A story about Hollywood spies for Israel just appeared and it reminded me of how Israeli spies work toward the downfall of America.  The big story is about Arnon Milcham’s admitted role as an Israeli spy, supposed dealer in stolen nuclear bombs and other arms, even as he pretended to be a Hollywood producer.

 

One of the associates of Milcham is from Acadiana.

As for Milcham dealing in nuclear bombs, plenty of researchers are realizing that nuclear bombs are just another hoax.  The films that depict them certainly are hoaxes, if you look at one now you’d laugh at it, and the bombs themselves look like movie sets.  It’s the weight of the thing that gives it away.  The scenes of ‘soldiers’ moving a huge bomb that looks like it weighs about 5 pounds, as a good movie set should. 

This is why I am skeptical about the nuclear threat, unless what they are really talking about is the threat to the nuclear family.  Now that is a real threat, and that is what Arnon Milcham and his Mossad friends were most interested in, as I have seen it play out over the past thirty years.

 

Why would Arnon Milcam and his spy people be interested in a young man from a small town in south Louisiana?  I don’t know the answer to that for certain.  All I know is that this is where the gay agenda had its beginnings, and Milcham is the dot that connects it to Israeli plans for America.  As for the genocide of Catholics by the Mossad, and the targeting of Catholics for the promotion of homosexuality, there is no doubt in my mind because I’ve been in the middle of it and watched it.  Has it been successful?  Sad to say, it has.  Besides the homosexuality, there is the suspiciously high number of car accidents that resulted in the deaths of almost all of the very best young men in Catholic South Louisiana at the time that all of these Mossad events in Hollywood were taking place.  I recommend further research into the subject of Boston Brakes, as linked above, for those who are interested.

 

This article explains how several high achieving and ambitious white boys, some Catholic for sure, were recruited and how at least one or two of them ended up being used to promote the gay agenda to America.  My guess, as an observer, is that the recruiters worked through high school clubs and they looked for the best.  In this case, it may have been the Key Club.  Before the events of this article, Bryan was a high profile student, very popular, whose ‘recruitment’ coincided with some strange behavior that was too much in the shadows for me to know anything other than that I was not invited.  The article here mentions that, later of course, he was married to Carrie Fisher, which most people know as Princess Leia of Star Wars but they divorced, and he married another man and the two men won custody of Carrie and Bryan’s daughter, even though the two men were committing adultery during the marriage.  Control of the court system is essential to any foreign agenda in America. 

 

I am writing this because it is part of our history, maybe the saddest part, and it is important to understand the people involved in these events and how the recruitment operates.  There is no happy ending to this story.  The children involved in the gay agenda end up orphans, or feeling like one, when they grow up and refuse to be used any longer, and have lost all respect for the adults around them.  This is not easy to write about.  The corruption, the infiltration into Hollywood of the Israeli Mossad, was slow and cruel for some people.

The way Disney has been used to promote the gay agenda is truly Mossad-like in its deviousness.  It is pure evil in that a person’s choice is taken away.  Hollywood mocks the name of Holy Rood, one of the earliest Catholic Churches ever built.  What emerges is the use of Hollywood movies to portray American white people as the bad guy, especially Christians, and then haul ass and let the Muslims wipe us out while they all move to Eretz Israel where Christians aren’t allowed.  This Eretz Israel stretches throughout most of the world, if you ask a Zionist.  They don’t expect Christians to be taking up much room. 

  

This is how David Duke covered the story:

 

#HollywoodSoJewish: Blockbuster Hollywood producer an admitted Israeli secret agent. Surprised?

