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The Power House: Creative Artists Agency at 35

“We walked into work on January 3, 1984, just three agents with three clients and a bit of a dream.”

35 years later, Rob Light, now managing director of Creative Artists Agency (CAA) can rightly look back on the growth of the music department and say that dream came true.

With headquarters in Los Angeles, London and Beijing, the agency works across film, television, music, sports, digital media, marketing and much more.

The music department alone is made up of over 100 agents around the globe and generates over US$3 billion in worldwide touring revenue, according to Billboard. It claims to have more women agents than any other agency, more women in power than any other agency, and a more diverse agent breakdown.

Yet, insists Light, it still runs like a boutique business. “We’re a big agency, but we still care. For us it’s not about being cool – if you want to break and have a career this is how we do it. We’re never cookie cutter.”

New kids on the block
CAA was founded in a whirlwind of drama in 1975 when five hungry William Morris Agency staff quit the biggest film and TV agency in Hollywood to start their own business. It was a major shake-up – the story is worthy of a movie in itself, and is described in great detail in James Andrew Miller’s book, Powerhouse.

Nine years later, in 1984, the company created another stir. It launched a music department and poached one of the biggest names in the music agency business at the time to head it: Tom Ross, head of International Creative Management (ICM)’s music division.

“We’re a big agency, but we still care”

Ross’s assistant at the time was Light. He’d started in ICM’s mail-room six years earlier, aged 21, where he lasted for seven days before being spotted by Terry Rhodes (now running his own agency, Patriot Artists).

When CAA co-founder Mike Ovitz approached Ross, Light was invited to join his boss at the fledgling department. At the time, ICM was a powerhouse. And although it had a reputation for its film and TV work, CAA had just 27 agents, so the move was something of a gamble.

“I believed in Tom, plus Mike Ovitz was an incredibly seductive guy,” remembers Light. “So at 26 I thought I’d take a shot.”

The next five years saw explosive growth. Ovitz had assured Ross that CAA’s music and film departments would work together, and came good on his promise. “When I started at CAA all the film agents were excited we were there,” says Light.

Until then, film, TV and music departments at agencies were like separate kingdoms. But there was increasing demand from musicians to fulfil their other creative ambitions, and CAA’s close working relationship across the teams was ready to help realise them. This cross-departmental ethos has been integral to the company’s success ever since.

“It felt like the agency business had never seen that type of approach, attitude, energy or level of teamwork”

One of the first signings the new music department made was in summer 1984. Prince had long held a desire to make the movie Purple Rain and CAA got him on the books by promising to make it a reality. Light went on to work with the artist for the next 13 years, outlasting many managers and lawyers.

It was the teamwork mentality that was so unique. As agent Rob Prinz told James Andrew Miller: “It felt like the agency business had never seen that type of approach, attitude, energy or level of teamwork and co-ordination.”

CAA was the first agency to have a crossover agent, which saw dedicated TV and acting agent Brian Loucks installed in the music department. Loucks was a massive film and TV geek with an encyclopaedic knowledge of avant-garde film as well as the mainstream.

Loucks’ embracing of the cross-departmental approach can be typified in his Living Room Sessions, which started out as an informal gathering and have turned into an industry networking tour-de-force. They see about 200 carefully selected people invited to his home in LA’s Studio City to see performances by artists such as Annie Lennox, Christine and The Queens, Keith Urban, Two Door Cinema Club and Tim McGraw. These carefully selected invitees are A-list Hollywood, music business and brand names, including renowned manager Simon Fuller, Fifty Shades of Grey director Sam Taylor-Johnson and actor Chris Pine.

“What we’re doing is trying to serve the artists’ needs. If they say they want to try acting, we can give them the tools”

“What we’re doing is trying to serve the artists’ needs,” explains Light. “If they say they want to try acting, or like Billie Joe from Green Day, wanting to do a Broadway play [American Idiot]. If they really want to do it, we can give them the tools.

“It’s easy when you have a company that’s built that way. Everybody here wants to work in this way. You have to have somebody in place to help the artist fulfil what they want to do.”

A reputation for innovation
Light’s rise to the top came when CAA co-founder Michael Ovitz left in 1995 for an infamously short-lived stint as Michael Eisner’s deputy at Disney. His departure was a big deal for the company, which was by now one of the biggest agencies in the world.

