Why did he say no?Steve Baldikoski:Cuz I said, fine, I'm, if you don't write it with me, I'm gonna write it with Sue Ale .Michael Jamin:Oh,Steve Baldikoski:Funny. That's a true story. She wasn't,Michael Jamin:Sue wasn't an Sue Nagle who later went on to run H B O and then and Ana and you know, she, she's big, but she, at the time she was, she was, sheSteve Baldikoski:Was not yet an agent or she was a very young one. And we, butMichael Jamin:She didn't wanna write,Steve Baldikoski:Did she? So then we got together and to go to a coffee place to brainstorm. And we got into a, we didn't even make it to the coffee place before we got into a huge argumentMichael Jamin:Over what?Steve Baldikoski:Oh, I don't, I don't rememberMichael Jamin:. This partnership's not going well,Steve Baldikoski:. No, he was, he was not. But, but if you can't make it to the place where you're supposed to think , then it's probably a doom partnership. So anyway, Brian said yes. Mm-Hmm. . And then so over the phone we wrote a spec news radio back when people still did that. Yep. And News Radio had just been on the air. So we wanted to write a show that we loved and also that there weren't a ton of samples of other specs like that. Right. So we, this news radio early on and I gave it to Sue Nagle, she liked it. She gave it to Michael Whitehorn at Ned and Stacy. And we had one meeting Brian flew in from San Francisco. I showed up in my suit from being in an executive. I had to sneak out from Universal and not tell him where I was going. DidMichael Jamin:Michael White hard know you were an executive at the time? Yes, he did. HeSteve Baldikoski:Didn't think, but, but, but that was actually kind of a good thing because Brian was an ad executive. Mm-Hmm. and Ned of Ned and Stacy Right. Was an ad executive. And then also cuz I had, you know, funny corporate stories I think Michael liked that as well. And the fact he gets two people for a staff writer's salary.Michael Jamin:Were you afraid to leave your cushy job?Steve Baldikoski:Less so than Brian. I, if, if I flamed out, I could always go back to being an executive and, you know, that would be fine. Right. And, and in hindsight, that probably would've been the best thing that happened, everyone.Michael Jamin:But Yeah. I mean, itSteve Baldikoski:Wouldn't be here talking to you. I, I, I'd be living in Bermuda by now, .Michael Jamin:Oh, well, you know, learn.Steve Baldikoski:Yes. So, but unfortunately I made it through that year and then made it through the next like 25 years. And so, so that was my, that was my path. And, and it kind of happened really fast that I, so then Michael hired us after that meeting, and then I had to go tell my boss at Universal that not only was I looking for a job, but I had one and it was as a writer.Michael Jamin:Yeah.Steve Baldikoski:And then, and so their business affairs made this big stink that they owned my half of my spec script.Michael Jamin:And what, what are they planning on doing with it?Steve Baldikoski:I, well, that, well, I, I asked them that and I think they were all gonna take my spot in the writer's room.Michael Jamin:Yeah. What you're, they have they own ha you're half of a worthless SPAC script that just got you a job. I don't know,Steve Baldikoski:Value it. It was a weird thing. But they,Michael Jamin:But businessSteve Baldikoski:Affairs won't hesitate toMichael Jamin:Sink a deal whenever possible. . Yes. We remove the joy out of a writer . We have a three hour phone call toSteve Baldikoski:Figure this out. And they, yes, they effectively did steal my joy of that moment,Michael Jamin:. Oh my God. And then, yeah. Then the rest was just one show after another, basically. AndSteve Baldikoski:Then, yeah. And yeah, it started out we got in, at the time there used to be the WB in, in U p n, the Paramount Network. I think like in that, in that time period, this is like 97, 98, there was like the peak of the sitcom. I think there were over 60 half hour sitcoms on the air. And then Brian and I rode that rollercoaster.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.So tell me about developing your last project.Steve Baldikoski:Okay, so the, the last project that I just developed I sold it to a ABC with 20th. Mm-Hmm. came to me because it was so personal to what I'm going through as a dad. Mm-Hmm. , my youngest kid is non-binary.Michael Jamin:Okay.Steve Baldikoski:And she she was born a girl, Vivian. And then around time, she was about the second grade, she came to us and said that she, she felt that she was a boy. Right. And so that led us down on this journey. You know, finding out, you know, like having a trans kid and non-binary kid and never knowing anything about it. Right. and that kind of led me to want to write about it after I broke up with my writing partner right at the start of Covid. And I was gonna have to write my first thing. So I was gonna write at first I was actually gonna develop step by step BA based on the same concept. I was unable to sell that to H B O Max mm-hmm. . so instead I redeveloped the idea of me being this like hapless dad sort of middle class working class guy in rural Wisconsin, which is where my mom's family is from.And then having this tomboy kid that he just loves more than anything. Hi. Her, his Maisie all of a sudden informs him that no her name is, she's now Hunter. And you're thinking this as a single camera comedy or what? This was a single camera comedy. Yeah. Yeah. I mean, it was structured like a multicam, but, but really that was from, anyway, that was my speck. And what that led me to, to, to, to do is it got me the attention of other people who were in the non-binary trans world. So then ultimately I partnered just through