JANUARY 20, 2016 AT 12:05 AM

Commentary by Dr. Patrick Slattery — Here is a real life story that could only come out of Hollywood. Arnon Milchan was the Hollywood producer behind the “feel good” blockbuster Pretty Woman, in which the character played by Julia Roberts found the man her dreams by becoming a prostitute. Well, according to the article below, Milchan was doing more than promoting positive role models for white “shiksas.” He was also an Israeli Mossad agent actively engaged in arms dealing, nuclear secret theft, and spy recruitment. According to his biography, former Israeli president and prime minister Shimon Peres said the following:

“Arnon is a special man. It was I who recruited him…. When I was at the Ministry of Defense, Arnon was involved in numerous defense-related procurement activities and intelligence operations. His strength is in making connections at the highest levels…. His activities gave us a huge advantage, strategically, diplomatically and technologically.” (interview dated February 8, 2010, documented in Meir Doronand Joseph Gelman’s “Confidential: Secret Agent turned Hollywood Tycoon Arnon Milchan” p. xi).

Yet none of this is of any consequence in Hollywood. Milchan has producer credits for well over 100 Hollywood films, including the new Oscar nominated film The Revenant, staring Leonardo DiCaprio. Not even his nuclear associations with the much-vilified Apartheid government of South Africa can tarnish his Zionist Teflon.If this seems too strange even for a Hollywood story, just take a look at the following article from The Times of Israel.

Hollywood producer Arnon Milchan reveals past as secret agent

Filmmaker, long rumored to be a real-life James Bond, talks about how he helped Israel’s alleged nuclear-bomb program

BY STUART WINER November 25, 2013, 12:20 am

Hollywood producer Arnon Milchan (screen capture: YouTube/amitost)

Acclaimed American-Israeli producer Arnon Milchan has revealed details of his efforts to boost Israel’s alleged nuclear program when he was working in Hollywood during the 1970s and 1980s.

Milchan, 68, who was behind such movie hits as “Fight Club,” “Pretty Woman,” and “LA Confidential,” gave an exclusive interview to Channel 2 investigative reporter Ilana Dayan, to be broadcast on Monday night in the first episode of a new season of her current affairs show “Uvda” (Fact).

In the interview, Milchan spoke about his involvement in clandestine arms deals and efforts to buy technologies that Israel allegedly needed to make nuclear weapons, as detailed in a preview published by the Daily Mail and preview clips screened on Channel 2 Sunday.

 

 

As word of his side-line activities in arms-dealing got around, there were some who were reluctant to work with him, Milchan told Dayan.

“In Hollywood they don’t like working with an arms dealer, ideologically,” he said, “with someone who lives off selling machine-guns and killing. Instead of someone talking to me about a script, I had to spend half an hour explaining that I’m not an arms dealer.”

Aside from setting up arms deals, Milchan also tried to get other Hollywood figures involved in his clandestine work, notably the late director Sydney Pollack, according to a Haaretz report previewing the program.

Pollack was allegedly involved in buying arms and military equipment for Israel during the 1970s and, according to Milchan, knew just what he was getting into.

“Pollack knew, but I didn’t want to scare him because he’s American… He could have said ‘no,” Milchan said. “He said ‘no’ many times, but he also said ‘yes’ many times.”

Milchan, who is part-owner of Israel’s Channel 10 television company, also admitted trying to use an unnamed big star to entice a US nuclear scientist to a private meeting in the actor’s house, although the report didn’t clarify if the rendezvous ever took place.

A number of actors feature in the documentary, including Russell Crowe, Ben Affleck, and Robert De Niro, who is a personal friend of Milchan’s.

De Niro told Dayan that he had heard things about Milchan; however nothing that was ever confirmed. “I wasn’t sure,” he said.

Two years ago, authors Meir Doron and Joseph Gelman published a book titled “Confidential: The Life of Secret Agent Turned Hollywood Tycoon Arnon Milchan,” in which they asserted that Milchan was acting for Israel’s now defunct Bureau of Scientific Relations, known as Lekem. The clandestine bureau focused on obtaining information for secret defense programs that reputedly included Israel’s rumored nuclear weapons research and development program. The bureau was disbanded in 1987 after US Navy specialist Jonathan Pollard was caught spying for Israel.”