It meant a shake-up at the top of the company’s administration. Ross stayed a few years longer, but left in 1998, fed up of the way the live industry was going. It was the time of Live Nation precursor SFX, when media mogul Robert Sillerman was buying up promoters around the world. Ross was one of the most vocal opponents of the new behemoth and after three decades at the top, wanted out of the agency business.

What happened next set the roadmap for CAA’s success and confirmed its reputation for innovation.

 


Continue reading this feature in the digital edition of IQ 81, or subscribe to the magazine here

CAA promotes 21 trainees to agent or executive

Creative Artists Agency has announced today that it has promoted 21 trainees to agent or executive positions within the agency’s television and touring divisions, as well as in its motion pictures talent, books, brand consulting, sports and speakers departments.

Five trainees have become agents in CAA’s touring division, which in 2018 represented nearly 40% of the top 100 music and comedy tours in North America.

Akin Aliu and Lizzie Holdforth have been promoted to agents in music touring. Olivia Farrell and Guy Howes are now agents in the music brand partnerships department, and Ethan Kurtzman has been promoted to agent in comedy touring.

New agents in CAA’s television division are Barry Buren, Carly Fromm, Nikki Goldfarb, Ilana Goren, Jacob Schiff and Jiah Shin, with Goren, Schiff and Shin serving in scripted television, and Buren in television talent. Fromm and Goldfarb are in the alternative television department.

CAA’s touring division represented nearly 40% of the top 100 music and comedy tours in North America in 2018

Layne Murrow and Harrison Waterstreet are now agents in CAA’s motion pictures talent department, while Natan Bogin has been elevated to agent in the company’s media finance department, specialising in the packaging, financing and distribution of content across a variety of formats.

Berni Barta has been promoted to agent in CAA’s books department, focusing on book-to-film, television and publishing activities.

In terms of executive positions, Maddi Mobley has been promoted to executive in CAA brand consulting and Alexandra Wakefield has become an executive in CAA Sports’ golf consulting group.

Elsewhere in CAA Sports, Sam Rose has been promoted to agent in the basketball department and Cavan Walsh is now an agent in the coaches department.

Kip Ludwig and Scott Zanghellini are now agents in CAA’s speakers and commercial endorsements departments respectively.

The agency announced the promotions at its annual company retreat.

 


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Introducing… the New Bosses 2018

IQ’s New Bosses 2018 goes live today, with agents dominating the winners shortlist – no fewer than six bookers make our annual top ten.

The New Bosses scheme is now in its 11th year and relies on IQ readers and ILMC’s members to nominate those individuals, aged 30 and under, whom they believe are helping to shape the future of the live music industry. And it would seem you are good judges of character, as looking back across the New Bosses over the previous ten years, many of our named winners have indeed gone on to become leaders in their chosen fields.

So, congratulations go to this year’s cream of the crop: Bradlee Banbury (Creative Artists Agency), Kelly Bennaton (DHP Family), Leo Benton (K2 Agency), Tom Bownes (Live Nation), Erin Coleman (Paper and Iron Booking), Kevin Jergenson (ICM Partners), Michael Jones (The MJR Group), Maxim Karlik (United Talent Agency), Meryl Luzzi (Paradigm Talent Agency) and Aino-Maria Paasivirta (Fullsteam Agency).

“I remember pitching for an act and the agent subtly mentioned I had won the award, to the artist and manager; they were so impressed, I am now their national promoter.”

IQ’s New Bosses will be automatically shortlisted for the Tomorrow’s New Boss Award at the Arthur Awards in March 2019 – voting for which will open in mid-November. Last year’s winner, Anna-Sophie Mertens from Live Nation UK, comments, “Nothing beats being able to call yourself Tomorrow’s New Boss! The best part is your colleagues and business partners never fail to highlight the title, whether to celebrate or to mock you.

“I remember pitching for an act and the agent subtly mentioned I had won the award, to the artist and manager; they were so impressed, I am now their national promoter. Congratulations to this year’s New Bosses.”

To find out more about this year’s winners, click here to read our New Bosses 2018 feature.

Our winners also gave IQ lengthier insights into their careers and working methods, the full versions of which will be posted here on the IQ website over the coming weeks, so be sure to check the website regularly to find out more about Aino-Maria, Bradlee, Erin, Kelly, Kevin, Leo, Maxim, Meryl, Michael and Tom.

 


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