Yuma 4×4

Media and Communications

Jeffrey Berg, ’69, Chairman and CEO of International Creative Management Talent Agency

Jeffrey Berg, ’69, Chairman and CEO of International Creative Management Talent Agency

today were very pleased to welcome back to the first lady English department jeffrey burt mr. Berg received his BA from Berkeley 1969 with the course of major in English which will hear about shortly while an undergraduate he began working as a script reader for the Ashley famous talent agency I look forward to ask him how as an undergraduate when you become a script reader after graduation he received a master’s degree from USC and worked as an agent for Ashley famous he became an assistant to the chairman of creative management associates a forerunner of international creative management I see em it was named president at ICM in 1980 and currently is the chairman of the board and CEO in as many years where the company is built it into one of the nation’s and the world’s leading talent agencies representing artists variety of fields including motion pictures television music publishing live performance new media and other entertainment is recognized as a leader in the information age it was established links between his agency and Silicon Valley and delighted to say that mr. Berger’s continue to be involved versus serving as the chair of the executive board in the college of letters and sciences and as a trustee of the UC Berkeley Foundation and particularly important to us he’s been a generous builder to the accountant Center for the Humanities supporting its graduate student fellowship program but today in this event one in our series of conversations with distinguished alumni will talk the Jeff about his trajectory for Berkeley to ICM the value of his literary studies why he decided to become major what talent agencies do the impact of emerging technologies in his field and his experience as a student on campus in the English department and in berkeley in the 1960s in a conversation with jeff and canvas and myself before this event to mention that she was involved in the production of the documentary for clean six so you having to live certain the six but is up to produce i’m sure many of you have seen it one of the main narrative and visual um duh commentary’s of the period oh how this will work until talk for 40 minutes or so and then take questions from the wall cards have been passed out please write whatever questions you may have on them to the end of the conversation I’ll ask you to pass them to either side of the room and he’ll be collected and we’ll ask come around the Q&A period and after the conversation and questions and answers you’re all invited for reception down the hall in wheeler 315 where there was a large amount of delicious 3 30 wherein 315-330 there’s a large amount of delicious food you are all welcome and I’m particularly happy to see here today we’re always happy to welcome so many of our undergraduate majors and alumni so welcome to you all and thank you jeffrey berg for coming north to see us and I’d like to begin with the question and ask Jeff how you got from here to there from Berkeley to Los Angeles like what I said yeah mom as most things in life a little serendipity a little strategic planning a little accident during my summer vacations at Berkeley I have been working as was just mentioned as a reader and what that did is it gave me a very broad sense of the kinds of materials I could be working in the film industry which is something I wanted to do that didn’t didn’t know whether I wanted to pursue it as a whole time but I figured if I could get access to the kinds of novels and screenplays and place themselves that might be adapted into movies that would be that would be a great way I kind of postgraduate education to my undergraduate degree here and I was lucky because at the time I was working with novelist like james leo Herlihy who wrote Midnight Cowboy anthony burgess who wrote clockwork orange and several other novelists of that period who went on to have really great careers not just as published writer little bit of books also were made it very successful clubs and I don’t like it and stay with me and in terms of trajectory from here to there I also have to ask you from from being the English major they had advice again what if it and something you always knew you wanted to do I had no defined interest in business when I was an undergraduate at Berkeley when I was interested in one’s reading I was interested in history design art I was also on campus at a very bubble time and in the society 65 and 69 each year there was some significant social movement going on which you’re living today would occupy burglary on my own it started a free speech movement and moved into spring mobilization and stop the draft and then my final year here for Gooden was basically occupied for three appointments by the National Guard Alameda County Sheriff’s Berkeley please campus police the campus actually was gasped by a helicopter Ronald Reagan mr. governor at least who was reagan’s Attorney General the District Attorney of Alameda and was a very difficult time it was a real law and water moment so my my interest in wanting to be on campus also kind of spurred me to getting interested and other things outside of campus it was hard to be non politically engaged here during that period of time and you have a sense of how being here during that period of time affected your your career or your sense of American culture or um it it created a sense of engagement where if you were studying that artery you were actually able to apply those values to the society itself because there was tremendous civil unrest and social inequity going on and if you are a close leader unless you’re American literature product respective of whatever your interpretive base may be there was enough going on here that you were able to apply it to the texts that you were reading and it gave you a lot of insights into what