1) How long have your been an independent rep? Please list the companies that you currently represent:
I think I started the first independent repping company which I created back in 1980 called ARKIN PRESENTS. Since then and for the majority of the past 35 years, I’ve continued to be an independent rep and currently own Blah Blah Blah which was started in 1990. Our current roster includes: Aardman, Aardman Nathan Love, Aggressive, Blur, Chrlx, J.J. Sedelmaier Productions and Reel FX.
2) Please define your responsibilities as a rep and how they have evolved over the years.
When I first started repping in 1981 I don’t think independent representation existed. One of my clients, who was based in London, made me a partner and I opened them in the US and ran the company. Because they did stop motion, and very few reps understood the process, I moved to New York to launch them. At that point we had bid sessions. THAT’S GONE. Many years later I became EP for R/GA and we generally received $2,500-$5,000 to pitch a job. THAT’S GONE. I left R/GA to start Blah Blah Blah and at that point my clients trusted me to discuss budgets and schedules and I could make commitments for them. THAT’S GONE. BTW, the name Blah Blah Blah back then made sense because I was on the phone all day long with my “blah blah blah.” THAT’S GONE. The phone has taken a back seat to email and we have added other ways to reach agency people and are much more involved with marketing for our clients and social media of our own.
3) How has your marketplace expanded with the advent of longer form branded content and varied platforms? While agency creatives and producers remain prime contacts, have you extended your reach to clients, smaller boutique specialty ad/marketing/digital shops, entertainment cos., etc.?
We’d love to do more brand direct work that agencies don’t get involved with but it’s tough to find a Rolodex of CMOs or brand managers to reach out to. Although the clients we represent mainly do spot work, many also do other forms like features (Deadpool from Blur, The Book Of Life from Reel FX, Flushed Away from Aardman, etc.), or the animations on SNL from J.J. Sedelmaier, and even things like projection mapping (Bentley from Aggressive), etc. We’ve been dealing with digital shops for a while for alternative platforms like projection mapping, virtual reality, online games, etc., and I have a feeling the Pokemon craze will get brands to really pump up their search for augmented reality and virtual reality work.
4) Has an increase in in-house agency production and resources impacted your business and how have you adapted to this dynamic?
My guess is that increase of in-house production has affected live action reps more than us. We are a boutique agency specializing in design/VFX/animation/VR and all of those combined with live. I think it’s tough for an agency to make the kind of personnel and technology commitment required to go in-house with high-end character and VFX work. We’ve seen a couple agencies do a nice job in-house with animated campaigns but their style of animation didn’t require the heavy lifting most of our clients provide.
5) What are the advantages of being an independent rep? The drawbacks?
Having been both in-house and independent, it’s hard to find a disadvantage in being independent. In the case of Blah Blah Blah when an agency producer is looking for a specific style of design/VFX/animation, we probably have a solution about 95% of the time because of the variety of clients. An in-house rep is limited to their production company’s scope of work so agency producers know when they call us we will be able to help with what they need and that saves them time.
1) How long have your been an independent rep? Please list the companies that you currently represent:
I made the move from producing at an animation production company to independent representation 14 years ago and am currently representing: Aspekt, Buck, Gentleman Scholar, GenPop, Hornet, Mill+, Moonbot, Nexus, Nexus Interactive Arts, Passion Pictures and Strange Beast
2) Please define your responsibilities as a rep and how they have evolved over the years.
Our role as an independent rep is twofold. We help build brands and create opportunities through strategic marketing and sales initiatives that constantly change based on each client’s work and talent. Meanwhile, our focus on original animation, artful live action and creative digital has allowed us to become a resource to our advertising agency clients. Through the years we’ve had the opportunity to work with amazing production companies looking to expand their reach into the advertising community and are always revisiting the best and most effective way to both build and share their stories. Technology has enabled us to find new exciting ways of working, but the challenge is to not overwhelm nor allow it to become a distraction.
3) How has your marketplace expanded with the advent of longer form branded content and varied platforms? While agency creatives and producers remain prime contacts, have you extended your reach to clients, smaller boutique specialty ad/marketing/digital shops, entertainment cos., etc.?
Our marketplace truly follows the evolving demands of the advertising and production communities.
Advertisers are asking more boutique / digital shops to handle specific assignments and are also creating in-house marketing teams. Yet many of our existing contacts, both creatives and producers, are moving within these shops and after years of working together we are continuing to make it effortless for them to engage with our talent. Some of our more recent inspiring work is either longer format or cross platform. The combination of our directors and artists being drawn to innovation, along with these close relationships, allow us to continue to deliver the best creative opportunities and stay on top of the ever expanding marketplace.
5) What are the advantages of being an independent rep? The drawbacks?
The reason I’m an independent rep is because it allows me to work with the friends who we admire and respect most.
Life is short. Surround yourself with amazing people and you will enjoy every minute!
1) How long have your been an independent rep? Please list the companies that you currently represent:
18 years
Bent Image Lab, Blind, Derby Content, Groove Guild, Noble Animation, Pogo Pictures, Prana Studios/Rhythm & Hues, Production Service Network, Sound Lounge and The Artists Company.
2) Please define your responsibilities as a rep and how they have evolved over the years.
Originally, this job was labeled reel carrier because you were actually bringing 3/4” reels into agencies to show people the work from your company. That then turned into DVDs and then once everyone was up and running on the internet, the job evolved into more of a consulting role. That’s the way I look at it now. I’ve been doing this long enough--and now with Amanda Rosenberg for the last three and a half years--that we are lucky enough to see millions of dollars worth of work each week. If the stars align, we will be able to attach talent in some way to those jobs.
