Creative Agency for Artists. (CAA)

In the luxurious building in Beverly Hills, Los Angeles, California, a small group of agents was finishing their semi-annual meeting when Billy and Jim Waiit entered.

Among the attendees, the important figures included Rowland Perkins, William Harber, and Ronald Meyer, along with Carol Sawdye.

-With Michael gone now, we hope Ronald can address the issues related to the many losses the company has suffered, - murmured Kevin Huvane, a respected member of CAA who has gradually risen but harbored resentment towards the agency's founding members. In recent years, the agency hasn't distanced itself from what William Morris Agency is doing; they play the same game, winning their rounds with tricks here and there, which undermines two main ideas.

Once everyone retired to their respective offices, the wave of whispers began to spread throughout the place. The triarchy through the power of the three founders, the most lax undoubtedly from Carol Sawdye's perspective, preferred to focus on other activities, along with Michael S. Rosenfield, who favored film.

-It's very likely that many people will dismiss the agency in the coming months, year, or fiscal calendar. I firmly believe we should rebuild the agency and adjust our profile. New agencies, and new companies, may be created. I have many doubts, - Kevin Huvane expressed to David O'Connor as they reached the office. The atmosphere among the top executives was heavy, and it spread deeply throughout the company, from founders to executives, presidents, managers, junior partners, senior agents, junior agents, rookies, and assistants; the atmosphere surprised both Jim Waiit and Billy Carson.

-I'll adjust my represented clients as much as I can. And I'll tell my associates that if they can sign new contracts with their servers, they should do everything possible to get ahead, - said David O'Connor.

Meanwhile, Jim Waiit arrived at his office with Billy, something Billy hesitated about for a second, but then considered that many of the mistakes CAA had made at the time were closing doors on great agents, like Jim's members, who ended up in the hands of other respective agencies, not CAA.

-We need to talk about our new agency and representation contract. You and I need to keep working together, - Jim Waiit said.

-I don't mind working together, but we have to keep in mind that CAA isn't supporting us. Furthermore, behind my back, I have many companies that just want to mess with me, - Billy said, carefully weighing his thoughts.

 - How much do you make a year in this company? - Billy asked.

The shrewd questions surprised Jim Waiit, who didn't expect Billy to ask things in that manner, a questionable way to start a negotiation. - He's greedy... - thought the representative, not knowing what to discuss, he responded as he would in an interview or a university speech, "Close to 5% of the income of my represented clients, not counting that many times, I have to invest some money from those earnings to build better relationships, - Jim Waiit replied.

-CAA is crucial for our relationship to work, - Billy questioned.

-What are you talking about? - Jim asked, catching on to Billy's underlying suggestion.

-It's simple, you need CAA to work for me. I don't like this company much, and I prefer you to take care of the preferable, I even understand that from the 15%, they take 10% of the money. You can skip that step, - Billy asked.

-Well, it's a matter of substance; many scripts are sometimes sent to top management, I don't have contacts, and our relationship was stifled with agencies like Warner and Disney, while Sony is only a slight amount of support. I even doubt they'll join in supporting me, - Jim Waiit said.

-Do you think that will change in two years? After all, now we have fewer levers, and you mentioned there's a power vacuum in the elevator. Can't you climb? - Billy asked.

-It's not that simple, as a senior agent, and with minimal help, I can't become a partner. Many people need powerful relationships to bring deals to the company, - Jim Waiit said.

-And if you go to another company? How much money has Pixar and Lux Animation not brought to this company? Recently, a brief recount, at least the representation expenses in the last 3 years amount to eight million. We've made many deals, and the company has brought in money, ridiculously, because you still haven't been considered a partner, - Billy asked.

-You suggest I change companies; it's complicated, but I only know two companies that can provide me with all the assurances that many other companies can, namely William Morris Endeavor and United Talent Agency, - Jim Wait replied, with doubt in his face.

-They're just positive and negative ideas I may or may not have, but I want to screw CAA as much as they screwed you. They simply crushed your career, - Billy said.

-So what do you propose? - Jim Waiit asked, somewhat unsure of where the conversation was going.

-Let's make it easy, sign a two-year deal with CAA, and a four-year deal between you and me, without CAA. If by 1997 we're not happy, we can renew the contract, but if I grow enough in two years, we can kick CAA to the curb and join another agency as partners, - Billy said.

-That's a bold idea, but I have to think about my other clients, Billy, - Jim Waiit said.

-Just think about it. I'll sign the contract for two years. As long as you're my agent, I'll follow the steps we need to take. However, if you change your mind in two years, we have an extra contract that could be favorable for our relationship, - Billy said.

-Right, we'll keep thinking about it. I'm glad to know I have your trust, - Jim Waiit responded to the signed two-year contract, along with a key variable, a hidden contract.

-We can talk about how much you expect for your role in Seven. Even though the production doesn't have much money, as the lead, you might receive a good salary. -

He opened his palm. -Five million dollars. I don't want more, I don't want less. It seems like a fair price to me. Besides, I heard that the salary planned for Sylvester Stallone before the rejection was 10 million. Half is fine with me. -

-Who said that? A blonde who is very friendly with you. -

-I hope this time isn't as long and grueling as the last shoot, - Billy murmured.

-No problem, kid. David Fincher's shoot is nothing like Richard's. He learned that time is money. Most likely, in two months, with your good performance, they'll finish shooting all the scenes. Besides, it's an 'independent' film. Extending the production would only result in losses, - Jim Waiit said.

-I hope so, - Billy said, hoping that time would be enough to shoot, which by the twist of fate would be advanced to January 15, and not the previous time in March 1995, which not only helped to continue the work.

-They sent a request from Ronald Emmerich himself, asking if you're willing to participate in another movie, 'Independence Day.' They started producing it, but they sent a script. They might start casting in March or April, - Jim commented.

-Of course, it's perfect for us. 'Little Women' premieres on December 19, while 'Before Sunrise' premieres on January 12, adding to your actor profile a bit more. Even though it was just a call, it can boost your position along with 'Seven.' Certainly, we won't lack offers for a good while. Plus, being a voice actor in 'A Bug's Life.' I'll take a supporting character, but the work continues there, - Billy said.

Once again, Jim saw the businessman and not the actor. Even acting is a business, in economic terms, and as an agent, that brings benefits.

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