 

 

Here is a story that came out in Vanity Fair:

SHOW BUSINESS

OCTOBER 31, 1995 7:00 PM

The Young And The Ovitzless

When superagent Michael Ovitz departed Creative Artists Agency for Disney, he left a host of dangling alliances—and hungry Young Turks vying to succeed him.

BY

• CHARLES FLEMING

At four P.M. on the Friday afternoon of July 28, Walt Disney C.E.O. Michael Eisner called Creative Artists Agency chairman Michael Ovitz on the telephone. Eisner and Ovitz had planned to meet that night, after dinner, at Ovitz’s beach house in Malibu. Now Eisner wanted to change the time and the venue. “Can you come to my house this afternoon?” Eisner asked. Ovitz was alarmed. Eisner, 53, had undergone quadruple-bypass surgery the previous summer. Ovitz had been one of the first non-family members to visit him in the hospital. He found Eisner understandably frightened and deeply worried about his future.

Ovitz’s first thought was that Eisner’s health had again failed. But Eisner reassured him. “Don’t worry. It’s nothing bad.”

Two hours later Ovitz was at Eisner’s home in Bel Air, the woodsy, moneyed enclave preferred by many Hollywood executives. There Eisner told him that on the following Monday he was going to announce that his company would acquire Capital Cities/ABC, the country’s top TV network, and thereby become the largest entertainment-and-information corporation the world had ever seen. He wanted Ovitz to help him run it.

 

It was a tough call for the 48-year-old agent. Having thoroughly reinvented the business of talent representation during his 20 years of running CAA, he was arguably the most powerful man in the entertainment business. But he was getting bored, and his power was eroding. Just weeks before, the press had been galvanized by a protracted series of negotiations between Ovitz and Seagram owner Edgar Bronfman Jr. Bronfman had wanted Ovitz to come to Universal City to run his newly acquired MCA entertainment empire. The talks had gone public, gone slowly, and gone on too long. Ovitz told a friend that he had felt powerless and embarrassed: “Everyone in America knows what I’m doing except me,” he lamented. By the time it was all over, the press reported that Ovitz had turned down an offer worth more than $250 million—making it seem as if he’d overplayed his hand. He’d battled to bully Bronfman out of the C.E.O. title, they said, and lost.

 

Leaving Eisner’s house that Friday evening, Ovitz could not decide what to do. Among the salient points he considered: Disney was beginning to look like the only game in town; he had shown his hand by negotiating with Bronfman, and now it was clear that he aspired to be a studio executive. By late summer, Ovitz found that his agency had already changed. His long-time partner Ron Meyer took the job Ovitz had turned down at MCA. Meyer, CAA’s top hands-on agent, had taken care of the day-to-day business, leaving Ovitz free to do the big deals. Now Ovitz found himself again having to take late-night phone calls from distraught clients, again having to attend all the screenings of the stars’ movies. Worse, the five younger agents at CAA known as “the Young Turks” had been unsettled by Ovitz’s negotiations with MCA and began pressing for a “succession plan.” The invitation from Eisner looked increasingly attractive. “It was eminently clear to me that this was a unique opportunity,” Ovitz says now.

 

By coincidence, both the Ovitz and Eisner families chose the weekend of August 12 to escape the pressures of the industry at their vacation homes in Aspen, Colorado. On Saturday morning, Eisner and his wife, Jane, and Ovitz, his wife, Judy, and their children all went for a hike in the mountains. There, at an altitude somewhere near 10,000 feet, in a place known as Independence Pass, Eisner asked again if he would come to Disney. “Yes,” Ovitz answered. Why, finally, did he give in? “He said, ‘Please,’” Ovitz told the press after the fact.

 

One confidant puts Ovitz’s compensation package at “Eisner less 10 percent”—and Eisner’s package has paid off in the hundreds of millions.

 

“We haven’t discussed succession at the company,” Eisner told reporters. “But he’s the number-two man, and if something happens to me, he’d be a pretty good candidate.”