meeting lots of people this woman named Billy Lee, who some people know because Billy Lee was on early seasons of Vander Pump Rules. Okay. and so it was kind of a, like a well-known person in, in the trans community.And then, so Billy Lee and her friend Priscilla had this idea about her own life, which is kind of almost too hard to believe is true. Billy Lee grew up in rural Indiana as a boy. Left home in 18, found out that he wasn't gay, he was actually a, she Right. And went through the surgeries and then, you know, a a lot of turmoil, but then returns back home and fell in love with her best male friend from junior high. And now they're together as an on and off couple. And so it was, how, how do I take that and turn that into a half hour comedy? I know it's a long wind up, but it's a great story that is almost hard to believe. Yeah. AndMichael Jamin:Was her best friend growing up.Steve Baldikoski:Yes. And so we pitched it really as a Netflix H b o Showtime show that would, would show that magic relationship and also have sex and, you know, things that I think would be hard, you know, relatively hard for a, you know, a regular network audience.Michael Jamin:And it's sold,Steve Baldikoski:But it sold to a b ABC because they wanted, there's this great, her relationship with her father is also really what it's about. Right. And it's, it, it is a fa is also a family show about how it took a trans woman to fix this broken Midwestern family.Michael Jamin:Right. AndSteve Baldikoski:Right in ABC's wheelhouse, youMichael Jamin:Know, where where is that now? At likeSteve Baldikoski:A, like a Connor's but with a strong trans element.Michael Jamin:And where is that right now?Steve Baldikoski:It's dead. Oh,Michael Jamin:Steve Baldikoski:Michael Jamin:With every other pilot.Steve Baldikoski:Yeah. yeah. I, I, you know, I can't, I I can't entirely blame them. Like, it, it would be very amazing to see a, b, c put on a show about a trans woman and not have it be one of the peripheral characters.Michael Jamin:Yeah.Steve Baldikoski:I, I, I think that's just a hard sell. Maybe if I was, you know, a more powerful writer, could, could you, you know, jam that down their throat? But I, I don't think, I think the subject matter was exactly their wheelhouse, but also maybe too, too on the bleeding edge for them.Michael Jamin:It, it feels a little like, you know, some somebody somewhere at that H B O show. I love that show. No. Oh yeah. It's a little sim it's it, and there's not trans, but it's, it's similar that, I don't know, that just remind me of It's great. It's a great show. Our friend Rob Cohen directs a bunch of those. Oh yeah.Steve Baldikoski:Oh, I'll have to check that out.Michael Jamin:Yeah. Great show. But, so then, okay, so then what, what else? Like, you, I mean, it's been a while since, you know, since Fuller House, but what was that like? I always ask this, what's it like working with the cuz a lot has changed since you and I broke in. Yes. What is it working on with like the, the new generation of writers?Steve Baldikoski:Well luckily at Four House I was still the new generation of writers . What wasn't thatMichael Jamin:Mean, wasn't that long ago.Steve Baldikoski:I, I still felt young on the show Uhhuh. Cause Cause we had people No, we, we had people who were older and Oh right. And you know, were around the early, theMichael Jamin:Original show.Steve Baldikoski:And so, so it was kind of great to feel like I was on the young side for once. Yeah. but I, I understand what you're, I understand what you're, what you're getting to are like in terms of how the room has changed from started to now, evenMichael Jamin:In terms of preparation because, you know, you can answer any way you want. But it, like, basically there was more when we were coming up, you were on a show for longer. There were more senior writers and you were constantly learning and you were never, I never, you were never like thrown into the hot wa hot water yet. But now I feel like these kids come in and there's no really training ground. There's no, there's even, you know, I think there's an article a couple days ago, there's no mentorship anymore becauseSteve Baldikoski:No, no, no, no, no. There, there isn't. And you know, that's too sad. I think that, I think content in general is as good as it's ever been. Mm-Hmm. . And yet that training system doesn't seem to exist. And I wish it did. When, when we first got in around the Ned and Stacy era, like there still was that you would still feel that like a showrunner would take someone mm-hmm. Under his wing, like Michael Whitehorn did with David Lit. Yep. And Shepherd that person cuz they would have multiple years of Ned and Stacy. And then luckily that turned into King of Queens. Mm-Hmm. and, and you know, soMichael Jamin:There were schools.Steve Baldikoski:Mike were together for a long time. That's the old model. I don't see that anymore. I wish it was there. Because to to be honest with you, like when Brian and I made the jump from co-executive producers of Fuller House to executive producers, it, it was like, we are being thrown to the wolves after 25 years. Yes. Because because of jumping from show to show, to show like younger writers do now all the time. I, I didn't learn those skills mm-hmm. . And so we didn't really know that much about editing, you know, sweetening like it, how's our camera coverage. Right. you know, all all of those little things that, you know, I had to, I had to learn them very, very quickly. And so luckily I had a, a great, you know, you know, crew that all wanted to help us as, you know, learn as well. But yeah, there is no system. I wish there wasMichael Jamin:Like, I even think like multi-camera, like