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Speaker 1: Welcome to Strictly Business, Variety's weekly podcast feature and conversations

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Speaker 1: with industry leaders about the business of media and entertainment.

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Speaker 1: I'm Cynthia Littleton, co editor in chief of Variety Today.

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Speaker 1: My guests are Blair Cohen and Jason Hayman. Hayman and

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Speaker 1: Cohen are board members and partners at United Talent Agency.

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Speaker 1: They are top talent reps who guide the careers of

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Speaker 1: mega megastars in front of and behind the camera. Both

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Speaker 1: of them wanted to have a conversation about the twists

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Speaker 1: and turns that they are seeing in the comedy business. Comedy,

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Speaker 1: as we know is hard. It's been a rough year

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Speaker 1: for traditional adult comedies at the box office. Sitcoms are

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Speaker 1: few and far between on network television these days, and

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Speaker 1: yet there's more talent and more avenues for expressing comedy

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Speaker 1: than ever before. Cohen and Hayman talk about the pros

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Speaker 1: and cons and the ups and downs in the current marketplace.

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Speaker 1: The two drink Minimum rim Shots set. It's a candid

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Speaker 1: conversation with two industry pros who have worked together for

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Speaker 1: so long that they make a really good buddy act.

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Speaker 1: I hope you find it a fun listen Jason and Blair,

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Speaker 1: thank you so much for having me today in the

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Speaker 1: art filled halls and conference rooms of UTA.

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Speaker 2: A great to have you here.

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Speaker 1: Great, thank you for having us. We've been talking about

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Speaker 1: doing this. I'm glad that we finally are having this conversation.

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Speaker 1: It's an interesting time for comedy because it seems like

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Speaker 1: the best of times in terms of new talent, talent discovery,

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Speaker 1: ways to get people out. It's not the best of

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Speaker 1: times when you're talking about traditional movies, traditional sitcoms. Where

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Speaker 1: are you finding your opportunities for talent at different level?

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Speaker 3: I would say they've migrated to television. These were big

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Speaker 3: box office comedy stars who realized that the opportunity was

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Speaker 3: no longer in the theatrical comedy business, from Owen Wilson

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Speaker 3: to Will Ferrell to Seth Rogen, countless others. Jason Siegel,

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Speaker 3: Jason Sidekis, Jason Sidekis right have migrated to television, and

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Speaker 3: those shows are some of the biggest comedic shows on

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Speaker 3: those platforms.

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Speaker 1: I would agree.

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Speaker 2: I think obviously COVID changed the theatrical landscape so significantly

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Speaker 2: that it drove so much of the comedy business into streaming,

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Speaker 2: both television and film and we're now slowly starting to

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Speaker 2: see the rebound of coming out of that. And I

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Speaker 2: mean the good news is, though the studios are starting

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Speaker 2: to come back, the theatrical experience is starting to come back.

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Speaker 2: You're starting to see some green shoots up here in

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Speaker 2: the traditional theatrical marketplace. And that's great for all of

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Speaker 2: us who believe in the communal theatrical experience. In a

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Speaker 2: world where so many people are transitioning towards IP or

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Speaker 2: leaning on IP as a bit of a safety valve

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Speaker 2: in the business, comedy is not that right. It's inherently

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Speaker 2: an original art form, and as the cost becomes so

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Speaker 2: prohibitive to make a movie, a television is where a

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Speaker 2: lot of people are turning to.

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Speaker 3: What we really need in television is for these platforms

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Speaker 3: to give these comedies a minute to get up on

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Speaker 3: their feet. Ted Lassop took a couple of seasons to

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Speaker 3: really like Soar, and I think you saw this last

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Speaker 3: season of Platonic really find itself. Nobody wants this and

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Speaker 3: we'll see what second season of Studio brings. What we

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Speaker 3: were experiencing in the Migration was a kind of one

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Speaker 3: and done like one season. It doesn't click we're going

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Speaker 3: to take it off the air. And we grew up

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Speaker 3: in an environment where networks allowed for these sitcoms to

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Speaker 3: go a couple of seasons to find their footing.

