Who Controls America’s Media

This is a reprint and consolidation of two previous articles., which makes it a very long report, but it includes all the information that I’ve been able to gather concerning ‘the media’.  There were at one time laws against monopoly or foreign ownership of media in America. This was eliminated while no one was paying attention, back in the 1990’s through ‘Deregulation’.

 The present day owners of American Media are acknowledged to be the Saudi Princes. Former NSA employee and now a respected researcher, Wayne Madsen long ago established the family relationship between Jewish leaders and Saudi leaders, and this is confirmed historically in the history of the tribe of the Khas’rj.  This tribe goes back thousands of years as prominent slave traders and pirates.  They use half-breeds to infiltrate Christian societies and undermine them.


Their specialty is the use of mass media to pit one group against another using blatant lies.  This technique is only successful with an ignorant and inbred population. They consider this ‘divide and conquer’ strategy to be successful when, as in Syria, 6 or 7 different groups start lobbing home-made bombs into neighborhoods of the ‘enemy’.  The number of different groups is almost uncountable, everyone is squabbling and quibbling and hating and blaming and this is precisely the goal.  


The bombed out ghost cities of Syria are the inevitable result. They envision this happening in the United States.  


The following story about big time Hollywood mogul spies for Israel just appeared and it reminded me of something.  I’ve cut and pasted some past articles and my own experience that pertains to how Israeli spies work toward the downfall of America.  The first story talks about Arnon Milcham’s real role as an Israeli spy, dealer in nuclear stolen nuclear bombs and other arms, even as he pretended to be a Hollywood producer.   Note this spy’s hands in all major American media and even Disney.

My particular interest, as it pertains to the history of the Acadians and Acadiana, is that one of the associates of Milcham who is mentioned in all of these articles is from Acadiana.

As for Milcham dealing in nuclear bombs, plenty of researchers are coming out with plenty of evidence 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 props.  I have a certificate in movie scene painting and construction so I know a fake something when I see it, even on film.  It’s the weight of the thing that gives it away.  The scenes of ‘soldiers’ moving those old bombs around are funny because the bomb 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.

The reason Arnon Milcham reminded me of high school is because the recruit from New Iberia, the one who, in these articles we see ended up being ‘groomed’  to take over Milcham’s business was a friend of mine back then.  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, was 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 they 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 for people to understand the people involved in these events and how the recruitment operates.  There is no happy ending to this story.  I know what happened to the child.  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 is slow and cruel.

These articles describe the infiltration into Hollywood of the Israeli Mossad.

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.  The idea of the Jews is to use 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:


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.


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.



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Arnon Milchan
Born December 6, 1944 (age 69)

Rehovot, British Mandate of Palestine

Nationality Israel
Net worth $4.2 billion USD (March 2013)[1]
Spouse(s) Brigitte Genmaire (divorced)

Amanda Coetzer

Children four[1]

Arnon Milchan (Hebrew: ארנון מילצ’ן‎; December 6, 1944) is an Israeli Hollywood film producer who has produced over 120 full-length motion pictures.[2] Mr. Milchan is also a former key Israeli intelligence operative from the mid-1960s to the mid-1980s.[3][4]

Milchan’s films include The War of the Roses, Once Upon a Time in America, Pretty Woman,Natural Born Killers, Under Siege,The Devil’s Advocate, The Fountain, Unfaithful, L.A. Confidential and many others. He is an Israeli citizen, and a resident of Israel.



Milchan was born in Rehovot, British Mandate for Palestine, in 1944. His family was Jewish.[5] His father owned a fertilizer company,[6] which Milchan turned into a successful chemical business.[7] He also earned a degree from the London School of Economics, before being recruited to LAKAM, a top secret Israeli intelligence organization responsible for obtaining technology and material for Israel’s nuclear program, and other highly secretive programs.