was likely to occur over the next ten years and little did I know ten years afterwards Ronald Reagan went from governor to president so we got a second are there other ways in which your what you experience it in this major ground you brought up to your career that is the battery yeah i think so i remarked earlier I my puppy the advantage studying English said foot in particular was it if overlapped into other disciplines that were real interested so you could what get it the store contexts you could look at art history look at political science you can look at dramatic rocks and up and then of course d the vast offerings that are available to an undergraduate here it really got down to having an edit way through the curriculum where you could actually get the benefit of those classes that were of great interest to me and I was I was really lucky because I was working with very serious senior faculty who had a strong interest in teaching but beyond that muscle engage you know on a supervisor supervisor in the basis either office hours or undergraduate thesis programs that you develop and villain I I got very monkey and and afterwards I was able to take that into a graduate program at eight years later but it seems to me that that the English department was the stepping stone that could lead to many other aspects of the university is that this is to question that I have your money when you were three there in the robbers were you reading the scripts of looking for the same sort of things that you look for when you were writing their papers or did you leave them in a different way well okay I mean you’re always informed by the Dory value but at the same time I was working in a in a very commercial context but you can apply these same critical skills and I think the other thing that is great about the English department is the more you need the more 222 language structure and good lighting and great writers are great readers I recommend that you consider an academic career that may have dinner I do also report no that’s true I did consider it rejected it couple of months my senior year actually went around party look at other campuses for the idea of possible graduate study in fact I visited gallon chapel hill and Columbia and why do I was I want to go east but again luckily or for fortuitously I got a job offer a month or so after I got out of school and accept it and sometimes in life you have to just say yes and if my thinking was if it didn’t go if it didn’t work out I could always go back and pursue those graduate studies that I wanted to end at that I wanted up doing that later but I thought it was a good idea in 1969 to get a job I guess what lot of the stuff I’ve read about you talk about the way in which you’re an intellectual the way that your colleagues in Hollywood are not and I was wondering who do feel of any point tension between different intellectual and effort pragmatic well okay so intellectual shitty suggest that you can actually traffic in the world of deals and be able to express those ideas contextualise that have some broader frame of reference and also have a job and be successful in a business and try to raise the bar in terms of the kinds of movies of popular entertainment or fear that you’re involved with them and that today was always the trip but I it’s not as though I’ve ever embarrassed of any part of commercial my exercises when you talk about raising the bar what what kinds of things do you have in mind um I think what I haven’t in mind are those movies that traditionally studios don’t say yes to those films that might require further push that because they’re not going to get picked up easily because they don’t conform to a ready-made formula of commercial success and the other thing I would say is you have to look also historically at the history of the novel and realized that Jane Austen and Charles Dickens didn’t start out to the Masters they were writing serialize books for ha drove articles and I think it’s the passage of time that elevates popular work to to the cannon and in fact uh I remember a great class that was offered we’re catch-22 was caught and there’s now a 50th edition of catch-22 where Joseph Heller is being critically we visited not only in the commercial market but also in the Academy and I think that is a good thing to see the rise and fall of fortress and I I I saw the same thing happened with Fitzgerald having white where where Tom Wolfe’s for writers going in and out of bogan and I guess one of the questions is why is that the case i I don’t know i think is a much of it has to do with various schools of critical thought as to whether they match up with the critique du jour that’s been offered man but I I find the same thing is true in the motion picture business where film director screenwriter into actors for that matter rise and fall in their in their critical and you know for years directors like howard hawks and john ford and john huston we’re always regarded as kind of you know main screen guys who make cowboy movies your detective movies of asturias every now there’s a whole critical school that has elevated knees film noir generalists into you know very high standard and you know 10 15 years ago martin scorsese’s making little gangster release about today he’s no Mexican strippers when you’re regarded you know as near classics before we turn to talent agencies how they work and exactly what we do as long as you mentioned individual black ears I want to ask them if what we were here at Berkeley or master’s program there were writers whom to work particularly interested in and why you know there were them I would say I was a very eclectic weird and an unusual person who would who crossed centuries I had a great run English Renaissance Milton class with poppers I had a tremendous British literature class would mark Shore D H Lawrence was always someone I was really drawn to as a novelist as was the pros of Emerson Hawthorne I see myself today or as an American