you, back in the day, you'd come out of a school like we basically . We, we kind of came out of the Frazier school cause Levitan came outta Frazier, which came outta the cheer school. And it was like that kind of pedigree that you had and you're just learning from all those people. And then now, like, there's so few multi cams. Like if they were to bring back multi cams, well who's gonna do it? Who knows how to do it? Because it's different than doing a single camera.Steve Baldikoski:It's funny, it's funny you say that because that's why I'm calling onto the business. Yeah. that I'm hoping, I'm hoping that that we can stick around long enough that it will come back at some point. UhhuhMichael Jamin:. Yeah.Steve Baldikoski:I, I love the format. Like, I mean that's, that's one of the things that like really me about Fuller House is you know, I was able to be there for like five years mm-hmm. . and I never really had to worry about, you know, job security and it, it was this amazing place and we, and there were fans of the show and, and it was just great to write for them. And so that spoiled me, you know, now that that kind of is, you know, has gone away now that Fuller house is no longer on the air. Friday night was my drug, you know, cuz you know, Friday night I love putting on a show every week and I miss that.Michael Jamin:Here's my pitch Fullest house. Pay me. That's,Steve Baldikoski:That's, that's a great idea. That's a great, I wonder, I wonder if anyone pitched that to me, before the day I started.Michael Jamin:I wonder if anybody pitched that to me. Your shitty joke. .Steve Baldikoski:So was it one of my low IQ children?Michael Jamin:. Well then, so then what do you do? So what do you do now? I mean you're obviously you're developing and, andSteve Baldikoski:So, so now I I'm, I'm working on a, a, a new multi-camera idea. I'm very excited aboutMichael Jamin:And Gone Steve Baldikoski:Haven'tMichael Jamin:Taken it out yet.Steve Baldikoski:Yeah. no, I'm just, I I I, I think I finally ha I have the pilot story. I'm just trying to populate it with all the other, all the other things.Michael Jamin:Okay. And then, and thenSteve Baldikoski:With all the other characters cuz I basically started with the central character, Uhhuh . It is kind of high concept, but I don't wanna give it away. I I'll talk to you off camera about it. Okay. with the central character and then that led to a bigger world. Then populate that world kind of how to, how I want to, how I wanna fit tonally into that world. Like it's, it's, it's an idea that would, to me, it feels a little in the vein of what we do in the shadows.Michael Jamin:Oh, okay. Yeah.Steve Baldikoski:In terms of like a high concept comedy idea. And because I never worked for him, but like, my hero as a sitcom writer is Paul Sims.Michael Jamin:Okay.Steve Baldikoski:And it, you know, my first spec was Ned and Stacy. I mean, I, I was news Radio. Radio. Yeah. And which was run by Paul Sims, created by Paul Sims. And now he runs mm-hmm. . you know, what we do in the Shadows, which I just think is a brilliant, brilliant show.Michael Jamin:So then what do you have, what advice do you have for people? Do you have any advice for people trying to get into the business now? Well,Steve Baldikoski: that's why I'm here. I thought I was seeking advice from you. Yeah.Michael Jamin:You thought you were a, a job.Steve Baldikoski:I thought people were gonna, I thought people were gonna call in and tell me what to do with my life.Michael Jamin:Yeah, exactly.Steve Baldikoski:I, I mean the, the number one thing is like, if you want to be a writer, I think you probably have to move to LA maybe New York. But if you want to be in TV comedy, I think you have to be in LA Yeah. That's the first thing you have to do is move here and then write all, you can write things that make you laugh. Right. That abuse you, because no one else will probably enjoy it. So you might as well, you might as well . And, and also, and also I think you, you, you have to get creative, you know I think social media is a great way to get noticed.Michael Jamin:Mm-Hmm. ,Steve Baldikoski:My wife happens to be an executive on the TV side, and she bought the Twitter feed shit, my dad says when she wasMichael Jamin:Wild. And that was gotta be 10 years ago now.Steve Baldikoski:And Yes. And I, and I think that was like the first thing that a network executive or that a network has like, bought something on, like no one was buying a Twitter feed at the time. Right. And, and I thought that was pretty clever that Wendy started looking at things like that. And I, I think that's a great place to get noticed. Yeah,Michael Jamin:I agree.Steve Baldikoski:Especially for young comedy writers. Does sheMichael Jamin:Still do that? Does she still actively, does she look on social media for other people like that?Steve Baldikoski:She does that. She also she flips through, they get they get proposals of books that are coming out. Not even books that have been written, but just titles of book proposals sometimes.Michael Jamin:Really. AndSteve Baldikoski:She has scanned through that and bought a series based on one of the blurbs that she read aboutMichael Jamin:That I'veSteve Baldikoski:Never heard that. That was, that that was actually the show Atory.Michael Jamin:I Okay. Cuz that's a good title. ISteve Baldikoski:Never heard thatMichael Jamin:Before. So I would, I would, I've always, cause my advice to given people is, well, it's gotta be a bestselling book, but you're sayingSteve Baldikoski:Oh, oh, oh. I'm not, oh, I'm not suggesting that's a way to get noticed,Michael Jamin:Right.Steve Baldikoski:To, to write a book. Although it's not a bad idea. If you have a great