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Speaker 1: And you could do nine episodes. Check it out. Oh

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Speaker 1: my god, this supporting character is blowing up. Yeah, that

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Speaker 1: part much bigger a lot of people are talking about,

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Speaker 1: Like on the drama side, the pit was a return

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Speaker 1: to a traditional show that the industry can wrap its

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Speaker 1: head around and Emmy voters wrapped their heads around.

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Speaker 2: Can a network sitcom exist again?

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Speaker 3: Right?

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Speaker 1: Right?

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Speaker 2: Can Modern Family exist again? Can Everybody Loves Raymond exist?

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Speaker 2: It's a really good question. The good side of it

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Speaker 2: is that schedule, that routine that we all grew up

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Speaker 2: with of you know, pilot season and upfronts and fall

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Speaker 2: schedule and all of that. Right, that's all gone. So

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Speaker 2: you have a little more flexibility and the talent can

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Speaker 2: go off to do other things, come back when they

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Speaker 2: feel creatively inspired. Larry David, for example, like can take

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Speaker 2: off what two or three years between seasons, right, he

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Speaker 2: comes back when he feels he has something to say

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Speaker 2: and he's inspired to go do another season. And there's

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Speaker 2: something great about that that you're not just churning it

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Speaker 2: out based on you know, existential things that you actually

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Speaker 2: the creative ambition and what the creator is feeling they

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Speaker 2: want to put out there. They can do it on

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Speaker 2: their term.

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Speaker 1: If you just look at traditional broadcast network it's pretty

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Speaker 1: thin right now. Do you think that's actually a problem

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Speaker 1: for network TV used to have nights. I know that's

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Speaker 1: an antiquated thought, but just the paucity of product on there.

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Speaker 1: Can NBC get traction with Saint Denis if it's mostly

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Speaker 1: a desert around it in terms of comedies. Do you

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Speaker 1: think is that a problem for the networks.

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Speaker 3: It's funny how the streamers try and do that with

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Speaker 3: your algorithms, But I actually think that audiences are drawn

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Speaker 3: to the talent, and I think what we've gotten so

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Speaker 3: far away from a network TV is betting on talent

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Speaker 3: and identifying early and discovering talent, which is what they

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Speaker 3: did for decades and decades. And now what you're finding

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Speaker 3: is Netflix has this unbelievable incubator program with their comedy specials,

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Speaker 3: and so they can identify quite quickly, Oh, this person

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Speaker 3: really has an audience. So we're going to capture that

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Speaker 3: and we're going to pivot it to a series. So

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Speaker 3: you'll see a client of ours, Land Morgan. She grew

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Speaker 3: her audience through her localized social media platforms and was

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Speaker 3: able to prove that she had an audience. And then

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Speaker 3: you see Netflix picking up on that, putting a special

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Speaker 3: on watching how the Special Lands, and then we partner

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Speaker 3: her with Chuck Lauri and creating a show for her.

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Speaker 3: So I think there is a lot of that going

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Speaker 3: on at Netflix, a little bit at HBO we see

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Speaker 3: Rachel Sennet. Yeah, really created her audience on a social

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Speaker 3: media platform.

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Speaker 1: Do you think that structurally that a Netflix or a

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Speaker 1: Peacock or an Amazon Prime Video could do a twenty

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Speaker 1: two episode sitcom a family that you were to fall

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Speaker 1: in love with. Do you think it would work? Or

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Speaker 1: is there fundamentally something about the on demand nature of

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Speaker 1: streaming doesn't lend itself to that.

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Speaker 2: Honestly, I couldn't speak to the economics of it, but

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Speaker 2: I'll tell you from my son, my four year old son,

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Speaker 2: who just watches Modern Family religiously like too much. It's

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Speaker 2: like I catch him in his bedroom watching Wadern Family

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Speaker 2: at night. I believe that could exist for a great

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Speaker 2: comedy like that.

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Speaker 3: It's interesting to watch this generation.

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Speaker 1: They're repeat viewers.

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Speaker 3: They will watch Summer I Turned Pretty, They'll watch that season,

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Speaker 3: and then they'll watch that season again. So I do

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Speaker 3: have a feeling there is this.

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Speaker 1: I know.

