Mel McKeon and Laura Myones Ruf have been working side by side so long that it’s common they finish each other’s sentences. That comes in helpful, especially now, as the veteran talent managers have a lot to talk about.
It’s been a year since the two, who started working together in 1997 with Myones starting as McKeon’s assistant, rebranded their McKeon/Myones Entertainment to AFA Prime Talent, a transition that has signaled a new era for their management-production company.
Together, they have maintained a client roster of busy actors including Yvonne Strahovski (The Handmaid’s Tale), Sarah Shahi (Black Adam, Sex/Life), Alona Tal (Cross), Shioli Kutsuna (Deadpool 2, Invasion), Vivian Wu (Afterparty, Irma Vep), Michael Trucco (Average Joe), Thomas Barbusca (The Mick, Chad), Sean Patrick Thomas (Till, For All Mankind and The Boys spinoff Gen V), Missi Pyle (Dodgeball: A True Underdog Story, Y: The Last Man), Elaine Hendrix (Dynasty), Alice Krige (She Will), Tyler Johnston (Letterkenny), Stefania LaVie Owen (Beach Bum) and Christina Vidal (Primo).
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In conjunction with the rebrand, the pair entered into a joint venture with Artists for Artists, the production and talent management company launched by Saturday Night Live veteran Kenan Thompson and John Ryan Jr. More recently, they partnered with Cherie Chiles-Buchanan, a comedy manager in Atlanta who was a longtime associate of Thompson. She has been tasked with running the comedy division.
With all the news on the business front and a personal anniversary to tout — McKeon and Myones just toasted 10 years as official partners — The Hollywood Reporter caught up with the pair to talk about what the rebrand means for their future, why they’ve put such a focus on signing international talent and how streaming paychecks have impacted their bottom line.
There’s a lot of news with your company. First, why did you decide to rebrand the company from McKeon/Myones Entertainment to AFA Prime Talent Media?
McKeon: We’ve been talking about the best way to redefine our company and our vision for its future. It is so much more than the two of us. As we are growing into a more competitive, multifaceted company, we are expanding the opportunities for our clients. We wanted our new name to reflect that.
Myones: We spoke with many potential partners while we continue to grow organically, but when we spoke with Kenan and Johnny about what their vision was for their production company, it felt like the best fit.
It’s been a year since you announced a joint venture with Kenan Thompson and John Ryan Jr.’s Artists for Artists, the production and management company. From a practical perspective, how does the joint venture work? What would you say are the highlights over the past 12 months?
Myones: We’ve brought on a comedy manager in Atlanta who was a longtime associate of Kenan Thompson’s, Cherie Chiles-Buchanan, to run our comedy division. We’re working on several projects with our clients and their development team, one of which our client Yvonne Strahovski brought to them.
McKeon: I love having more “partners in crime,” especially when we’re mixing it up. I mean, working with them on the AFA Kid Super Fashion Week collab in Paris? It’s energizing to work with fun, creative people in “outside the box” ways.
What are your goals for that part of the business in 2023?
Myones: Our short-term goals are to produce one of the significant projects we’ve been developing and continue to find synergies between our companies. We’ve come across so many over the past year and we’re excited about expanding upon them.
How has your core business changed at what was McKeon/Myones? Have you added any new staff?
McKeon: We’ve always been firm believers that talent wins out in the end. Two core values we’ve never wavered on that double down on that: making clients our top priority, and ensuring that those with whom we work share that mindset.
Manager Eliseo Ruiz, who came to us with a rich background in casting and representation in the Latin American market, impressed us with his passion, drive and depth of relationships in that market. His clients include amazing talents like Ana Brenda Contreras, Luis Roberto Guzmán, Robby Ramos, Adriana Paz and Noé Hernández.
You’ve made a concerted effort to sign more international talent and expanded your global reach. Can you share a bit about why you did that and how it has impacted your bottom line? Or, perhaps, any specific client signings or projects that show your success on the international front?
McKeon: Over the last several years, our industry has become more “global.” It makes sense to seek out the “next generation” from all markets, especially as diverse, multicultural talent becomes more sought-after here. For us, it’s been so rewarding, both in terms of our “bottom line” and the depth of our international relationships.
Myones: By all accounts, almost half of our clients are non-American. We mentioned Japan’s Shioli Kutsuna, earlier. Others include Amir Khoury, who received a 2022 Orpheus nomination, Israel’s “Oscar,” for work in Avi Nesher’s Image of Victory and is coming out in AMC’s limited series, Beirut. Lera Abova stars in Peacock’s Bumper in Berlin that was just picked up for its second season. So many more.
Kyle Dean, who has worked with us for many years, is so gifted and works with many great LGBTQ and diverse clients like Zane Phillips, Chella Man and Leyna Bloom. He also finds amazing Asian talent through his partnerships with Bunnylake out of Japan and many others.
The pandemic had a dramatic impact on the agency and management landscape from mergers and acquisitions to mass layoffs. How was your business impacted?
Myones: Because our clients were sought-after, with many working in March 2020, most went right back to work as soon as production ramped up. We felt blessed to have been able to weather the COVID-19 storm while keeping all employees at full salary.
Another pandemic impact was the transition many agents made to becoming managers. Have you felt the competition at all?
Myones: The blurring of the lines between an agent and a manager does not equate to everyone being able to manage talent. Many reps, regardless of what “title” they wear today or next month, are wired to be transactional; to book the job, to “sign” X number of clients a month, etc.
McKeon: So true. Caring about people you work with means it’s about “trust,” not “transaction.” We’re wired to be focused and detail oriented.
Your backstory is interesting. Laura started as Mel’s assistant. First, Mel, how was Laura as an assistant? Did you ever imagine that this many years later you would still be partners?
McKeon: Do I need to answer that? She’s my partner now!
Myones: I was a pain in the ass!
And Laura, how was Mel as a boss? What did you learn from her desk that you still lean on today as a company leader?
Myones: I learned the importance of returning everyone’s phone calls, something Mel learned from Ron Meyer, and it continues to serve us well today. Some things never go out of style.
Why do you work so well together?
McKeon: Where it’s important, our values align, but our differences — especially in our creative sensibilities — complement one another and serve our clients well.
No one would fault you for staying with your core business, but with these moves, you’ve signaled that you are intent on growing the company. Where do you see it going in the next, say, five or 10 years?
Myones: We intend to grow in every area needed to support the artists that we represent. We are very focused on making sure we can provide access to opportunities of all kinds.
Are there misconceptions people have about running a boutique firm?
McKeon: Bigger isn’t better. Sadly, the cliche about clients “getting lost” in a larger company is really true. We are contrarian: Instead of spending a lot of energy on signing new clients, we commit to those we’ve taken on by working hard for them. And it’s served us, and them, well.
Since you represent actors, many people talk about the impact streaming has had on actors’ paychecks. Have you noticed a dramatic shift in the kind of money your clients are making?
Myones: Over the past several years, streamers have provided the higher-end clients with significantly greater compensation — often with more creative fulfillment — than broadcast television for fewer episodes. That leads to more time available to do film projects.
The conversation in Hollywood as of late has focused on equity, both in terms of opportunities for diverse staff and creatives and also for women. What is it like to run a female-owned company today? How has it changed in these past few years?
Myones: A diverse employee group, which mirrors the talent we represent, is our key to success. We strongly believe that having a female-led company provides us with an advantage in the marketplace.
McKeon: Women are better! (Laughs.)
Interview has been edited for length and clarity.