s in terms of literary taste and judgment knows that great Everson essay on self-reliance where he will be said the Americans had to separate themselves from the Continental voice and developed what would be the American idiom and so over the last 15 years I’ve been reading a lot of American money but I would also say we see initiative Fitz Joan L Ian Hemingway 20th century the most look young for students and talks about making the transition and we can move back to berkeley but i was thinking about the title of your agency international creative management and instead warranty that I’m a romantic so this is just the Romantics acidity that some sort of tension between creative and management what does it mean to manage I think I think I think both that the name of the company was not an accident I focus very heavily and have in my career on the international aspect of the business because over the years I’ve represented a lot of international directors in the UK France Italy Germany Spain Australian and over leaders and work with bank directors some of the food were no longer with us like tony richardson John Schlesinger paralyzed Lindsay Anderson as well as French structures like Roman Polanski jean-jacques oh no John check fedex jean-pierre janae bernardo bertolucci terrific director and lily we also work with the tail Veronica metal film based on the book by regardless avianna called Renoir about a moderate ton of the Mafia so I’ve always been interested in working with directors around the world in addition to mainstream popular minor directors the US but I think part of what we need to do is is bridge the gap between pragmatic deal making career management and also be able to communicate those creative ideas but with sources of finance and distribution that you need to find to get these movies off the ground and today not so simple because it cost of a sponsor very expensive I’ve got a thought that the business were in today is really the movie business you know three point 0 which is a lot of co-financed a lot partnership a lot coverage what what exactly a simple question but what exactly does it tell agencies do okay um town of agency or a talent agent or specifically tides and advices and artists in the development of his or her artistic career they make recommendations to negotiate contracts on their behalf they set up financing distribution deals for the movies of their television shows and they become a kind of partner in their business and creative life as your time and ice again have your responsibilities shifted or maybe a better way of asking that is what is the relationship between what you do now at ICM and what we’ve done for the past year I began my career as a as an author’s representative in terms of selling novel rights or dramatic lights to motion pictures then started representing screenwriters and directors and a lot of the screenwriters and directors became producers and I did that in the 70s in 1980 I became the head of our company and also continue to do that also worked on a lot of organizational administrative issues of the company which I found less interesting than doing the work itself but we’ve got a large agency in a large staff that manages a lot of those details on much more engaged by the criminal element of business working with artists academics I’m finding new opportunities in an extent work are there certain things you look for when you make the decision to oreganos yeah creativity such a date you know I mean right look it’s unusual because I’ve been doing this for a while but generally when I find new work when you are disturbing no matter whether it’s a a screen writer playwright director you almost know in the first 10 pages that something is i would say off the page nvg and I’m undrawn towards that that original voice done that character or that quality in writing or in show Megan that that you know is you need and classical and someone even though it could be experimental well I was I was stuck I didn’t realize I think you as representing authors but I see em representing the theater and why performance music recording artist video game you me the epithet always been the case or that bad well the core quadrants of our company going back 50 years have been publishing industry music film and television and of course theater is a certainly a subset of all of that but over the last decade with the advent of new media new digital products we’re finding ourselves dealing with the hoo-hoos the Amazons the youtubes the googles of the world the facebooks the twitter which we believe are all going to become broadcast companies or cable companies in their own web our way to think about it in terms of relative size is that on any given day youtube has about 900 million users around the world NBC tonight will be thrilled if they get 30 million people puzzles plug debt so when you consider the order of scale that new media offers its its data and the industry hasn’t yet been able to fully monetize that activity but it’s being figured out and what’s to you’re not in the music three by Steve Jobs I mean no one is an industry figured out my kids it took an outsider and the genius just sort that out but the other interesting aspect of new media is ask yourself what’s a television television for my kids is that I have it used to be a box in a living room with some rabbit ears on but I think yeah I think I think the question of digital media though it invites the consumer to ask the question what are these retrieval systems or a battle and the other thing for years television was all push at you and now it’s pulling towards you so it’s really no longer appointment television it’s it’s an industry that is much more about on demand and I think those changes in consumer behavior have created chaos in happen within the advertising community and then broadcast network of its all states it also takes a lot of opportunity what about in terms of creo que the effective is original well you know all of