 

To most minds, he’s already got the number-one job in the bag. While Eisner has been bullish on his post-op recovery—his father had similar heart surgery at roughly the same age and lived to 73—many around him say Ovitz has been promised de facto control of the studio. Eisner’s health, they reason, won’t take the trauma of running all aspects of the newly expanded Disney empire. Besides, they add, nothing less could have induced Ovitz to come. “This is the end of the road for Ovitz,” one well-connected attorney speculated. “Time Warner isn’t happening. Sony isn’t going to do another huge executive deal. But he is going to be the C.E.O. of Disney. Make no mistake.” Concludes another powerful attorney, “Michael Eisner will retire in five years, and Michael Ovitz will run everything.”

 

Except, of course, CAA. Some people believe the agency Ovitz is leaving behind will rapidly deteriorate into internecine warfare. Says one person close to CAA, “Ovitz’s departure destroys the old ethic of all for one, one for all. Now the agents who weren’t jockeying for top clients are chopped liver.”

 

Already, CAA as we know it is mutating into a lesser beast. Within hours of the Ovitz announcement, the company’s vaunted Tele-TV deal—in which CAA partnered with Baby Bells NYNEX, Pacific Telesis, and Bell Atlantic to deliver home video via telephone lines—collapsed. Robert Kavner, hired from AT&T in June 1994 to be the agency’s telecommunications point man, announced that he and Tele-TV would be working without CAA’s further input. (The morning of Ovitz’s resignation, former CBS Broadcast Group president Howard Stringer was seen in the lobby of the Peninsula Hotel, across the street from CAA. Recently hired by Ovitz to oversee production for the Tele-TV consortium, Stringer was furious he had not been informed personally that Ovitz was leaving.)

 

Also in jeopardy, according to sources within the agency, is CAA’s ground-breaking management of the Coca-Cola advertising account. “It’s pretty iffy,” one source says, adding that, like the Tele-TV arrangement, “it was all hinged on Mike.” Also in doubt is the agency’s visionary foster-parenting of ailing MGM/UA—a consulting arrangement with the studio’s then owner, the French banking concern Crédit Lyonnais. According to one CAA agent, CAA’s relationship with MGM “is still pretty much up in the air.”

 

Recently, CAA’s relationship with its corporate clients was dealt another setback. On September 14, 39-year-old Sandy Climan, by most accounts the brains behind the Tele-TV and Crédit Lyonnais deals and an Ovitz lieutenant, announced he would leave CAA to report to Meyer at MCA as an executive vice president.

 

Despite dire predictions, however, client defections didn’t happen. To quell the ubiquitous rumors she was leaving, Barbra Streisand actually released a statement. Director Ivan Reitman, who made Ghostbusters, Kindergarten Cop, and Dave, believes the new CAA will be stronger than the old; the changing of the guard, he says, “forces a housecleaning and a refocusing.” Actually, the bodies seem to be running the other way in the first weeks after Ovitz’s announcement: CAA has signed 18 new clients, including Jonathan Silverman andFriends star Jennifer Aniston.

 

Within the agency there is a sense of excitement, especially among the younger agents. Says one insider, “It’s great to represent big clients without wondering what Michael is going to think.” Another recounted how, in the past, at one point or another, every client would ask that some matter be “brought to Michael’s attention.” Since agents rarely followed through on such requests, it’s a relief for them not to have to dissemble anymore.

 

The day after Ovitz’s agency-shattering revelation, CAA announced the appointment not of a new leader but of a 12-man transition team. The transition-team members were well aware of the potential pitfalls of restructuring the agency and the big egos involved. Says one agency source, “Everyone knew that no one was going to answer to anyone.” The solution, announced within days, was a nine-member management structure. New managing directors would include agency stalwarts Lee Gabler, Rick Nicita, Jack Rapke, and Tom Ross, and the five Young Turks: Richard Lovett, Jay Moloney, Bryan Lourd, Kevin Huvane, and David “Doc” O’Connor.

