Sometimes referred to as the 'most powerful man in Hollywood'. Co-founded the phenomenally successful and powerful Creative Artists Agency (CAA) in 1975,. By 1987, CAA had acquired a client list of some 150 directors, 130 actors and 250 writers--all the top of their fields. Ovitz reinvented the talent agent world by charging the lowest commission in the industry and beating out all the competition. He shook up the studios by demanding previously unheard of salaries for his actors. Ovitz had the distinct advantage of having done right by his clients and talent. The talent trusted him and exhibited a unique level of loyality
About:Michael Ovitz
Michael Ovitz established himself as a major force in Hollywood while heading the powerhouse talent agency Creative Artists Agency (CAA), founded in 1975 by a group of breakaway talent agents from the William Morris agency. Initially an important television packager, CAA under Ovitz s direction expanded into film, investment banking, and advertising, becoming the dominant talent agency in Hollywood
Ovitz s career at CAA was multifaceted. As talent agent for major film stars such as Tom Cruise, Dustin Hoffman, Kevin Costner, Michael Douglas, Sylvester Stallone, and Barbra Streisand, in addition to prominent directors such as Steven Spielberg, Barry Levinson, and Sydney Pollack, Ovitz was credited with putting together the major elements of hit films such as Rain Man, Cliffhanger, and Jurassic Park. But Ovitz s power and influence extended far beyond the creation of specific works of entertainment and into the very organization of the media industries in the United States and throughout the world. As a well-known broker between talent and financiers, he was hired as investment adviser for several significant industry transactions, including Sony s 1989 purchase of Columbia Pictures for $3.4 billion, the French bank Credit-Lyonnais rescue of MGM in 1993, Matsushita s purchase of entertainment conglomerate MCA for $6.6 billion in 1990, and its subsequent sale of that organization to the Seagram Company in 1995. On another front, Ovitz and CAA shook up the advertising industry by winning Coca-Cola s global advertising account in 1991. Seeking to target fragmented television audiences with diverse and innovative commercials, CAA produced the 'Always Coca-Cola' advertising campaign, which successfully popularized Coke-drinking computer animated polar bears.
Ovitz s canny strategies for winning clients and making deals are evident in his earlier work as a television 'packager.' Talent agencies often combine elements of a proposed program, choosing actors, script, and a director from among their stable of clients, then shopping this 'package' to the networks for approval and financing. If a network accepts the package deal, the talent agency receives an overall packaging fee from the network, usually a percentage of the program s production budget and a percentage of the syndication profits. Packaging fees are more lucrative for a talent agency than individual clients fees. In the 1970s, CAA packaged television programs such as the game show Rhyme and Reason, the Rich Little Show, and the Jackson Five Show.
To compete with other talent agencies, CAA set its packaging fee at 3%, undercutting the 5% charged by other agencies. Ovitz also developed close ties with entertainment lawyers, who brought new clients to CAA. Furthermore, Ovitz understood that good stories and scripts would attract important acting and directing talent. His cultivation of the literary agent Morton Janklow, whose clients include fiction writers Jackie Collins, Danielle Steele, and Judith Krantz, enabled CAA to package nearly 100 hours of successful television miniseries, including Rage of Angels, Princess Daisy, Mistral s Daughter, and Hollywood Wives. Recent CAA packages include Beverly Hills 90120 and The John Larroquette Show.
Under Ovitz, CAA applied similar strategies to the film industry. CAA has attracted top acting and directing talent, in part by representing successful screenwriters who produce desirable scripts, but also because CAA often 'packages' film projects with client writers, actors, and directors before shopping the projects to film studios for financing and production. Despite film studio executives accusations that CAA has driven up the cost of talent, CAA agents have had close relations with film studio executives, especially with those who rely on CAA to negotiate their own employment contracts with the studios.