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Speaker 3: I understand the binge nature of you sit down, you

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Speaker 3: watch five six episodes in a sitting of a half hour,

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Speaker 3: But I wonder if we delivered them quality content for

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Speaker 3: twenty two episodes, I am a feeling that they would

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Speaker 3: stick with it. It's all about that stick with it

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Speaker 3: mentality at those platforms, and they have the ability to

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Speaker 3: see when people are turning it off, right, So it'd

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Speaker 3: be interesting to just do a test case. We're going

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Speaker 3: to deliver you twenty two episodes and of a quality

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Speaker 3: show where we've tested it, we have algorithms whatnot, and

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Speaker 3: see if an audience will stay with it through twenty

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Speaker 3: two episodes.

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Speaker 1: That habitual thing where you know Norm and Cliff and

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Speaker 1: Carla and the bar, it's that check in.

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Speaker 3: That appointment television exists still. I remember for me my

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Speaker 3: appointment television, Sex and the City, you know, Sunday night, HBO,

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Speaker 3: Thursday night NBC. That appointment television. I actually think White

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Speaker 3: Lotus is studio. There are some shows that drop weekly

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Speaker 3: that to me feel like appointment to some extent water

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Speaker 3: Nillar shows, right, and it goes back to the same

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Speaker 3: thing on the theatrical side.

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Speaker 2: If you don't build it, they won't come. So at

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Speaker 2: a certain point someone has to take the shot. And

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Speaker 2: because if you don't build it, I can guarantee you

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Speaker 2: they won't come.

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Speaker 1: They want to.

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Speaker 2: Like people largely now don't even think about going to

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Speaker 2: the theater to see an R rated comedy. Like it's

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Speaker 2: not even something if you're a twenty year old kid

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Speaker 2: going out with your buddies, it's not even something you

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Speaker 2: even consider doing.

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Speaker 1: Right, That's something you'll find on the streamer Sunday.

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Speaker 3: Or the movie is the destination, meaning like you used

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Speaker 3: to go to the mall and you'd be at the

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Speaker 3: mall and then you'd see what was playing, and then

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Speaker 3: you'd buy a ticket and you'd go see a movie.

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Speaker 3: Now it's absolutely again.

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Speaker 2: I'm going to see Minecraft, or you go to a

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Speaker 2: live show. Obviously, I'm sure we'll talk about but the

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Speaker 2: explosion of live and the theatrical experience now is going

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Speaker 2: to the improv, is going to the laugh Factory, is

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Speaker 2: going down to Nokia to watch a show with ten

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Speaker 2: thousand other people. That's what it's become.

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Speaker 1: Years ago, of course, you know Richard pryor Steve Martin,

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Speaker 1: they had big box office hits with live concert films.

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Speaker 1: More recently, the original kings of comedy. Do you think

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Speaker 1: that we might see the big headlining comic have a

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Speaker 1: straight up concert performance movie.

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Speaker 2: You probably can't say it right now, but we're talking

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Speaker 2: about a la Taylor Swift in comedy. They're talking about

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Speaker 2: things like that now.

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Speaker 3: I think people want to laugh in community. I think

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Speaker 3: what's driving this live experience is being together in a

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Speaker 3: room and laughing together. And that was what when we

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Speaker 3: talk about all these great movies, these great comedies of

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Speaker 3: the last twenty five to fifty However, many years it

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Speaker 3: was going to the theater and laughing in community, and

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Speaker 3: I think we are missing that. As Jason said, somebody

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Speaker 3: is going to have to take the risk to put

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Speaker 3: a few of those out there.

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Speaker 1: What would you say in terms for developing stars? Stand

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Speaker 1: up comedy has been a path to television since the

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Speaker 1: days of Johnny Carson. But what are the pros and

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Speaker 1: cons for developing new talent.

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Speaker 3: We always talk about the heyday of comedy Central Jason

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Speaker 3: and I and Funnier Die and those incubators you know,

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Speaker 3: Yes and Now which is still there and still incubating, identifying, discovering.