 

CAA insiders say unabashedly—although, in the style made popular by mentor Ovitz, always off the record—that the new structure is designed specifically to “discourage” any destabilizing play for power. Says one top agent, “It’s more parliamentary. It’s more like a real-estate company. The great salesmen will come forward. But no one will ever replace [Ovitz].”

 

That, however, won’t stop several from trying. Hollywood prognosticators put Rapke at the head of the pack, with Nicita trailing by a nose. The 45-year-old Rapke joined CAA in 1980 and has put together major deals for his superstar director clients Ron Howard and Bob Zemeckis. Some view Rapke as more the bon vivant than the mogul; lunchtime finds him, many days, smoking expensive stogies in the Beverly Hills private cigar-club-cum-restaurant Grand Havana Room. Says one person close to the agency, “Rapke is the man.” Nicita, whose actor client list includes such names as Al Pacino, Val Kilmer, and Kurt Russell, is also a huge force in what some see as the new Hollywood power structure—with actors receiving up to $20 million a picture, agents with superstar connections are going to be the next decade’s deal-makers.

 

But those who are betting on Rapke and Nicita may be missing the real game. Nicita and Rapke are Ovitz’s peers. The five Young Turks are almost a generation younger—and that much hungrier and more ambitious than their elders. Also, they are very, very united in their hunger and ambition.

 

As their nickname suggests, the Turks are as colorful and flamboyant as Mike Ovitz (whose style some characterize as “crypto-Japanese warrior”) is not. As a group, the Turks go male-bonding with some regularity, flying off to Hawaii for a weekend of “no girls allowed” golf, or to Texas for a weekend of macho horseback riding, or to the Grand Canyon for white-water rafting, or to the Bahamas to charter a sailboat. They can often be found in pairs power-breakfasting clients across the street at the Peninsula, power-lunching in Beverly Hills at the Grill, or power-sushiing at Matsuhisa. Their black BMWs and Mercedeses are lined up like prize stallions in the CAA underground garage.

 

Says one observer, “They’re all like frat boys—but from the coolest frat house on campus.” Says another, “It makes people crazy to see that much power concentrated in a group that is so ostentatiously young.”

 

The rail-thin, bespectacled Richard Lovett, aged 35, is generally regarded as the most ambitious of the group. He is known for being preternaturally upbeat and cheerful; when he has to tell a client bad news, he puts a positive spin on it. A graduate of the University of Wisconsin, he got his start at CAA as assistant to legendary agent Fred Specktor, [Is this related to Barbara Spectre, the Jewish lady famous on youtube for bragging that Jews are responsible for the genocide of white Christian Europe, but didn’t mention that this would be through mass immigration of African men?] whose clients include Glenn Close and Danny DeVito. Lovett represents Tom Hanks, Hugh Grant, and Robert De Niro. With Ovitz’s departure he has been appointed president of CAA. One CAA staffer who was asked why told Variety, “He started doing it, and everyone just let him go with it.” Another CAA source says, “He wanted to do it. No one else wanted it.” Evidently the first thing Lovett did after getting officially anointed was rush to Barneys to buy several new suits.

 

At age 30, Jay Moloney is the youngest of the lot. He represents Scorsese and Spielberg as well as Bill Murray and Chris O’Donnell. Many Hollywood observers say that except for health problems Jay Moloney would be the front-runner in the coming battle to fill the Ovitz void. He was hospitalized in July for surgery to correct a congenital heart defect. (One source reports that an agent from a rival company called director Joel Schumacher as Moloney lay recovering in the hospital. The agent told Schumacher that it was time to start thinking about getting new and better representation. Unfortunately, the agent didn’t know that Schumacher was represented by Rapke, not Moloney. As one Hollywood insider who heard the story says, “It’s bad enough to be a swine, let alone a stupid swine.” The competition among agents for superstar clients is so intense that one source remembers an agent climbing over a child in a wheelchair at a charity event to get to Tim Robbins.) Still, no one should write Moloney off. He is very, very tough. Evidently unperturbed by his heart problems, he had a tattoo of a heart with a Band-Aid taped over it put on his arm after the operation.