the technology in the world is never going to replace a good script a good cast good direction the writing is always going to have to be there but the means by which these projects are made and produced are all a program I mean height there was a AFI the American Film Institute last week in Los Angeles was having to pay if I wink on their short films and I saw two or three excellent films that I later learned work may not I post and it just seems to me the barrier of entry is so love in Sochi today that it’s not just that every man or woman is an author or a composer than everyone is a filmmaker and I saw something were ylang-ylang of the other evening at the LA Philharmonic was playing on Mozart was playing flight of the bumblebee on my back and he channeled it through some digital mechanism and it came out symphonic Lee and they get really good it’s the New World Order you see movie that say they were in the 17th or 80 in movie theater anyway learn I think theaters are going to be around for a long time but the theater experience is also being augmented by these other channels in which whether it’s home entertainment or whether it’s electronic devices it’s something that the industry was taking a long hard to look at because a few weeks ago a month or so ago Universal Pictures was considering releasing a particular movie Elvis being released actually few weeks ago Tower Heist they were going to release a day and date instead of us but also make it available online and they were going to charge a lot for the online the theater honors you know said you can’t do that and if you do that certain theater chains are not going to play the movie and the studio light and they pull back from the plan but what’s going to happen on a movie that they actually will be able to get away with it because what if they try to run that where’s the studio’s know the fear owners are not going to refuse that movie so I think there’s this there’s a dialectical change going on in the market one about home and think about movies the same way I said what Stevie what’s a movie on the movie is a film and does that mean it’s a film just seen in fear where is that mean it’s a film seen on a variety of devices whenever you want so one of the things that we have to come to grips with is the is the language itself that envelops an industry that is going to fundamental change there is there something you point you as a particular achievement it will have been especially satisfied with at ICM either an achievement of in the business sense in terms of the merger or achievement in creative dance well representing the number of clients it’s always a huge mistake to identify one thing what I am proud of is that over you know many decades the bill I think a world-class company with very talented people who both represented by the agency and also who work as agents in the firm and I think I think in the last 25 years or so we’ve done about 20 acquisitions of other companies into our organization and those companies are in the publishing world and film and music and theater so we were pretty eclectic in terms of how we think about the entertainment business and also how we think about boundaries and stone set it’s a constantly evolving one and we need to just be in front of it what piece of advice would you give to someone in the audience about graduate from Cal has a very strong talent whether it’s in writing or singing or something else well first of all if you are an artist and you know if you are or not then it’s an unavoidable road you’re going to go down doesn’t mean it’s going to be a supper warm and it doesn’t mean it’s just going to fall in your lap and there are a lot of 20 year overnight sensations we deal with all of the time but i think it’s it’s an exciting life it’s an exciting career it’s filled with a predictability and risk but if you’ve got the goods it also has great rewards personally and financially the i think the pressure a lot of english majors field these days is to have in mind what people do the path they will follow exactly the joke about the english major is always what are you going to do with that since the path is clear see an item it’s not i think the path is so clear because what other provides you with the critical skills of writing of reason of race of oral expression of a point of view about genre of literature I think you do whatever you want within that Richard because not those abilities you can take it clearly into any profession by the way my my roommate at Berkeley we were both in the English department he’s now a triage surgeon in Southern California and he went back to Berkeley after he graduated to do what with his pre-med I mean he had never taken a science class of his life and he scrapes buddies off the freeway and has saved 10,000 runs in his career so that’s one example and it seems for the whole lot of my fellow students at the time that it seems a lot of the one to the law business that left to some law somewhere between year 10 and 20 a lot went into teaching so like myself went into business and a lot became writers and also was influenced by being in a family of writers fine my father was a writer for television the 50s and 60s when television is live I have a brother who’s a biographer Pulitzer Prize winner and we were at school Wallace at the same time he was at Princeton I was a burka so I think when you live in a household where writing and the discussion of writing was not only encouraged them required in it gave me a clear path yeah totally accidental that I wound up you know still doing this for two years later so part of what you’re saying you don’t have to jump from their life I think it’s a huge mistake because I think I’d be the exception to the rule I think I think younger students today are going to have five or six different careers and maybe twice that many jobs in three or four different countries around the world and I think you need to spend much differently about not only how you conduct your