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Speaker 3: We miss those days because that's where we were able

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Speaker 3: to launch talent. It's where we discovered talent with social

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Speaker 3: media and the acts to finding your audience. And we

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Speaker 3: have comedians like Matt Rife, Nate Bargotzik, Leanne Morgan who

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Speaker 3: we talked about Ali Wong who are developing their audience directly,

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Speaker 3: and so we have this reverse incubation thing where the

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Speaker 3: Netflix is and the Amazon's and hbos attached to them

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Speaker 3: after they've already created this platform for themselves, so they

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Speaker 3: have a little bit more control and understanding about what

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Speaker 3: their audience is looking for. But I think the loss

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Speaker 3: of Comedy Central and Funnier Die has been replaced by Instagram,

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Speaker 3: YouTube at TikTok.

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Speaker 1: Is it important do the fans have to see them

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Speaker 1: on a stage in a traditional stand up contact.

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Speaker 2: I think you need to have the live experience. I

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Speaker 2: think that all of that builds towards it, and it

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Speaker 2: retains the audience in between tours right for the year

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Speaker 2: that you're down, because you can't just flood the market

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Speaker 2: and month after month, and it keeps the audience engaged,

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Speaker 2: follows you, gives you an insight into who you are,

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Speaker 2: what your life is, and doing funny bits. I agree,

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Speaker 2: but there's no replacing that live experience and that direct

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Speaker 2: connection with your fans. It's unbelievable. When you go see

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Speaker 2: some of our clients that are at Madison Square Garden

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Speaker 2: or in Boston Garden or United Center, they're in the middle,

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Speaker 2: one guy standing there. There's twenty thousand people and they're

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Speaker 2: performing to everyone as if they're just right there at

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Speaker 2: the Improfit Sebastian Manascalco, Nikki Glazer, now Monster, you know,

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Speaker 2: Eliza Slushing your album, you know Ali Wong, Bert Kreischer,

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Speaker 2: Matt Rife, like Jim Gaffigan can sue like you just

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Speaker 2: see these people and it's like every year it just

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Speaker 2: gets bigger and bigger, and it doesn't get bigger by

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Speaker 2: like five hundred it gets bigger by like twenty thousand,

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Speaker 2: thirty thousand, one hundred thousand. Like the growth is incredible,

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Speaker 2: and it's almost overnight. Back in the day when we

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Speaker 2: represent and Jim Carrey caase Man sure it came out

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Speaker 2: and he goes from a guy who made schedule f

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Speaker 2: to three million to ten million to the first million

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Speaker 2: dollar deal ever, right, I remember, and yeah, gable guy,

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Speaker 2: And that happened in like a two or three year period.

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Speaker 2: And that is what's happening in comedy, in live comedy, right,

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Speaker 2: that Jim Carrey level of explosiveness, It's unbelievable.

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Speaker 1: Let me ask you, where are you and your teams?

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Speaker 1: Where do you scout for talent? Are you out in

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Speaker 1: the clubs? Are you looking on TikTok? Is it a

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Speaker 1: combination of everything everywhere all at once?

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Speaker 3: I would say a combination of everything everywhere, all at once.

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Speaker 3: We have teams of young people who are out there

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Speaker 3: going to clubs and also on social media all the

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Speaker 3: time and highlighting for us like check this person out,

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Speaker 3: check that person out.

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Speaker 2: And we still go to the two of us still

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Speaker 2: go to clubs together. We go to shows together, We

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Speaker 2: go to Largo, we go to the improv, we go.

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Speaker 1: To a laugh factory, I mean when that too drink minimum.

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Speaker 3: Yeah, And oftentimes we have headliners and we're looking at

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Speaker 3: the opening acts and we've discovered a lot of people

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Speaker 3: that way actually, And I love.

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Speaker 2: To go wherever I am in the world in the

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Speaker 2: country to go into just a small town. If I

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Speaker 2: end up visiting a movie set in Iowa or Minneapolis,

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Speaker 2: all go down into the comedy cellar and just see

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Speaker 2: who's there. And I'm always driving the touring department crazy

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Speaker 2: because I'm always emailing them names of who's this guy,

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Speaker 2: who's this guy?

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Speaker 1: You know?

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Speaker 2: And of course they're usually tracking them already or know them.

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Speaker 2: But you know, I think even for those of us

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Speaker 2: who've been doing this a long time, we still get

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Speaker 2: a real kick out of finding that new star and

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Speaker 2: building them. You know, we really do.

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Speaker 3: We love disc I mean, we love discovery and if

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Speaker 3: you look at the people we represent who we're involved with,

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Speaker 3: we're still year in, year out, still signing young talent

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Speaker 3: and encouraging our colleagues, supporting our colleagues who are finding

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Speaker 3: them as well. And a lot of them are digital influencers,

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Speaker 3: content creators who were matriculating. You look at that show Adults,

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Speaker 3: which is just chock full of all of these kids

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Speaker 3: that we've discovered here at UTA with colleagues and introduced

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Speaker 3: them to Nicole.

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Speaker 1: What we love to.

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Speaker 3: Do is find young talent and partner them with some

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Speaker 3: really experienced talent to help schofferd them through television, film,

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Speaker 3: whatever it.

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Speaker 1: Is that leads nicely into my next question. And I

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Speaker 1: already know that there's no one answer for this, but

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Speaker 1: what are typically if you find somebody who's pretty green,

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Speaker 1: got some potential, you've seen some videos, or you've seen

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Speaker 1: some stand up, but they're in the first inning of

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Speaker 1: their career, what are some of the first things that

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Speaker 1: you do to help somebody who is aiming to be

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Speaker 1: on air talent. I mean, we have a crazy legacy

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Speaker 1: of mentorship. You know what You'll like introducing a Chase

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Speaker 1: Suwie Wonders to a Seth Rogan, introducing a Leanne Morgan

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Speaker 1: to a Chuck Laurie, introducing a Bill Hayter to an

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Speaker 1: alec Bert, Dave Byrd to Jeff Schaffer, a lot of

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Speaker 1: match making, a lot of matchmaking, and we really we

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Speaker 1: believe in it. It's also such a part of our

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Speaker 1: own collaborative process here where we're encouraging our younger colleagues

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Speaker 1: to identify who this next generation is and giving them

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Speaker 1: access to all of our senior client who've been in

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Speaker 1: it for a long time. I mean, we've been here

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Speaker 1: however many twenty eight years. For me and I don't

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Speaker 1: know how long for you thirty five.

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Speaker 3: So so with a slight hiatus, yes, sir, with a

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Speaker 3: hiatus and a very spectacular return, we were very happy

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Speaker 3: to welcome them back. So we have done this generationally,

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Speaker 3: and it's something that we not only believe in, but

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Speaker 3: thrills us. You know, it's exciting to watch a show

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Speaker 3: like the Studio identify the next gen.

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Speaker 2: I love about the studio is like the first thing

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Speaker 2: they teach you when you start in Hollywood is don't

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Speaker 2: make movies or shows about Hollywood. And I love the

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Speaker 2: fact that the studio, which I love so many, I

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Speaker 2: drive like Baronhold's crazy just because like his character, I

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Speaker 2: just can't help myself. So every time I run into him,

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Speaker 2: I'm just like on my knees. Sousapper that you need

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Speaker 2: got to a legend.

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Speaker 1: You mentioned Ali Wong because I mean, she's winning Emmys

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Speaker 1: for a very very serious role in Beef, and I

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Speaker 1: gotta believe that Beef also introduced a lot of people

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Speaker 1: to Ali Wong who are now buying tickets to her shows.

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Speaker 2: In the old days where the Holy Grail was the

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Speaker 2: half hour network show or a movie, now so many

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Speaker 2: of our clients they had twenty different things. They can

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Speaker 2: do a podcast, they can write book, they have so

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Speaker 2: many things to explore their passion. That isn't the holy grail.

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Speaker 2: And as people who grew up in the film business,

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Speaker 2: we love when Sebastian Maniscalco goes and it does The

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Speaker 2: Green Book or does Irishman and then is at the

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Speaker 2: Oscars like that's a great thing, and when Ali Wong

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Speaker 2: does Beef. And we have so many examples of people

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Speaker 2: that we try to carve out different paths that they

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Speaker 2: can choose from. And if they loved the movie path, great,

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Speaker 2: but if they don't, that's okay too. We just want

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Speaker 2: to provide them with every possible opportunity, even things that

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Speaker 2: they're not thinking about.