 

Bryan Lourd, aged 34, and Kevin Huvane, aged 35, are best friends, sharing clients Brad Pitt and Ralph Fiennes. Huvane also represents Keanu Reeves and Meryl Streep, and Lourd represents Woody Harrelson and Ethan Hawke. Lourd hails from New Iberia, Louisiana. The well-groomed and socially polished former CBS page is not above resorting to a deep-southern-cracker accent when he’s schmoozing a client or closing a deal. Huvane comes from a large Irish Catholic family in New York. After graduating from Fordham he started his working life as an elevator operator at the Wyndham Hotel in New York City before going into William Morris’s famed mailroom—the launching pad of many of Hollywood’s biggest executives. Soft-spoken and preppy, Huvane is the best-looking of the Turks. Along with Lourd he was brought to CAA by Ovitz as a sort of package from William Morris, and the two are sometimes jokingly referred to as a “pen-and-pencil set.” They appear together in public, glued to their star clients in order to prevent anyone else—especially competing agents from ICM or William Morris—from getting close to them.

 

Only the balding, red-haired David O’Connor seems like a steady guy (especially since he stopped dating CAA client Helen Hunt), but at 37 he’s the eldest of the bunch. He represents Sean Connery, Robert Redford, and Michael Douglas.

 

The Turks seem unable to turn down any opportunity to augment their happy-go-lucky image. Just a week before being named president of CAA, Lovett let himself get involved in the kind of stunt that must make Ovitz’s hair stand on end. A bachelorette party at a Hollywood restaurant followed dinner with a good old-fashioned scavenger hunt. Three limousines carrying eight women each were used, and the list of things to be scavenged included such items as “Get a picture of yourself with Kurt Russell,” “Perform onstage at the House of Blues,” and “Take a photo of a naked agent.” Lovett was bagged by two bachelorettes and he willingly got naked for the needed photo of an agent and several women. (A CAA source scoffs that one of the “bachelorettes” was “Tom Hanks’s wife, and the other was Ron Meyer’s wife. Lovett would have done anything they asked.”)

 

In their romantic pursuits, the Turks don’t automatically put pleasure before business. Jay Moloney has dated CAA agent Lisa Wong, whom he met when they were both in the CAA mailroom. Richard Lovett has lived with CAA client Kristy Swanson, the star of Buffy the Vampire Slayer, and is often seen out and about with “actresses.”

Bryan Lourd is divorced from CAA client Carrie Fisher. Huvane is married to CAA agent Ruth Ann Huvane but seems to be out with the boys and best friend Lourd as often as he’s home. (The joke going around Hollywood these days is that to succeed under Ovitz, whose personal ethic was “high suburban,” everyone at CAA had to get married. Now they have to dump their wives so they can party all night with the Turks.)

They may be wild, but the Turks are great agents. Lovett is credited with pulling Tom Hanks away from William Morris and Hugh Grant away from ICM. He’s an expert at what one source calls “the pillow-talk poach”: if you can’t get to the star, get to the star’s love interest. Lovett reportedly signed Grant after signing Grant’s less-than-stellar girlfriend, Elizabeth Hurley. The same technique is currently being applied to Jim Carrey. He’s too hot to liberate from his current representation at UTA, but his girlfriend, Lauren Holly, isn’t, so she’s being avidly courted.

It is evident that, structure aside, the center will not hold at CAA. Collectively, the Turks are a powerful cadre. Before and after Ovitz’s negotiations with Bronfman, and again now that he has decided on Disney, gossip has run hot about their plans. Just as Ovitz and four associates left William Morris in 1975 to form CAA, so have the Turks been expected to make a similar move for independence or further control of CAA. But the breakaway idea is risky, and expensive, and would incur the wrath of Ovitz, who has very strong feelings about his legacy and his agency remaining intact.