academic life that how you’re going to how you’re going to manage your professional life and part of what we do as agencies we help our clients manage their lives that would indicate that maybe agents are good about managing their own lives some are some are good it’s a it’s early challenge using pelican I read somewhere that you are quoted as saying that agents have to develop a highly resistant to rejection this is something i could stand learn how to develop the resistance one by believing I was white they were wrong second and secondly by not personalizing it realizing the person on the other end of the table if you really do have a good relationship with that person you’re going to be working with them for many many years you’re going to be in and out of business on successes or failures on Inbetweeners and to understand that person has his own set of objectives about what they want to put on the air or what movies they’re looking to make or what actors or filmmakers they want to be with and my view always was that if people were going to bet against me I was just going to prove them wrong and montane has some line in one of his essays is don’t make your enemy it’s blood gush just make a blush justice justice bear 7 success I want to ask a question another question about working with artists but before I do I want to encourage you all to finish why’d you have any questions you have and pass the cards either side of the aisle and they’ll be collected and question you mentioned what you’re talking the office before that one that the pleasures of being the positions one of the pleasures of being in the position here and now is the ability to work directly with artists and I’m wondering though you do that what kinds of exchanges are you have what kinds of things here what kind of difference you’re interested in maybe well first of all it’s a very personal relationship it’s not just an economic relationship it’s uh it’s professional but it’s personal it’s psychological its economic but at the heart of it we have to somehow represent those creative instincts and go into the market and help make that commercially viable and hopefully critically successful and those two elements together promote lunch editor so a quick who deal is not going to get into the finish the work has to be there it has to deceive correct results and I’m in 17 the Godfather we’ve got to make money for your partners so you’ve got it you’ve got it but at the same time I like idea that you put it both Montaigne and hydro is it important to develop those relationships over a significant amount of time with artists many of the people with whom I’ve been working on had 20 30 35 year relationships so yeah these are these are long deep associations and I’m Emily excited about you know there were people I wanted with over the last 45 years and so it’s a it’s kind of that the chain of being it’s a it’s it’s a renewing process it’s also which also means you’ve got to be open to new ideas and new trends and find ways to take things and and and introduce them to a market economy whether it’s a fiction or film or television and have it successful and a big part of that is working with younger colleagues so obviously you know generationally attune to when the market basically is including which is the audience between 18 and 30 you spoke earlier about raising the bar or hoping and you could raise the bar you want the sample films but you also want them that you feel please have a kind of quality whatever however you judge that is there a project we worked on that people might know where you got that you have to do some Olympic they think when you felt they raised the bar and we’re proud of that well there are a couple of things you know on the on the motion picture side I’ve always I’ve always been drawn towards working with with Brendan directors there’s a movie coming out in a couple of weeks than product because the story behind it has had a lot of public controversy associated with it and that’s roman polanski’s movie got a carnage and I work with Polanski for 30 years and this is a film that had a lot of trouble because he was under arrest his prior film was edited in prison but you know it also says that as agents many times you your quit in very unusual situations and you never quite know how to respond to them until you there but I would say over the years they’ve been 50 different movies that I’ve been fortunate to be intolerant from terms of endearment and star wars 2 Peter Benchley shock books which were successful it’s just a constant process of when finding new filmmakers new projects that excited about this double back to the beginning of our conversation but I have been wanting to ask you if you went to your brother I know that he went to try the cool on me so what made you choose a public pool and the host to a private could’ve done I um I really wanted to come to Berkeley I grew up in Los Angeles I can occur move to Los Angeles I went to a public high school in Los Angeles university high school that sent a lot of students to Berkeley and I was influenced particularly by two or three students a year or so heavily who one weekend said come on up here and see it and I and I did that I was in 1965 place is just crazy well it was it was under a lot of unusual influences and I thought this would be I and I also know that I want to be an Englishman that’s one reasons why I came here I mean you don’t declare your first year but I know where I would spend one day and I want to remove a public university I thought that was really something important because I taught the richness of the campus the diversity of the student body that make sure the community perfectly had a tremendous social history even before the 60s and I thought this would make great sense to me a lot of my other friends went to the southern campus and had equally good experiences but they had a very different life I mean it was more of a commuter life and when I was up here I go to the state here you know you know like go home if you’re having a bad out and it taught me a lot independence and self-reliance center and how to navigate the complexity of you see that’s a settle but and then and the u.s. report was it was at the time and still is a very large group and your success in that group I always thought it was going to be a function of the relationships and associations you had not only with the faculty but more so with the students and we had a very strong group of kids who were able to work study together have you kept in touch with your corporate over the years some of the faculty yes and some of the some of my fellow students yes I mean they’re living all over the world but i would say a dozen of us and i still stay in touch and there’s a strong upper contingent industry out there is I think directly or indirectly there are a couple of hundred of us who are active in the motion picture and television industries and a couple of years ago posted an event and Fox Studios it was called modestly the brilliance of Berkeley and 50 people showed up which was great we began talking before a bit about Berkeley and public higher education before we move to the question and answer period I’d like to ask you as a Cal alum to speak a bit about the your sense of the value of public higher education and you when you began to talk you mentioned some parallels between Berkeley in the 60s and now we’ve just been through in our continuing to live through over the past two years and last weekend this week in particular a time of a people of reflection about the value at time of significant loss of state support sad depression of them as an alum the value of public higher education well you know that that opens a broader subject about what the master plan was under under clocker at the time and it was a brilliant plan that the legislature that Governor Pat Brown enacted we’re at the community college level the state college level the state university that everyone in California would have a shot based on their academic merit at a quality education and could move up or through the system however they wanted and buy affordable I mean it looked at by a tree I saved money my wrench card and I came a buzz it recently I think my first semester here my total fees were 103 dollars it was it was virtually free ticket I mean I think the year maybe cost a couple of dollars you know plus I was living on campus but it was free and it was at a time when the when certainly you see was valued as a critical asset to the California economy because if the idea was you produce elite students out of them out of an elite research university and it was going to be free and that seemed to be a powerful enemy and and 17 or 18 years later I got very involved with the campus at the level of a committee we’ve created that Helen s atomic weight I don’t was certainly a part of that group and it set out to do some really good things in terms of effective not just the quality of undergraduate life at Berkeley but you know what me what the tensions were on on the on it on the school and the and the rest of the UCS financially as public support started eroding away from the dates and I saw that as one of the great tragedies but just a way to further think about a comparison I think when i left school in 1969 there were seven UC campuses and they learn 11 state prisons today there is one new you see beyond irvine and san diego that would open willing and that’s versa and there are 60 new prisons and that’s to me this allocation of resources and opportunity so whenever one and criminal justice is probably the fastest growing industry southern california that to me is something kind of just making up seven try oh that’s fun check again yes ah anyway that’s why to success my talk hundred I say like I said you to say a little more about that and then we’ll turn to questions and answers and that is do you what if anything do you think should be done about what you’re calling them in this allocation of resources were protective question in different waking you eloquently outline division Astrid plenty does that seem to you sustainable that sugar high verbally it seems to me today looking at the state practically but an economic perspective that that moment may not be recaptured when Arnold was well sorry when gray davis was voted out of office on the recall and Arnold kid ended the the deficit in California I think was 12 billion dollars and I was an outlet and when he left it was 27 billion so it’s just a question of ways and means where are the priorities going to be and will this state ever come close to funding you see the way it did sixties there may have to be new kinds of public-private partnerships that are created that give the university the funding it needs to be competitive and you know that you feel it you know when you’re trying to tractor faculty a retain existing faculty I mean it’s me it’s the big tension that that that the public’s have against requirements both on recruitment and retention same thing we go in our business every day but I think it needs to occupy a higher level of priority on the legislative agenda I think most everyone in the room would agree with that said yeah I mean it I mean it kills me when I look at you know this is increasing and ask myself what’s it like to be graduating with you know hundreds of messages others again when I know again under dollars a semester to be getting it went up to form I think we’ll turn to a few questions now and socialize ain’t consumed anybody alcohol in the first question I have here in Act II several people asked this question that I alluded to of my opening remarks and that is how did you get that first summer job we’d expect I just applied for a job I uh I had known someone a who ran the agency and I was it was basically like inter phase one fifty dollars a week but I had got my foot in the door and I did a good job and as a result I was asked back the next year the next year the next