Milchan became involved in the American movie business in 1977, after an introduction to American producer Elliot Kastner. Most notable among Milchan’s film collaborations was his early work with Martin Scorsese. He developed close friendships with Robert De Niro, and directors Roman Polanski, Sergio Leone,Terry Gilliam and Oliver Stone. Milchan started his own production company in 1991 called New Regency Productions. Through his company Regency, in partnership with Warner Brothers, and later with Rupert Murdoch at 20th Century Fox, and other business ventures, such as Puma AG, Milchan attained a net worthestimated at about $4.2 billion as of 2013, and is listed as the 290th richest person in the world and fourth in Israel by Forbes.[8]

Arnon Milchan has produced many films such as Once Upon a Time in America(1984) (in which he also makes a cameo appearance as the chauffeur), Brazil(1985), Pretty Woman (1990), Under Siege (1992), Natural Born Killers (1994),Boys on the Side (1995), L.A. Confidential (1997), Unfaithful (2002), and Knight and Day (2010), among others.[9]

Speculation about Milchan’s involvement in arms dealing and intelligence activities was sparked after “the indictment in 1985 of Richard Kelly Smyth, an aerospace executive who had made illegal shipments of Krytrons (nuclear triggers) through one of Milchan’s companies.” This remained hearsay until biographers Meir Doronand Joseph Gelman confirmed in a book published July 2011, that Milchan was indeed involved in espionage and arms-dealing. The research in Interviewed regarding Milchan’s intelligence activities, Israeli President Shimon Peres stated:

“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 Doron and Joseph Gelman’s “Confidential: Secret Agent turned Hollywood Tycoon Arnon Milchan” p. xi)

Milchan is also the owner of the WTA broadcasting rights. He was married to model Brigitte Genmaire.[6] He is now married to former South African tennis professional Amanda Coetzer. He is also the owner of the Israeli network which transmits Israeli television programming to the United States and Canada. He is also a partner in Israel’s all-news cable Channel 10.



Gelman, Joseph (author) (2011) Confidential The Life of Secret Agent Turned Hollywood Tycoon – Arnon Milchan Gefen Books, NY.


  • Forbes.com: Forbes World’s Richest People
  • Internet Movie Database
  • Sourced from World Heritage Encyclopedia™ licensed under
  • Help to improve this article, make contributions at the Citational Source
  • 21180


Not to be confused with Natural Born Killaz.

Natural Born Killers

Theatrical release poster

Directed by Oliver Stone
Produced by Arnon Milchan

Jane Hamsher

Don Murphy

Thom Mount

Clayton Townsend

Screenplay by Oliver Stone

Dave Veloz

Richard Rutowski

Story by Quentin Tarantino
Starring Woody Harrelson

Juliette Lewis

Robert Downey, Jr.

Tom Sizemore

and Tommy Lee Jones

Music by Brent Lewis
Cinematography Robert Richardson
Editing by Brian Berdan
Studio Regency Enterprises

Alcor Films

Ixtlan Corporation

New Regency

Distributed by Warner Bros. Pictures

Lionsgate Films[1]

Release date(s) Template:Plainlist
Running time 119 minutes
Country United States
Language English
Budget $34 million
Box office $61,615,296

Natural Born Killers is a 1994 Americancrimeaction film directed by Oliver Stoneabout two victims of traumatic childhoods who became lovers and mass murderers, and are irresponsibly glorified by the mass media. It stars Woody Harrelson andJuliette Lewis, along with Rodney Dangerfield, Robert Downey, Jr., Tom Sizemore, and Tommy Lee Jones.

The film is based on a screenplay byQuentin Tarantino that was heavily revised by Stone with writer Dave Veloz and associate producer Richard Rutowski. Notorious for its violent content, the film was named the eighth most controversial film of all time by Entertainment Weekly in 2006.[2]

Natural Born Killers was promoted with such taglines as: “A bold new film that takes a look at a country seduced by fame, obsessed by crime and consumed by the media” and “In the media circus of life, they were the main attraction.” It was released theatrically in the United States on August 26, 1994.