 

Perhaps just as Ovitz emerged over two decades as CAA’s undisputed leader and largest shareholder, so will his successor emerge from this pack of men. “It’s a question of what will happen to [Ovitz’s] office, not who will get it,” says relative veteran Nicita. “Leadership evolves,” says the younger Lovett, down-playing his new title. “Appointments are made, but leadership evolves.” In the short term, Moloney may be the man to watch. He got his start at CAA as an intern and became Ovitz’s assistant when “Doc” O’Connor was promoted to full agentry. (One who knows CAA said being Ovitz’s assistant meant working in “the Michael torture chamber,” and likened Moloney and O’Connor to “Auschwitz survivors.”) Moloney knows where the bodies are buried, and as the sorcerer’s apprentice he has seen the master at work. With Ovitz taking his magic to Disney, Moloney may either assume the mantle of the master or, as Mickey did when he played the sorcerer’s apprentice in Fantasia, make a mockery of the magic. The magic is called packaging.

 

“Packaging” is a CAA byword. It means, in short, making a top CAA actor client available for a movie project not only but especially if the writer, director, producer, and co-stars are also CAA clients. Viz. Indecent Proposal. Stars Demi Moore, Robert Redford, and Woody Harrelson are CAA clients. So is director Adrian Lyne. Viz. Forrest Gump. CAA represents Tom Hanks, Robin Wright, Gary Sinise, and Sally Field, as well as director Robert Zemeckis, as well as producer Wendy Finerman, as well as screenwriter Eric Roth. Viz. the just-completed-filming Mission: Impossible. The producer is Paula Wagner, a former CAA agent who is married to Rick Nicita. The star is CAA power client Tom Cruise, whose production company is run by Wagner and who also gets a producer’s credit and fee. The director is Brian DePalma. The screenwriters are Willard Huyck, Gloria Katz, and David Koepp. All the above-the-line talent except Koepp is represented by CAA.

 

There is no reason to assume that, in Ovitz’s absence, the packaging will end, but the damage that could be caused by his defection makes for interesting speculation. Ovitz is the man who made it his business to know everybody else’s business. He negotiated the contract when Joe Roth, now head of Disney’s film units, was hired by that studio. He negotiated Sherry Lansing’s contract when she became head of Paramount’s film units. His former CAA colleague Mike Marcus now runs MGM, the company Crédit Lyonnais hired CAA to put back into shape. Ovitz’s former partner Ron Meyer now runs MCA/Universal and, in his first act of major business upon arriving there from CAA, made an unprecedented $60 million, three-picture deal with CAA client Sylvester Stallone. (An admiring competitor said, “It’s amazing. He made the deal at one end and approved it at the other.”) Those kinds of deals are complicated, because Ovitz and Meyer, as well as expected-to-leave partner Bill Haber, are reportedly not selling their shares in CAA—they have set up an “earn-out” arrangement whereby the new partners will become the new owners incrementally over time. (That means the new owners will be paying back Ovitz, Meyer, and Haber over five years from earnings. How much is CAA, with about 90 agents and a reported $150 million in annual revenues, worth? No one knows. But for comparison’s sake,Variety reported, ICM, with 150 agents and an estimated $100 million in annual revenues, borrowed $63 million in a management buyout in 1988.)

 

Ovitz’s move also upsets business in the making. Because Disney has itself forged an alliance with telecommunications companies—in its case, with Ameritech, BellSouth, Southwestern Bell, and GTE—Ovitz’s former Tele-TV partners will have to reconfigure their entire game plan: Ovitz knows every play in their playbook. Because he advised Edgar Bronfman Jr. on Seagram’s 14.9 percent cash investment in Time Warner, and because he helped broker Seagram’s $5.7 billion purchase of 80 percent of Matsushita’s MCA, Ovitz knows more about the inner workings of those companies than any competitor would like him to. And everyone, now, is a competitor.

