Friday, August 31, 2012

Is Eric From Entourage A Perfect Example of How to Become an Artist Manager?


The show Entourage gives an interesting look at the life of an artist manager from friend to professional. Now I know this is something you might read and wonder how I came to write this so let me explain.

When we are first introduced to the character of Eric (E) he has been Vince’s best friend since childhood. They grew up together and when Vince got his big break Eric unofficially because his manager. As the show continued throughout the seasons we witness Eric’s growth through his career choice. We also get to see how even being the artists best friend doesn’t mean you share the same career goals.

Through the first few seasons Eric is basically a bonafied Yes man. His job is to agree with whatever Vince’s agent says because he knows what’s best for Vince. This right here is a prime example of how managing either your best friends or a total strangers career can be a challenge. You have to prove to the artist and any other person involved in their career that you know what you are talking about and doing. This can be going out of your way to find the perfect project for them or making sure they are keeping their life in order.

As the seasons progressed so did Eric’s ambition and career goals. He started asking for advice from people he saw as mentors and taking a risk in opening his own management business. These were ricks that Eric needed to take in order to prove not only to himself that he can make it in this business. However, one of the biggest things Eric could have done was no longer be Vince’s Yes man. He would truly give his advice on projects because he didn’t just want to sit back and collect his commission.

Finally, Eric would prove that he has what it takes to take over one of the biggest management firms in Hollywood. Of course, you can say that this only happened because it was a TV show, but in reality it shows what hard work and having the “it” factor for finding projects can lead you. It shows that you need to have that personally connection to the artist and be willing to say no to them. Not everything they say or want to do is right and best for their career. They need to know that no one artist is the same and sometimes you need to forge your own path.

I think one of the main reasons I choose to write about is because when I first started watching Entourage I showed me what I wanted to do with my life. My friend was going to be Vince and I was going to be his Eric. Only thing is that my friend knew I wasn’t a yes man and would tell him if something was wrong or not fit for him. Another reason is because if you look at a lot of artist these days their family and friends play major roles. Brittney Spears and Kanye West are two major examples of how sometimes family and friends are the best management.

Now I’m not saying everyone should look at Entourage as a way to learn and understand the entertainment business. The show gives you an inside look, but it truly doesn’t show you the blood, sweat and tears that go into managing an artist. Yes, you might get to enjoy yourself here and there, but it isn’t always fun. You are on the job 24 hours a day 7 days a week. Most of your time will be spent on the phone depending how big your artist is. Oh and let’s not forget the late nights and ever changing schedule.

Those are things that I learned first had watching agents and managers work. Being constantly on the clock isn’t something most people can handle so along with the knowledge you also have to be ready to commit to yourself and the artist. Their life becomes your life. 

Friday, August 3, 2012

Interview with Beau Ryan of Machinima.com


With the web becoming an ever-growing environment new media companies are becoming major intuitions for both established and new entertainment professionals. Machinima.com is becoming one of the major hubs to distribute already established content and new & original series. In the past few years Machinima has worked with studios like Warner Bros. to produce and distribute the Mortal Kombat: Legacy web series.

I talked to Beau Ryan a Junior Entertainment Programming Manager for Machinima. It is Beau’s job to browse YouTube for content that Machinima can distribute and also talk with directors and writers about original content for their YouTube channels.

Me: Do you take different approaches to negotiating with someone who already has an established series you are looking to distribute and any original content you bring to Machinima? 

Beau: Yes, we were looking to distribute There Will Be Brawl on one of our channels so we had to work with the creators and TheEscapist.com on getting the rights to the series. We figured that by bringing it over to Machinima, we would be able to introduce it to a whole new audience. However, after the first few episodes we weren’t receiving the views and SEO hits we hoped for and people were pointing out that people could watch the whole series on TheEscapist.com.

When working on new and original content our negotiating takes a different route. We tend to work with the creators on establishing a relationship were both parties can prosper. We’ll work with them on making the series a hit were the views and SEO meet both our ideal numbers.

Me: How do you handle positional bargaining tactics?

Beau: If someone comes in with a figure and mind, but it’s not in our budget we’ll offer them what we have in our budget. It also depends on who the person is. When someone like Kevin Tancharoen comes to us about a series and they have a number in mind then we will talk with our Ad Sales department on helping to find sponsors for the series and help cover those costs.

Should John Doe come to us about their series we will work with them on getting something to cover upfront costs and then offer them some of the CPM traffic. So say for every 1,000 views we’ll offer them $3 dollars, which in the long run can become more then a figure they originally wanted. It really all depends on who the person is and what they have done.

Me: Can you give me an example of how you worked toward mutual benefit when you were negotiating a deal? 

Beau: It depends on their needs and what they have in mind. Sometimes people have a figure in mind and don’t want to hear about CPM traffic payments. Some examples of us working toward a mutual benefit were when we worked with EA on the DragonAge: Redemption series and Warner Bros. on Mortal Kombat: Legacy. For those both parties knew this was going to be a relationship that would prosper and worked on making it so.

Of course, there are cares where we have to say no to people no matter what because they refuse to work with us on negotiating a deal that would work for all parties involved.

I want to thank Beau for his time. You should check out Machinima.com and RadNerd.com.