These Are The 15 Talent Agents Who Run Hollywood

Cory Barclay 01.26.15 Most Influential

The talent agents in Hollywood are some of the most powerful people in the entertainment industry. They are responsible for representing and negotiating deals for their clients, so that their clients star in the best movies, for the most money, as opposed to a rival agent’s client. As you can probably tell, being an agent is a cutthroat, dirty business. In turn for getting their A-list clients the best parts, they get a sizable chunk of the change that their stars receive. There are four agencies in Hollywood that represent more than 70% of the entertainment industry’s actors, directors, writers, and musicians.

The biggest player is Creative Artists Agency (CAA), which was founded in 1975 by Michael Ovitz and four others. Ovitz became the face of talent agents, and he is credited with helping to carve out a larger, more competitive role for the genteel agents of that time. WME, which is the oldest and most venerable agency, is the second biggest player. Then there’s United Talent Agency (UTA), and rounding out the big four is International Creative Management (ICM). All four of these agencies are widely represented in this list of the 15 most powerful agents in Hollywood.


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15. Cindy Osbrink – Osbrink Talent Agency

Cindy Osbrink is best known for representing children in Hollywood, and making them stars. She began her career when her own children started acting, and she decided she’d represent them herself, which lead to her founding the Osbrink Talent Agency.

Osbrink spotted Dakota Fanning at 5 years old and turned her into the biggest child star of this generation. She also represented Dakota’s sister, Elle, until the sisters parted ways with the agency in 2012. Some of her top clients include Lucas Till, Jake Lloyd, the two child actors in Adam Sandler’s Bedtime Stories, and the three children in Robert Rodriguez’s film Shorts.


14. Theresa Peters – United Talent Agency

Theresa Peters is one of the most powerful women in Hollywood. In 2008 she joined UTA as a partner, and has since acquired a whopping 59 clients. Peters began her career in the William Morris mailroom, like so many before her, where she told the Hollywood Reporter she, “Learn[ed] more in three months than you would in three years running around this town.”

She was able to see the whole process of selling a show when she was assigned as an agent’s assistant , and then she rapidly moved her way up until becoming a partner and the head of the talent department at UTA. Her most notable clients include Ewan McGregor and Kirsten Dunst.


13. Jeremy Zimmer – United Talent Agency

United Talent Agency is one of the top four talent agencies in Hollywood, and Jeremy Zimmer was a co-founder of the company in 1991. In 2012, he was named the CEO and managing director of UTA, where he began to focus outside of traditional business (namely finance and international representation).

With the upgrade to CEO – which he told Deadline.com was “Only 10 years overdue” – he now oversees more than 125 agents and 350 employees in Beverly Hills and New York, as well as 20 of his own clients. Zimmer began his career in the mailroom of the William Morris Agency, and became well-known years later for having great taste in material. He represents powerful players in the industry, including Barry Levinson and Christopher Guest.


12. Fred Specktor – Creative Artists Agency

At the age of 80, Fred Specktor is the oldest agent in the industry, and a true Hollywood legend. He’s a longtime agent at Creative Artists Agency. He is known around town for his exquisite professionalism, and is the type of agent who has a booth set aside for him in LA’s big restaurants.

He has represented such actors as Robert De Niro in the past, and currently represents Gene Hackman, Danny DeVito,Jeremy Irons, and Helen Mirren, among others. He recently pulled off the impossible when he stole Morgan Freemanfrom his 40-year representation with William Morris, which was one of the longest-running relationships between an actor and agent in the business.


11. Rick Nicita – Former CAA and Morgan Creek

Rick Nicita is a well-known and well-liked agent in Hollywood – one who has worn many hats. In 2008, he left his long-term relationship with CAA, and moved to become co-chairman and COO of Morgan Creek, where he worked for who some consider one of the worst bosses in Hollywood, James Robinson.

Nicita left Morgan Creek in 2012, and there’s even a rumor around tinsel town that he might create his own agency with his powerful, producer wife, Paula Wagner. Both Nitica and Wagner represented Tom Cruise for a time, and currently Nicita still has Al Pacino, Garry Marshall, and Anthony Hopkins under his belt.