 

When Jeffrey Katzenberg left the Walt Disney Company in August of 1994 and subsequently unveiled DreamWorks with David Geffen and Steven Spielberg, he was the man on the way up and Eisner was the man on the way down. Eisner had lost Frank Wells, his longtime second-in-command, to a freak helicopter crash; he himself had undergone emergency heart surgery; and now Katzenberg, the only man who could keep Disney alive, was gone. Katzenberg was so bullish on his own future that he deeply offended Eisner and the man who, during the darkest hours of his hospital stay, had become Eisner’s best friend. While Eisner lay critically ill and the press was rife with reports that Katzenberg would leave the company unless he was given the president and C.O.O. titles he coveted, Katzenberg never came forward to deny the rumors or to voice support for or loyalty to his boss.

 

Katzenberg’s behavior was customarily cocky. In his final meeting with Eisner before boldly setting forth solo, he told the man who had been his boss for 19 years, “I’ll start a company and later you’ll buy it. Then I’ll end up working for you.” Well, Disney didn’t buy DreamWorks, but it bought ABC, with which DreamWorks had just signed a seven-year television-distribution agreement. Katzenberg’s TV division makes money only if ABC puts its shows on the air.

 

During September, Ovitz was splitting his time between CAA and Disney—and was joking to acquaintances, “I’d like to keep it that way, be a seller in the morning and a buyer in the afternoon and do all my own deals.” Already he had stopped looking like an agent, wearing slacks and a polo shirt, instead of Armani suits, and seeming more at ease than he had in years.

 

Not everyone at Disney is so casual, though, about his arrival there. Even before he took the job, in fact, there were ruffled feathers. According to a studio source, Ovitz had forgotten to seek the counsel of his new boss when he extended tentative job offers to Sandy Climan and to his CAA press aide, Anna Perez. Eisner, the source says, said no to both offers. Further, there was a sense at the studio that if Ovitz came in as a heavy, executives would flee. “The minute he tells Joe Roth that he’s having dinner with Robert Redford and wants to know if there’s a picture for him at Disney, Joe is history,” said a source. The most immediate battle, though, will be for office space. Chief of corporate operations Sanford Litvack moved into the office once occupied by the late Frank Wells. Now he or someone else may have to be evicted from his office on the sixth floor of Disney’s executive building—to make way for Ovitz.”

 

Inheriting CAA Mantle Will Put Young Turks to the Test

August 23, 1995|CLAUDIA ELLER | TIMES STAFF WRITER http://articles.latimes.com/1995-08-23/business/fi-38100_1_young-turks

They’re called the Young Turks, and they are a tight-knit fraternity of five hyper-ambitious thirtysomething agents who are about to inherit the mantle of Creative Artists Agency, Hollywood’s largest talent agency.

The imminent changing of the guard at CAA will mark a dramatic coming of age for the aggressive quintet–Jay Moloney, Richard Lovett, David (Doc) O’Connor, Kevin Huvane and Bryan Lourd–who have been handpicked and groomed over the years by their mentors, Michael S. Ovitz and Ron Meyer. The five are expected to share ownership of CAA with several of their senior colleagues.

Today, the agency is expected to announce that three of the older agents–motion picture department heads Rick Nicita and Jack Rapke and TV department head Lee Gabler–will become co-chairmen of the firm, with Lovett assuming the post of president. Ovitz, the current chairman, is leaving to become president of Walt Disney Co.

The Turks–given that handle in 1991 when they first appeared on Premiere magazine’s “power list”–are smart, talent-savvy workaholics who have all grown up in the business over the past 10 or more years. As hard as they work, they play. They’ve built strong personal relationships with the clients they represent, and go on adventure-seeking vacations with the high-powered executives and producers they sell to. They’re often spotted at more than one party or premiere an evening. They live privileged lives on a par with those of their rich and famous clients, getting paid as much as $1 million a year.”

 

This next article is the end game for them.  A switcheroo of identity: