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This story first appeared in the June 12 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
Sure, UTA reps movie stars and TV creators, but its 46 partners (36 of which are featured in this photo) specialize in everything from branding to film finance to fine art as it diversifies to compete with larger rivals CAA and WME. THR reveals the building blocks for a full-service agency.
Read more Now, It’s Personal: The Epic, Inside Drama Behind the New Hollywood Agency Wars
Click the image to enlarge.
Read more CAA’s Richard Lovett on IPO Plans: “Is It An Option? Of Course.”
TV News Broadcasting
Jay Sures, in addition to repping such scripted creators as Steve Levitan, Darren Star and Chuck Lorre, oversees N.S. Bienstock, which UTA purchased for an undisclosed price in 2014. The NYC boutique, which operates as a division of UTA, reps NBC’s Chuck Todd, CNN’s Anderson Cooper and Jake Tapper and ABC’s David Muir and Robin Roberts, among others.
Brent Weinstein was an early convert to web content and, in addition to repping YouTube stars like iJustine, helps run the UTA Venture Fund, which makes investments in such startups as Patreon and Victorious. He helped client Brian Robbins start (and sell) AwesomenessTV and, with Simon & Schuster, launched a book imprint for YouTubers. Digital has become a big focus for all of the agencies as web-born stars command traditional-media salaries.
Emerging TV Platforms
TV partner Larry Salz has carved a niche selling television shows (many from top female creators such as Jill Soloway of Amazon’s Transparent and Lesley Arfin of the upcoming Netflix series Love) to digital platforms. He’s also taken digital star Tavi Gevinson to TV and handles Girls’ creative duo Lena Dunham and Jenni Konner.
Read more Hollywood Execs Size Up Talent Agencies: WME “Swinging Their Dicks,” CAA “Like a Bunch of Old Guys in Suits”
Rena Ronson heads UTA’s 10-agent independent finance and sales group, which packages film projects. ln addition to assembling movies for agency filmmakers, she competes with CAA, WME and others to sell finished films — often during all-night negotiation sessions — at festivals such as Sundance and Cannes.
Jim Berkus, a UTA co-founder and guide for its rich roster of actors, also helps oversee, with department head Josh Roth, the agency’s recent foray into fine arts representation. They compete with similar efforts at CAA and WME to provide licensing, endorsement and consulting as well as opportunities for artists in film and TV.
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