10. Sam Gores – Paradigm Talent Agency

Sam Gores’ agency, Paradigm, may be small, but it is well-respected and prestigious. He doesn’t personally represent many big-name stars other than Laurence Fishburne, but he oversees all of the negotiations with his agency’s clients, which include Gary Oldman, Katherine Heigl, Neil Patrick Harris, Andy Garcia, Adrien Brody, and Philip Seymour Hoffman before his tragic death.

Gores helped package numerous shows, including Rescue Me, Desperate Housewives, and he also represents many musical acts like Aerosmith, the Dave Matthews Band, and the Black Eyed Peas.

All of his keen deal-making skills has helped make him filthy rich, as he’s worth $50 million. One great example of his talent came when he once played a game of golf with Andy Garcia, telling Garcia that it was his 16-year dream to make a movie about his Cuban homeland.

Garcia rejected the idea, but by the 18th hole Garcia’s billionaire brother had written a check to make The Lost City.


9. Sharon Jackson – WME

Jackson on far right

Sharon Jackson is best-known for her plethora of comedic clients and the success she’s given them. In 2008, along with two other agents, Jackson moved from United Talent Agency to WME, shocking Hollywood. She brought the smaller agency a huge comedic-windfall in her clients Jack Black, Jason Segel, Amy Poehler, Jonah Hill, and Jason Schwartzman.

Jackson has an eye for raw comedic talent, signing Jason Segel when he was just a sidekick in Freaks and Geeks, and eventually convincing him to write the script Forgetting Sarah Marshall, which she sold for a bundle and which made Segel into a sought-after screenwriter.

She is known for being a ruthless negotiator, and she reads 15 scripts a weekend while constantly scouting comedy shows. Jackson’s efficiency is why all of her talent stayed with her when she moved agencies.


8. Jim Wiatt – (Former) WME

Jim Wiatt worked for one of the top four agencies – International Creative Management – for years, before shaking up Hollywood by leaving to join William Morris for a $5 million salary and a seat on their board. He helped merged WME with Endeavor in 2009, which combined William Morris’ huge music department (Lady Gaga, Eminem, Rihanna) with Endeavor’s A-list TV talent. The merger helped make William Morris a worthy contender against the Creative Artists Agency.

Wiatt helped unveil a new William Morris $100 million fund to finance features in the late 2000s, and his ample client list included Eddie Murphy, John Travolta, Tommy Lee Jones,Willie Nelson, 50 Cent, Ryan Seacrest, and Jenny McCarthy, among others.

However, in 2010 the Daily Beast reported that he had been ‘run out of Hollywood’ and was maintaining a low profile, having been accused of spending more time hobnobbing with the A list than actually doing the job of agent.


7. Tracey Jacobs – United Talent Agency

Tracey Jacobs became the co-head of talent and one of the six partners at UTA by operating under a seemingly fool-proof philosophy: Rather than provide clients with quick, big paychecks, she sought to provide them with long-term success, and this plan has served her very well. She helped give Jason Bateman his comeback, and managed to give veteran actor William L. Peterson a tidy regular salary with CSI.

Jacobs became well-known for her ability to package movies with her clients, such as Johnny Depp with Chocolat. In 1988, in fact, she first saw her future golden ticket (Johnny Depp), when she was watching 21 Jump Street on a lonely Sunday night. Her big-name roster includes Depp, Harrison Ford,Jason Bateman, Jennifer Lopez, Gwyneth Paltrow, and Tim Robbins.


6. Brian Swardstrom – United Talent Agency

Brian Swardstrom has bounced around the industry a bit, but he’s always been well-respected within the community. He was the head of Endeavor’s talent department for 11 years, and then he moved on to a four-year stint with William Morris. In 2014 he jumped ship and moved to New York to become a partner of United Talent Agency.