year and then when I finished school I had an offer to go to work with it as a junior agent so sometimes the best thing to do is just get in the door and this is a related question of what is the likelihood of getting a position in the film world splash industry right after berkeley in this day and age what would you have to do well first medium higher you’re 17 or 18 new trainees interns we have a process and all the agencies do and all the studio is doing all the networks do but I would also say so does every other student on the country but there are real jobs there are real entry-level jobs that are available to people who are passionate about the industry who want to get a foothold in the business and if you make yourself indispensable and unavoidable as you will getting it it will happen in your view what is 10 what conditions do you believe best nurture creativity talent needs to be free but it also needs to be serviced but it needs limits but it needs license so we’re somehow in that nexus of recommending suggesting ways in which you can make opportunities happen without putting a lid on the box that’s the best way to describe and at ICM are you involved in both the limits and elections i think i think i have to be because it’s appoint the limits will have to do with what is the cost of a project and the license has to be encouraging and making available the opportunity for an artist early to fulfill his vision another question is after so many years in the talent industry has your idea of creative change at all I don’t think so it’s still driven by the primary motives that I outlined earlier it’s the it’s the uniqueness of character it is the expression of voice is the turn of a phrase it’s it’s someone’s critical eye it’s a it’s a it’s a performance that you never forget and and I’ve had you know a dozen moments like that in my life remember what I saw Laurence Olivier connected one day’s journey at the National Theatre in London 30 years ago you know there are haunting moments that stay with you forever the same way when you look at it an Orson Welles movie or Truffaut film or a movie bypass or will be by Howard Hawks was really a much better director than the critics of the time baby another way that came the penalty might be down to what extent to see talent working within already established conventions and what extent you identify palette from something you have a well the movie industry in the television industry are conventional idioms but what you can do in cable television today talking about license in venice is much freer in terms of expression censorship language subject matter than broadcast network and in the movie industry the major studios are all in search of a certain kind of movie but there are smaller independent distributors that will allow movies like the crime game to get distributed or movies that might not stick the conventional bill of studio makito 3000 screens I don’t over the weekend but i think the pot has to work in both of those arenas which we do question is how have your ideals or printable changed since your that berkeley an accusation I hope not as much as what this is more than you would have not yet less than you may think but you’re you’re our meals are really part of your classic structures and you can have a critical value structure that should not be that different than your personal line structure and how you conduct yourself with your own ethical makeup is what your own integrity is I mean that stays with you forever so it’s a good idea to change midstream on that one the same question wrath when you offer career advice to your clients how much is driven by the desire for quality of work and how much is driven by profit potential well I can we want to do both because we don’t want to encourage people to partake in unsuccessful ventures that becomes second at the same time it just can’t be driven time and again by derivative work or sequels or pas or doing something that maybe you’ve done a dozen times I know that’s the easier path but that doesn’t necessarily they for one fulfilling create a bus and thank you and as a last question many talk about the importance of mentors in their careers and their lives did you have professional nations yeah I did I got I got lucky twice when I was 23 24 I got the chance to work for gentleman who is the other running cna in Freddie field two tremendous a angry worked in his office for 45 years learning everything reading his mail video scripts handling certain client projects belong and I think in a way that how accelerate my own career because I gotta I gotta front center view not only of how terrific Asian operating but also how the business operating that was a that was a lucky combination antagonize the second time was in nineteen eighty i was around 33 and i was thinking of doing something else outside the agency that sounds thinking about doing something in the Investment Banking low around me an entertainer and the fellow who owned the company then Marvin Joseph’s and said you know don’t do that why don’t we become president alessia good Mentos it is and again it was the opportunity of my life and I said yes not have any clue as to what i was saying yes to a month afterwards I came up to Berkeley and did an accelerating accounting finance program because I didn’t really even understand the grammar of balance sheet but not proved to be very useful in terms of strategy and financial understanding and you build upon that foundation and learn more and expand your own horizons so I think mentor mentee recruitable in in any business in any academic environment and whatever you’re going to do it if you’re if you’re here and we’re not taking advantage of the collective wisdom that’s probably what that’s probably a missed opportunity I’m sure Jeff will be happy to talk further with you at the reception which again is down the hall for now very much like the texture is bird for coming

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