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Speaker 1: Kam Allen thirty years ago could not have taken a

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Speaker 1: dramatic role like that, just the audience would not have

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Speaker 1: been able to see him that way. But now in

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Speaker 1: a world where Brian Kranston can be Walter White and

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Speaker 1: come back to Malcolm in the.

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Speaker 3: Middle, the marketplace is more open to that in a

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Speaker 3: way that it hadn't been before. And I think filmmakers

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Speaker 3: are also seeing the skill set, like we're going to

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Speaker 3: see Barnaults in a Luca Guadanino movie. You would never

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Speaker 3: have seen that, right, And so I think that you're right.

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Speaker 3: We have had a long tradition of also pushing our

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Speaker 3: clients to go do comedy, try drama, self generate, be

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Speaker 3: an actor for hire. We all consider ourselves multi hyphenit agents,

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Speaker 3: and maybe we've followed the client who considers themselves a

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Speaker 3: multi hyphen it, and we encourage that here for agents

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Speaker 3: to be entrepreneurial and for clients to be entrepreneurial.

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Speaker 2: The agency really started with the Cohen Brothers and that

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Speaker 2: unique brand of comedy, and then it was Wes when

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Speaker 2: Wes came in with Bottle Rocket and Luke and Owen

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Speaker 2: and I remember when we sold an Anchorman years ago

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Speaker 2: and everyone was like a movie about seventies news anchors,

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Speaker 2: like what who wants? Right? It made no sense and

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Speaker 2: everyone passed, and then we took it out like six

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Speaker 2: months later, and everyone passed again. And then Old School

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Speaker 2: came out and Mike DeLuca actually, to his credit, was

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Speaker 2: the guy who said, you know what, there's something here.

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Speaker 2: And Old School had just come out, and Will Ferrell

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Speaker 2: had just popped, and Adam McKay was kind of emerging,

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Speaker 2: and I think we need to get back to that.

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Speaker 2: I think we need to have that next gin of

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Speaker 2: people that sure we can give them the support and

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Speaker 2: put some great A plus people around them to make

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Speaker 2: sure that it all goes well. But we have to

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Speaker 2: take those risks because if we don't, I don't think

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Speaker 2: you can just keep going back to the well and

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Speaker 2: hope for something if you're not taking shots on some

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Speaker 2: of these newer people like credit to the brands. Yes,

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Speaker 2: a lot of the brands want the more Middle America

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Speaker 2: comics that are a little safer or cleaner or whatever.

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Speaker 2: But I think brands are having fun with it now

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Speaker 2: and they're seeing that the audience engagement is tremendous. And

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Speaker 2: I don't know about you, but I used to spend

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Speaker 2: five percent of my day dealing with the brand side

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Speaker 2: of the business ten fifteen years ago. Now it could

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Speaker 2: be thirty forty percent of my day. I mean, it's

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Speaker 2: a huge component to what we do, both in terms

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Speaker 2: of just like ad campaign, marketing support for tours, marketing

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Speaker 2: support from movies, all of it. And that's changing rapidly.

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Speaker 3: That is the big difference. You know, It used to

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Speaker 3: be that our endorsement group would interact with the brands.

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Speaker 3: But as soon as they caught on that, oh, there

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Speaker 3: are these content creators. These filmmakers are actually content creators

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Speaker 3: with a direct connectivity to the audience, whether their comedians

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Speaker 3: or their filmmakers, their tours, whatever they are, there is

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Speaker 3: some connectivity and we need to get to them. And

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Speaker 3: so now I feel like brands are figuring out, Oh,

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Speaker 3: we need to get direct to the talent.

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Speaker 1: You both have been here a very long time. You

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Speaker 1: have seen UTA grow from the sapling into now what

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Speaker 1: it is. How is the evolution into so many areas

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Speaker 1: like branded content, like audience research? How is that augmented?

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Speaker 1: How is that uplifted the day to day work in

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Speaker 1: the trenches of scouting and getting people ready and that matchmaking.

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Speaker 3: I mean, honestly, we've grown so organically, and we've grown

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Speaker 3: out of the needs of our clients. The acquisitions that

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Speaker 3: we've made have been incredibly aligned. The spirit of Clutch

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Speaker 3: at Integration was so smooth and made so much sense to.