Swardstrom brought many of his 38 big-name clients with him to UTA, including Edward Norton, Tilda Swinton, Michael C. Hall, Jessica Lange, Bill Paxton, Emile Hirsch, and Michael Douglas.


5. Patrick Whitesell – WME

The top five agents in Hollywood all come from top two talent agencies. Patrick Whitesell is the co-CEO of WME. He joined Endeavor as a partner in 2001, where he was a member of the company’s Executive Committee. Whitesell and his other WME co-CEO have been credited with “rewriting the Hollywood script,” and they are two of the most powerful people in the business.

Although not given as much credit for the ‘Hollywood rewrite’ as his co-CEO, Whitesell is still worth $25 million and boasts a very impressive personal clientele list that includes some of Hollywood’s most well-loved leading men, among them Matt Damon, Christian Bale, Hugh Jackman, Ben Affleck, Jude Law, and Joaquin Phoenix.


4. Richard Lovett – Creative Artists Agency

Lovett, left

Richard Lovett is considered by many to be the most powerful agent in the most powerful agency in Hollywood. He took over as head of CAA in 1995, at the age of 41, after starting his career in the mailroom after college. He’s credited with the success of many of the leading actors in today’s blockbusters, making him very, very rich.

Back when CAA was ‘feared’ by other agencies, Lovett helped changed the face of the agency but then proceeded to ruthlessly snatch clients away from unsuspecting agencies, leading his company to become the most powerful talent agency in the world.

Lovett’s clients include Will Smith, Tom Hanks, Nicolas Cage,Julia Roberts, Ron Howard, Steven Spielberg, and more.


3. Bryan Lourd – Creative Artists Agency

Lourd, centre

Bryan Lourd, worth $35 million, has been a partner, Managing Director, and Co-Chairman of CAA since 1995. The only reason he’s ahead of fellow co-partner Richard Lovett is because Lourd’s client list is even more impressive than his partner’s already intimidating one.

Among Lourd’s all-star clientele are Robert De Niro, Robert Downey Jr., Matthew McConaughey, George Clooney, Sean Penn, Julia Louis Dreyfus, Drew Barrymore, Naomi Watts, andMadonna.


2. Ari Emanuel – WME

Ari Emanuel is best known in pop culture as the inspiration behind the foul-mouthed agent Ari Gold in the showEntourage. By merging Endeavor Talent Agency with the William Morris Agency in 2009, he helped put WME back to the forefront of show business.

In 2014 Ari bought IMG Worldwide in a deal worth $2.4 billion, and helped tip the scale even further by spreading out from movie talents – IMG represents the likes of Gisele Bundchen.

Emanuel had his sights set on becoming the King of Hollywood ever since he famously planned to start his own agency with other top agents at ICM, was found out, and fired.

He left ICM to create Endeavor, and the rest is history. His larger-than-life attitude and aggressive tactics have made him a force to be reckoned with. Just ask Mel Gibson: Emanuel was the first to call for a blacklist of the actor after his anti-Semitic rantings. Emanuel has well over 60 clients including hugely impressive names like Mark Wahlberg, Martin Scorsese, and Conan O’Brien.


1. Kevin Huvane – Creative Artists Agency

Kevin Huvane is co-partner of the biggest agency in Hollywood, Creative Artists Agency. Although WME’s recent acquisitions make it a hot contender for that title, Huvane still boasts the most diverse, enviable client roster of any agent in Hollywood.

This super-agent seems to have a hold on the Hollywood elite about on who is in and who is out, more so than any other agent. In 2009, for instance, Huvane booted Paris Hilton after she crashed a CAA party. He is worth $50 million, and his clientele includes Meryl Streep, Brad Pitt, Tom Cruise, Keanu Reeves, Nicole Kidman, Jennifer Aniston, Orlando Bloom,Uma Thurman, Sarah Jessica Parker, and more.

Huvane’s brother, Stephen, is also the co-founder of the biggest PR firm in Hollywood, Slate Public Relations, so Kevin has friends in high places.


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