life story, write a book or put it on TikTok.Michael Jamin:Right.Steve Baldikoski:I think, I think just if you have a comic voice, there are a million ways to get it out there. Yeah. and my dear friend, a guy named David Arnold was a writer on Filler House and just started showing, you know, doing TikTok videos of, of him and his wife and kids. And then he, like, I think Ellen DeGeneres was the first to share one of his videos, and then that blew up for him. And then he ended up, he was getting sponsored and he was a, he was a standup comic and it was helping out with his standup business. Yeah. And so at the age of, you know, 53, he was discovered on new media, you know, andMichael Jamin:And what would hasSteve Baldikoski:Become little tiny sketches about his family.Michael Jamin:Oh, I, let's talk about Kirsty, which was you, you were, to me, that was a lot of fun. So that was a Kirsty Alley show. Yeah. And you guys brought us in. They needed a a freelance. I don't know why they, but they wanted to have somebody freelance even though you got a, a great writing staff. Oh,Steve Baldikoski:.Michael Jamin:And I like, we're like, we'll do it. And thenSteve Baldikoski:I think, I think our, I think I think your agent said that your teeth were falling out and if you didn't write a script for the medical Oh,Michael Jamin:Not at all. Honestly,Steve Baldikoski:That show,Michael Jamin:Because that was a bunch of heavy hitters on that show. Yeah. I really enjoyed it. We were only sat, we only sat in for a couple days. We walked you guys, we walked in and then you guys said, okay, here's the story. We, we broke it, kind of go write it. We're like, okay. And but it was a, itSteve Baldikoski:Was to start Ted Damson. Sson.Michael Jamin:Yeah. And, and then, and Marco punted it for se the next season thinking it was gonna be a season two Marco, there's no season two . You don't punt that. You shoot it today before, before they pull the plug. Steve Baldikoski:The old, we will use this we'll use scripts season two. Yeah.Michael Jamin:The old season twoSteve Baldikoski:Trick. I don't know if that was him being tricked or you being tricked.Michael Jamin:Honestly, we had a great time. It wasSteve Baldikoski:A great script. It was a greatMichael Jamin:Script. It was fun. It was just fun sitting in with a bunch of people. Yeah, well, a bunch of writers that I respected. SoSteve Baldikoski:No, that was an amazing, that was an amazing experience. I, I, we like Claris Leachman did the show. Mm-Hmm. like some really, you know we, we wrote an episode for John Travolta. Yeah.Michael Jamin:And was it Michael Richards and Ria Pearlman. And it was like, these are good, these are heavy hitters, these are great actors. So, andSteve Baldikoski:The, the night that Claris Leachman did the show, we went out for drinks afterwards, Uhhuh with her. And I ended up sitting next to Kirsty Allie's assistant. And it wasn't until about 10 minutes into my conversation when she mentioned reincarnation, that I realized that I was talking to a high level Scientologist. And then I, and then I noticed she was doing all these Scientology tricks with me, like deep deeply staring into my eyes and not blinking until I blink. It was, it was, it was very bizarre.Michael Jamin:Wow. I I think we can,Steve Baldikoski:That's, that, that's, that's a good enough reason to become a sitcom writer is Yeah. To have someone do Scientology mind tricks on you. ThoseMichael Jamin:Are, that those are all these, those are always good stories when you Yeah. Can you go hang out on the past? Hang out. Yeah. And then what aboutSteve Baldikoski:When, when Clarus Leachman is far from the craziest person at the table? .Michael Jamin:She was, she was pretty wild. Yeah.Steve Baldikoski:Michael Jamin:Did I ever work? I'm trying to remember if I ever worked with her on something. I think I did, but I can't remember what it was.Steve Baldikoski:Gotta be. Just, just shoot me.Michael Jamin:It might have been. I don't remember. I, I, you know, but Okay. Well let's get to baby, let's get to the, what everyone wants to talk about Baby Bob.Steve Baldikoski:Oh,Michael Jamin:, let's go. YouSteve Baldikoski:Saved the best for last.Michael Jamin:I saved the best for last. Let's talk about baby. Well,Steve Baldikoski:I, I believe that Baby Bob was the highest rated show that I've ever been on,Michael Jamin:But they canceled it so fast.Steve Baldikoski:They canceled it. Yes. I think that was a, that was a disconnect where the high, high ups meaning like Les Moon vest when he was running CBSs, I think he wanted Baby Bob to be on the air. Oh. And so that he developed it like two or three times with multiple casts.Michael Jamin:Right. We gotta have a talking baby.Steve Baldikoski:And it was, and, but the, but the Talking baby always stayed the same based on these commercials. Was it Geico? Yes. I think his Geico commercials with the baby Ba with Baby Bob interviewing Shaq Yeah. Is, it's the concept that got everyone all hot and bothered. And so, so Les Moonves bought the show. This is my version of the story, I'm sure it's only partially accurate. But he didn't really include the lower level executives who absolutely hated the show. And so, as Brian and I got hired on the show, we thought, Hey, it's a c b s show. They must like the show. But the reaction from the executives after every table read was basically, how dare you,Michael Jamin:How dare how dare you have the baby talk? How dare you. WhatSteve Baldikoski:Like, just everything about the show seemed to offend the, the c bs executives incivility who were in charge of the show.Michael Jamin:Were, were there anything advertised guys in it? Were they involved at all?Steve Baldikoski:No, not, I don't think so. Kenny Kenny Campbell is the voice and mouth of the baby. Uhhuh . And then actually I didn't know much about babies when I was on the show, but then now when I look back, I realize how creepy it is that a baby has a full set of adult teeth. Yeah. Yeah. That are prominent. If I saw a baby like that in real life, I would run.Michael Jamin:Do you think that was the problem with the show? Steve Baldikoski:, this is the baby's teeth? Well, well the Mike Saltzman, my dear friend who Yeah. Saltman created the show, described it as Frazier, and they happened to have a talking baby.Michael Jamin:The other, so the other Oh, Freeman was Frazier had, okay. Frazier. All right.Steve Baldikoski:And they just happened to have a talking baby. IMichael Jamin:SaltmanSteve Baldikoski:That was, that was Mike'sMichael Jamin:And what, what were the writers do? Did, yeah.Steve Baldikoski:I don't have a lot of memories. . Okay.Michael Jamin:SoSteve Baldikoski:There were a lot of late nights and one night, I think it was about midnight, that I got into a shouting match with one of the other writers about whether or not Baby Bob was a genius.Michael Jamin:Right.Steve Baldikoski:And the other writer was taking the stance of he's not a genius, he's only talking at six months. Mozart was writing symphonies at, at five or seven, and I was shouting and I was yelling about the other side that Mozart was not talking at sick at six months.Michael Jamin:And was everyone looking at you both outta your mind? ?Steve Baldikoski:Yes. Like, it's midnight. Can I go home?Michael Jamin:Can I go home? How get the baby to dance? That's all.Steve Baldikoski:But, but, but, but, but I mean, part of the lesson there is even a show that you think is so, so simple or terrible that you could write it in it, in its in your sleep. Uhhuh . It's not that way. No. No. Because even a show like that is very hard to write. Yes.Michael Jamin:Yes. BecauseSteve Baldikoski:You have so many layers of people to Please,Michael Jamin:Yes. People ask me is they say is a, is a, is a great show. Hard to write than a bad show. No, they're all, they're all kind of hard to write for different reasons. Yeah.Steve Baldikoski:And that, that was, I mean, definitely a lesson. And then another lesson was despite what we felt like, I like it, it is sort of embarrassing to be on a show like Baby Bob when you're on the Paramount lot and then the Frazier Golf Cart drives by and you're in the same business, but you're not in the same business. But when it came to the ratings, baby Bob did huge in the ratings. Yeah. Yeah. And it was like one of the top, I think it's one of the top new comedies that year.Michael Jamin:And that's so interesting. And, and that's, that's the thing people don't realize as well, is that you, you may be a great writer, but if you're in this lane, it's hard to get out of that lane cuz that's how people see you. Yes. And if you're in a great, even if you're even a bad writer on a great show, now you're in that lane. You're in a great ri you're, you know, you, you're inflated. So Yeah. Yeah. yeah. People don't quite realize that.Steve Baldikoski:Yeah.Michael Jamin:And you take, you gotta take the job, you gotta get you, but you take the job you get, you know, so Yeah. And,Steve Baldikoski:And, and you really, and you really don't know if it's gonna pan out.Michael Jamin:No.Steve Baldikoski:Like I remember talking to Al Jane and Mike Reese mm-hmm. when we worked with them and asking them when they got started, they started on the, started on The Simpsons I think coming off of Gary Shaline show and when they were pitched coming on to do this cartoon on Fox.Michael Jamin:Right.Steve Baldikoski:They thought, I think that they thought it was, it was not good for their career.Michael Jamin:It would kill their career. Yeah. And, and now it would make no difference, honestly. Now you what? You take a job, you know, whatever job you can get, you take a job, you know? Yeah. But back then you could make decisions. You could make choices.Steve Baldikoski:Yes. Yeah. I, yeah. And, and interestingly, like back when Brian and I were making lists of shows, we would wanna be on Uhhuh, Simpsons was like a C-level list at the time.Michael Jamin:Uhhuh Really? CauseSteve Baldikoski:We liked it, but we thought it was imminently. We, we didn't, no one still knew it was gonna be on the airMichael Jamin:40 years later.Steve Baldikoski:Yeah. And you know, cuz cuz being on The Simpsons, I think it was like uncool. Then it became cool, then it was uncool.Michael Jamin:Well, in a way it's a little bit of, it's almost golden handcuffs if you're on the Cho. That that's if you're on the Simpsons now, you you're not gonna leave. Yeah. Cause it's job security and get ready to, for writing Bart jokes for the rest of your career, you know. Yeah.Steve Baldikoski:But the crazy thing is that there are writers who are still there, who were there when I was in the mail room at United Town. Sure.Michael Jamin:Yeah. SoSteve Baldikoski:Th there are peopleMichael Jamin:Who, they've made a career at it who,Steve Baldikoski:Yes. So I was in the, I was on the business side of the business. I became an executive and then I was a writer for 25 years. Yeah. And they're still doing the job from the day I got into the business.Michael Jamin:It's so interesting. It's just so, yeah. It's, and I would think creatively it's hard, but you know, you, but the money will make, will make you feel better. You know,Steve Baldikoski:Money makes a lot of things feel better.Michael Jamin:You crying for your 50? Is there a 50 bill? . I wouldn't know what a 50 bill looks like. Fascinating. Dude, thank you so much. We have a good chat. We had a good time.Steve Baldikoski:Steve. Thanks for having me.Michael Jamin:Thank you so much. This is, I, I don't know, I'm always fascinating in, in learning people's journeys and how they got there and so thank you so much for, for being on my little show.Steve Baldikoski:Thank you. And hopefully you have stuff that you don't have to cut.Michael Jamin:Oh, , sorry folks. If you heard the version that, the edited version, we had a trash, a lot of stuff. ,Steve Baldikoski:.Michael Jamin:All right everyone, thank you so much. Remember, we offer, we got a lot of great stuff for you on my website. You can get on my newsletter, you get my free all that stuff. Go to michaeljamin.com and find out what we got there. And I got another webinar coming up. All right everyone, thanks so much. Until next, next week, keep writing.Phil Hudson:This has been an episode where screenwriters need to hear this with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

The Journey To Becoming a Great Cinematographer with Bradley Credit Becoming a great cinematographer requires dedication, skill, and creativity. It is a journey that involves a deep understanding of visual storytelling, technical expertise, and the ability to collaborate effectively with directors, producers, and other crew members. In this episode, I am joined by Bradley Credit, a New York City-based cinematographer. Originally from Washington, D.C., Bradley is inspired by personal and impactful stories where he can lend his eye and sensibilities to enhance them visually. Bradley shares his personal cinematography journey from growing up in DC to working with United Talent Agency. He talks about what makes cinematography in Washington D.C. different from other places in the US, the amazing film that motivated him to become a cinematographer, and the difference in his commercial work and narrative work. He also discusses the top qualities that he looks for in a crew and a director that he wants to be part of and his relationship with colors that makes his projects great! Tune in to learn more about this and other exciting topics! Timestamps [02:59] How it feels to be brought up in Washington, D.C. [04:53] What makes cinematography in Washington DC different from other places in the US [07:32] Bradley's experience in sports when growing up [10:59] The amazing film that motivated Bradley to become a cinematographer [13:00] The first camera that Bradley brought [16:26] The difference between the commercial work that Bradley does and the narrative work [22:00] Does Bradley share the ideas for the sports with the director? [23:06] How Bradley skill stack as a cinematographer to elevate his career [27:46] The top qualities that Bradley looks for in a crew and a director that he wants to be a part of [30:04] Bradley's relationship with colors that makes his projects great [42:35] How Bradley felt after receiving the email from UTA about signing him [45:56] Bradley's Top 5 films Connect with Bradley Credit:Website: https://bradleycredit.com/Instagram: https://www.instagram.com/bradleycreditdp/Vimeo: https://vimeo.com/bradleycredit  LinkedIn: https://www.linkedin.com/in/bradley-credit/ Visual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Gavin Polone began his career as an assistant at ICM IN 1985. After becoming an agent, he joined Bauer/Benedek which became United Talent Agency, where Gavin was made partner at age 29. In 1996 he became a manager and producer when he partnered with Judy Hofflund to form Hofflund/Polone which led to being an executive producer on the Emmy-nominated HBO series Curb Your Enthusiasm and the CW's Gilmore Girls. In 2001, he formed the production company, Pariah, where he produced numerous TV shows including NBC'S Revelations, HBO'S Tell Me You Love Me, and TBS'S My Boys. In feature films, he produced HBO'S When Trumpets Fade, New Line's Drop Dead Gorgeous, Artisan's Stir of Echoes, Columbia's Premium Rush, Panic Room, Secret Window and Zombieland, as well as the indy features Conan O'Brien Can't Stop, Seeing Other People, Little Manhattan, My Super Ex-Girlfriend for New Regency and 20th Century Fox; Along with Disney's Primeval and Dreamworks' Ghost Town. Additionally, Polone has directed multiple episodes of Jane By Designand Twisted and has written numerous articles for publications like The Hollywood Reporter, GQ, and New York Magazine.  --- Support this podcast: https://podcasters.spotify.com/pod/show/industry-standard-w-barry-katz/support

Gavin Polone began his career as an assistant at ICM IN 1985. After becoming an agent, he joined Bauer/Benedek which became United Talent Agency, where Gavin was made partner at age 29. In 1996 he became a manager and producer when he partnered with Judy Hofflund to form Hofflund/Polone which led to being an executive producer on the Emmy-nominated HBO series Curb Your Enthusiasm and the CW's Gilmore Girls. In 2001, he formed the production company, Pariah, where he produced numerous TV shows including NBC'S Revelations, HBO'S Tell Me You Love Me, and TBS'S My Boys. In feature films, he produced HBO'S When Trumpets Fade, New Line's Drop Dead Gorgeous, Artisan's Stir of Echoes, Columbia's Premium Rush, Panic Room, Secret Window and Zombieland, as well as the indy features Conan O'Brien Can't Stop, Seeing Other People, Little Manhattan, My Super Ex-Girlfriend for New Regency and 20th Century Fox; Along with Disney's Primeval and Dreamworks' Ghost Town. Additionally, Polone has directed multiple episodes of Jane By Design and Twisted and has written numerous articles for publications like The Hollywood Reporter, GQ, and New York Magazine. --- Support this podcast: https://podcasters.spotify.com/pod/show/industry-standard-w-barry-katz/support

EPISODE 155: COUNTDOWN WITH KEITH OLBERMANN A-Block (1:42) SPECIAL COMMENT: "A Democratic president," writes Will Saletan (whose brother and I co-wrote a book of poems in 4th grade, "is standing up to Putin. And he's facing a Republican who would rather attack Mickey Mouse." But Ron DeSantis's ignorant, naive, isolationism is much worse. It opens the door for a full-on Republican campaign pledge (under him or Trump) to betray Ukraine as of 1/20/25. Just last night a retired American military officer went on Fox and told Carlson "The truth is coming out that this war was not started by Russia." What happens on 1/20/25, if one of them is inaugurated as president, and moments later Putin bombs...Poland? Because that just went from farfetched scenario to tangible possibility as the Polish Security Agency discovered Russian agents installing hidden cameras along the Polish railroad lines on which Western ammunition and weapons are transported to Kiev. If Putin has already game-planned an attack on NATO, we have to wonder: Would Trump or DeSantis be so committed to the anti-Ukraine, pro-Putin stance that THEIR United States would wind up permitting or even supporting a Russian war against NATO? It is a long, interwoven saga of DeSantis and Fox and Trump and Georgia 2020 and Marjorie Taylor Greene disclosing classified information at the Mexican border and how you won't hear this on Fox - or on CNN for that matter, where David Zaslav publicly recommitted to Chris Licht (who when we were at MSNBC together we all thought used to eat paste) in a meeting with 600 CNN Managers (CNN? 600 Managers? There's your problem right there). The New CNN's recommitment to useless, pointless, banal stenography was brilliantly characterized by Dylan Byers of Puck: "Nearly one year in, it's clear that Zaslav still believes in his vision for CNN as a nonpartisan, broadcast-style news digest, and still believes that Licht is his Captain Ahab." Captain...AHAB? Wait, doesn't Moby-Dick (or is it Moby-Licht) end with mass death?  CALL ME ISHMAEL. MY BOAT SANK. THE END. B-Block (19:18) EVERY DOG HAS ITS DAY: Shenanigan and Banshee, 14-week old shep/husky puppies in Devore, CA. (20:15) THINGS I PROMISED NOT TO TELL: My career at the RKO Radio Network, where my boss was Charley Steiner, and where he once tasked me with finding out when and where a secret meeting between Yankees' owner George Steinbrenner and Baseball Commissioner Bowie Kuhn would be held. And after I gave up and went to get some pizza, I literally RAN INTO STEINBRENNER ON THE STREET YELLING OUT THE DETAILS OF THE MEETING. C-Block (43:40) MORE THINGS I PROMISED NOT TO TELL: A little under the weather today so let me re-tell the adventures of another '80s job, which I waited 10 months to be able to start, and which lasted only half that long. Why almost nobody remembers me as "Keith Olbermann, SportsCenter 5, Boston."See omnystudio.com/listener for privacy information.

Nick has been a talent agent, agency operator and media executive for 35 years, beginning his career in the William Morris mailroom in 1986.   Between 1987 and 1991, Nick worked as a talent agent for Innovative Artists. In 1991, Nick began at United Talent Agency, upon its inception. There, Nick served as Agent, Owner and Managing Director until 2008. During his tenure, Nick discovered and developed some of the most successful artists in the entertainment world, including Renee Zellweger, Ben Stiller, Jim Carey and many more. He also broke new ground as a deal maker. Nick is responsible for packaging some of the most successful movies, television shows, and Broadway plays, in history.   In 2008, Nick joined the Endeavor Agency where he served on the Senior Leadership Team and worked across the Endeavor Platform. He is one of the most successful and powerful people in Hollywood, that you've never heard about. Learn more about your ad choices. Visit megaphone.fm/adchoices

We had a wonderful time chatting with debut author, Tran Thanh Tran! Their novel SHE IS A HAUNTING is absolutely amazing…and so is Trang! Here's a bit more about Trang Thanh Tran: Trang Thanh Tran is a Vietnamese American writer telling all stories scary, otherworldly, and emotional. Trang grew up in a big family in Philadelphia but now calls the South home. They're an alum of the Writing Barn's Rainbow Weekend and Tin House's YA Fiction Workshop. When not writing, they're busy trying new food and watching too many zombie movies. Their Gothic horror debut SHE IS A HAUNTING is forthcoming from Bloomsbury in Winter 2023. You can find them on Twitter under @nvtran. And on instagram @nvtran_ They are represented by Katelyn Detweiler at Jill Grinberg Literary Management, and Mary Pender at United Talent Agency for film/TV. https://trangthanhtran.com Preorder SHE IS A HAUNTING here: https://bookshop.org/p/books/she-is-a-haunting-trang-thanh-tran/18530035?ean=9781547610815 Add SHE IS A HAUNTING to Goodreads here: https://www.goodreads.com/book/show/60784841-she-is-a-haunting #yahorror #yahorrorbooks #2023debuts #debutauthor #authorssupportingauthors #writerssupportingwriters #writingcommunity #authorsofinstagram #2023Debuts #SheIsaHaunting #horrorbooks #yabooks #queerbooks #bipocbooks #bookstagram

Maddy, Mark, and Ryan get ready to fall in love with a whole new genre. They speak to Billy Mernit, Hollywood story analyst and author of “Writing the Romantic Comedy”, to learn the rom-com's tried-and-true formula. They also consult United Talent Agency's Addison Duffy to discover what kinds of rom-coms audiences and agents are loving. (Santa? Spies? Superspreaders?) With insights into both profits and passion, the writers pitch each other on rom-com concepts.

Before we face the reality of 2023, we discuss the state of virtual reality — specifically, the still-unannounced VR/AR headset Apple's been developing for years. The Information's Wayne Ma joins Recode's Peter Kafka to share the details of his latest report on the device, which he predicts will cost $3,000 and debut this year. Then, Jeremy Zimmer, the CEO of United Talent Agency, talks to Peter about Hollywood's economics and the way he'd like them to change, particularly as streamers like Netflix start selling ads. Featuring: Wayne Wa (@waynema), Tech Reporter for The Information Jeremy Zimmer, CEO of United Talent Agency Host: Peter Kafka (@pkafka), Senior Editor at Recode More to explore: Subscribe for free to Recode Media, Peter Kafka, one of the media industry's most acclaimed reporters, talks to business titans, journalists, comedians, and more to get their take on today's media landscape. About Recode by Vox: Recode by Vox helps you understand how tech is changing the world — and changing us. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jeremy Zimmer was not supposed to be heading one of the "big four" talent agencies in Hollywood. As a child he struggled in school and eventually dropped out of college to become a parking lot hustler, making money running schemes as a valet and spending nights partying. But that all stopped suddenly one day when he was violently attacked on the job. When he got back on his feet he found new focus and began his improbable rise to the top of the talent agency world.

At the BoF Professional Summit, viral TikTok creators Nic Kauffman and Wisdom Kaye explained what drives success on the platform, while communications executive Christopher Bugg and talent agent Pranav Mandavia discussed the critical elements of a compelling TikTok strategy for brands.   Background:   TikTok has become one of the world's largest and buzziest social media platforms, with over a billion active monthly users. But while fashion brands are eager to experiment with the platform, they're still figuring out what strategies work best to effectively engage creators like Nic Kauffman and Wisdom Kaye, who took the stage at last month's BoF Professional Summit alongside Christopher Bugg, communication director of Prada Group and Pranav Mandavia, a talent agent from United Talent Agency and BoF senior editorial associate Alexandra Mondalek.    Successful campaigns on TikTok tend to cast a wide net, allowing creators to do what they want with a hashtag or product. Both Kaye and Kaufmann underscored the need for brands to relinquish creative control to creators to yield the best results. For creators, “the key to sustained viral success as a creator is “differentiation [of your content], as well as being a multifaceted creative,” according to Kaye.   “What defines success on TikTok is the requirement for authenticity,” Kaufmann said, explaining how his best videos — that is, those that have attracted the most viewers — are the result of brand collaborations in which he was given a wide berth to style, produce and direct his content, free of interference.    Meanwhile, for brands, “understanding that TikTok creators are multi-hyphenates” is the key to getting the best out of partnerships,” according to Mandavia.   “When a brand partners with a TikTok creator, they need to remember that they're essentially hiring a cameraman, a stylist, a model, all in one — we cover every single aspect of that,” said Kaye, a content creator with over eight million followers, who has partnered with brands such as Dior, Zegna and Fendi.    Key Insights:   Between them, viral content creators Nic Kaufmann and Wisdom Kaye have a collective 26 million followers on TikTok and have partnered with brands such as Dior, Prada, Ralph Lauren and Hugo Boss.  For brands, relinquishing creative control to creators will yield authentic content and drive organic engagement, as seen with Prada's bucket hat challenge. Brands looking to partner with talent on the platform must understand that TikTok creators are multi-hyphenates — their roles encompass styling, modelling and production.     Additional Resources:   Catch up on the BoF Professional Summit: New Frontiers in Fashion and Technology. All sessions are now available to watch on demand, exclusively for BoF Professional All-Access members. The Complete Guide to Influencer Marketing — Download the Case Study: As the creator space has matured, brands must be thoughtful about crafting a strategy that leverages influencer marketing's full power, considering everything from talent scouting to the effectiveness of metrics. The TikTok Thrifters Opening Physical Stores: Sellers who made a name for themselves online with '90s and '00s vintage see retail as a way to stand out in an increasingly crowded market.   To subscribe to the BoF Podcast, please follow this link.