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Speaker 1: Us, the Rich Paul Sports agency that happens to represent

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Speaker 1: a little player named Lebron James Exactly.

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Speaker 3: It's so in sync and so aligned with our own growth,

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Speaker 3: and similarly with our music group and similarly with this

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Speaker 3: entertainment culture marketing group, all of these different aspects of

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Speaker 3: the business, because, like Jason said, when we started, it

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Speaker 3: was really film and TV.

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Speaker 2: Yeah, writers, directors, actors, a few authors.

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Speaker 3: And that was it right, And it just feels like

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Speaker 3: and you can feel it in the building, this sense

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Speaker 3: of collaboration where athletes are working with so many UTA

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Speaker 3: agents to launch podcasts and brands and different parts of

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Speaker 3: their businesses. And similarly with music artists.

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Speaker 1: Now I'm working with two music artists.

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Speaker 3: You know, I never dreamt twenty eight years ago that

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Speaker 3: I'd be representing huge pop stars and really helping them

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Speaker 3: build out their businesses. I'm working with an author. I

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Speaker 3: never thought in a million years I would get to

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Speaker 3: be the kind of entrepreneurial agent that would get to

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Speaker 3: work with a best selling author helping that author develop

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Speaker 3: their business strategy in movies, television, podcast, whatever it is.

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Speaker 3: The organic growth allows for agents to dream so much

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Speaker 3: bigger for themselves and their clients they than we ever

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Speaker 3: thought possible twenty eight years ago. I mean, that's the

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Speaker 3: simple answer. I just can't believe how many of my

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Speaker 3: clients are doing so many different things and relying on

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Speaker 3: the expertise of so many of my colleagues publishing books,

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Speaker 3: starting podcasts, all really like, at a very high level, fascinating,

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Speaker 3: you'd be exciting.

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Speaker 2: I'm working with a client who is building a theme

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Speaker 2: park that's not something that I would have thought I

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Speaker 2: would be part of, and it's real and it's happening.

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Speaker 2: And like Blair said, when you start representing just writers

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Speaker 2: and actors and directors, and really for us, UTA has

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00:23:47,080 --> 00:23:51,680
Speaker 2: always been about creators, unique voices. Where Blair and I said,

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00:23:52,400 --> 00:23:55,800
Speaker 2: as the more senior leadership of the company is to

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00:23:55,880 --> 00:23:58,200
Speaker 2: make sure that all of those dots are being connected.

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00:23:58,600 --> 00:24:00,879
Speaker 2: That's what we spend a lot of time and making

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00:24:00,880 --> 00:24:04,960
Speaker 2: sure that again, as I said earlier, that we're thinking

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00:24:05,000 --> 00:24:07,600
Speaker 2: of things that they're not even thinking of for themselves.

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00:24:07,800 --> 00:24:10,360
Speaker 2: That's your job, right, Yeah, to see around those corners

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00:24:10,440 --> 00:24:12,360
Speaker 2: and making sure that if they want you, that there's

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00:24:12,400 --> 00:24:15,639
Speaker 2: an expert inside this building who can make that happen

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00:24:15,720 --> 00:24:16,080
Speaker 2: for them.

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Speaker 1: That's the key, Jason and Blair. At a time when

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00:24:20,080 --> 00:24:23,600
Speaker 1: this country needs laughs and humor and levity, I thank

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00:24:23,640 --> 00:24:26,040
Speaker 1: you for all the work that you are doing to

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00:24:26,280 --> 00:24:30,440
Speaker 1: foster and facilitate some good comedy because we definitely need it.

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Speaker 1: I've really enjoyed this conversation. Thank you, Thank you.

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Speaker 2: We keep it going.

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Speaker 1: Thanks for listening. Be sure to leave us a review

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00:24:37,520 --> 00:24:40,200
Speaker 1: with the podcast platform of your choice. We love to

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Speaker 1: hear from listeners. Please go to Variety dot com and

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00:24:43,080 --> 00:24:46,520
Speaker 1: sign up for our free weekly Strictly Business newsletter, and

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Speaker 1: don't forget to tune in next week for another episode

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Speaker 1: of Strictly Business.