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...wasn't about money," everybody said, after Ovitz told his team at last Monday's regular meeting that he and two other CAA officers were staying put. No, of course not. Money has mainly a symbolic value in the entertainment business. It tells the top players how much they are wanted or not wanted. You want Sylvester Stallone for a picture, so you pay him $20 million. You want to get rid of Robert Morgado, the recently deposed head of Warner Music, so you contemplate a buyout package that's been estimated at upwards of $30 million...

Author: /time Magazine | Title: THE DEAL THAT WASN'T | 6/19/1995 | See Source »

BEST PERFORMANCE IN ARMANI AND A HEADSET. How did the agents do? Of the seven winners in the acting, writing and directing categories, CAA represents three (Spielberg, Tom Hanks and Jane Campion), ICM two (Holly Hunter and Tommy Lee Jones), and the little-known Harold Greene Agency one (Schindler's List screenwriter Steven Zaillian). Eleven-year-old Anna Paquin is represented by the even-less-known Double Happy agency of New Zealand. The William Morris Agency was shut...

Author: /time Magazine | Title: The Absolutely Last Oscar Piece You Have to Read in 1994 | 4/4/1994 | See Source »

...Flack at Hollywood talent agency CAA...

Author: /time Magazine | Title: The Bush Administration: Where Are They Now? | 7/12/1993 | See Source »

...star Sylvester Stallone for a share of screenplay credit. Several years later he butted heads with studio executives over the ending of the courtroom drama Jagged Edge. His greatest confrontation came in 1989, when he decided to leave the Creative Artists Agency for rival ICM and, according to Eszterhas, CAA honcho Michael Ovitz threatened to have his "foot soldiers who go up and down Wilshire Boulevard each day . . . blow your brains...

Author: /time Magazine | Title: Gonzo Screenwriter | 5/31/1993 | See Source »

Although Ovitz denied making such statements, correspondence between the two men detailing their respective versions of the episode was faxed all over Hollywood, boosting Eszterhas to the almost mythic stature he relishes to this day. "Every time I'm in a limo and it passes the CAA building," says Eszterhas, "there is this right hand that sneaks out of the back window with this middle finger uplifted. I've done that religiously, and I get a great kick...

Author: /time Magazine | Title: Gonzo Screenwriter | 5/31/1993 | See Source »

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