Though I always say there are two ways that sales works--there are those jobs that are out there and you are trying to get in on. And then the better way is to help create the job with the agency or client because you have something either no one has ever seen before or is proprietary. Those jobs are the most fun. I enjoy sharing work that I think is interesting or cool. Amanda and I are geeks and love looking at new styles of filmmaking and animation. We spend all day doing that and talking about it. This keeps me up to speed. When I want to talk about music, I call Al at Groove Guild and we talk about concerts and bands. Producers and creatives often reach out to me to chat either in person, over IM or Facebook or they look at our searchable website as a resource. Only occasionally am I briefed on a job by a phone call - before you lived and died by the telephone.
3) How has your marketplace expanded with the advent of longer form branded content and varied platforms? While agency creatives and producers remain prime contacts, have you extended your reach to clients, smaller boutique specialty ad/marketing/digital shops, entertainment cos., etc.?
Long form is great. I always say that the people who went into features now wish they had the advertising contacts that we do. All varied platforms are good because they mean eyes on screens which translates into more work needing to be produced. Amanda and I actually attended the Tribeca Film Festival this year. It was great. We went because Sound Lounge had mixed a number of the films. Also, we handle Production Service Network for features and television as well as spots and branded work. PSN is an international 40 company production service resource designed to support directors and production companies. The role of PSN US liaison has greatly expanded our reach to companies outside of the advertising agencies. Being global has been essential.
4) Has an increase in in-house agency production and resources impacted your business and how have you adapted to this dynamic?
In-house agency production is only getting bigger and not going away. The advertising agencies are trying to figure out how to keep more of the money they are given by the clients. This is because the agencies are having a hard time negotiating AOR deals with upfront retainers. So, my solution is represent companies they need no matter what. We’ve had success with Sound Lounge, where our office is. And now we have Production Service Network as well. We also could see the in-house units working with our animation companies or needing high-end VFX.
5) What are the advantages of being an independent rep? The drawbacks?
The advantages of being an independent rep are that you can work from anywhere. The drawback is that you work ALL the time. We don’t really take time off. The other big draw back is that you never know when you are getting paid or booking a job. But, the projects are always interesting. I like a job where you learn something new every day and that is certainly the case as an independent rep.
1) How long have your been an independent rep? Please list the companies that you currently represent:
18 months in my most recent incarnation. Current clients include: edit boutique The Assembly Rooms (I am also their US EP); NB Content and TheBridge.Co (both production companies); Lord of Barbes and Happycamper (animation); Amber Music; Zoic Studios; boutique agency Odysseus Arms; and Furlined (we are covering their staff rep’s maternity leave).
2) Please define your responsibilities as a rep and how they have evolved over the years.
Sales and marketing first and foremost, as it always has been. How you accomplish that has changed over the years for sure. As always, the best client any rep can have does great work and has a stellar reputation to back that up. That client also involves its representation in the business of its business: You really have to know how everything is done when selling to a discerning audience. Getting proper attention paid to new companies, in particular, is super challenging in a saturated marketplace. PR is a bigger component of marketing than ever before because it is crucial to stay top of mind.
3) How has your marketplace expanded with the advent of longer form branded content and varied platforms? While agency creatives and producers remain prime contacts, have you extended your reach to clients, smaller boutique specialty ad/marketing/digital shops, entertainment cos., etc.?
There certainly are more rocks to look under for work these days. On a good day it’s an integrated sale across our roster.
4) Has an increase in in-house agency production and resources impacted your business and how have you adapted to this dynamic?
The in-house units still offer some strategic opportunities to provide specific talents or areas they don’t cover or can’t offer at a high enough level. Certainly, the worst impact has been felt by edit houses without an A-list clientele.
5) What are the advantages of being an independent rep? The drawbacks?
Advantages: You can play in a few different sandboxes if you have varied interests: live action, editing, VFX, music, experiential.
Drawback: There is a great reward to knowing a company’s talent and aspirations intimately. This takes time and trust, which is often slower to come when you are independent.
1) How long have your been an independent rep? Please list the companies that you currently represent:
I spent the first 12 years of my career as an in-house sales rep. Four months ago, I left Anonymous Content after 10 years to start my own independent sales management company. Currently, I represent Stink US and Ring the Alarm music.
2) Please define your responsibilities as a rep and how they have evolved over the years.
My biggest responsibility as a rep is to my directors and talent clients. Because I was trained in-house, I tend to invest a great deal in the talent that I am representing. I think that’s become even more important in the last five years or so with increased competition and various ways in which brands advertise. Connecting talent with content has become a much more focused and strategic process.
3) How has your marketplace expanded with the advent of longer form branded content and varied platforms? While agency creatives and producers remain prime contacts, have you extended your reach to clients, smaller boutique specialty ad/marketing/digital shops, entertainment cos., etc.?
A big goal for me this year and beyond is to increase my network into those various avenues of content. I think advertising agencies are still the powerhouses, but it is interesting what brands and content studios are doing. I don’t see why talent can’t have access to it all.
5) What are the advantages of being an independent rep? The drawbacks?
Four months in, I’m already enjoying the opportunity to work with different companies and people. I think it gives you a broader and more educated understanding of what is going on in the market. I miss being a part of a company’s culture, but my goal is to keep that alive by maintaining a smaller roster of clients.