创新艺人经纪公创新艺人经纪公司（CAA）行业垄断 文化渗透解析

CAA创立于1975年，远不是美国成立最早的演艺经纪公司，尤其是比历史悠久的威廉·莫里斯经纪公司(William Morris Agency)晚了近80年。但是在如今的好莱坞，CAA是当之无愧的王者，只用30年就完成了对手历经百年也未能成就的传奇。
在过去七年中，在奥斯卡奖八大奖项中，CAA旗下艺人所获奖项连续超过第二名到第五名对手所代理艺人获奖数的总和
同时，据《洛杉矶时报》一位记者的调查文章，全球电影票房有将近一半都是来自于CAA导演所执导的影片，这个数字也相当于与CAA实力最接近的三个对手影片数之和。
在CAA起家的电视节目制作领域，情况更是如此。在2004-2005年，CAA所代理的电视节目总量超过第二名与第三名之和，而且都是《人人都爱雷蒙德》、《疯狂主妇》、《急诊室的故事》、《幸存者》、《白宫精英》、《犯罪现场》、《审判艾米》、《单身汉》、《大卫夜间秀》、《美国偶像》等美国最受欢迎的电视剧节目。尤其是在晚间娱乐节目与电视电影剧方面，CAA的电视编剧、制片人和其他麾下艺人几乎控制着所有美国人的眼球。
除了电影、电视，CAA在音乐领域也已经无人能及．在好莱坞电影中，汤姆·汉克斯(Tom Hanks)、汤姆·克鲁斯(Tom Cruise)朱丽娅·罗伯茨(Julia Roberts)、妮可·基德曼(Nicole Kidman)等巨星都是绝对主角，他(她)们以精湛的演技为全世界塑造了一个个深入人心的角色。
但在好莱坞现实中，他(她)们都只是一枚棋子，就像电影中的道具一样，一切听从幕后大手的摆布。
圈外人恐怕想不到，摆布这些巨星的既不是史蒂文·斯皮尔伯格(Steven Spielberg)等大腕导演，也不是约翰·威尔士(John Wells)等超级制片人，因为他们同为棋子。事实上，不要说单个的演艺明星，就连时代华纳、迪士尼、米高梅等电影巨头对这只大手都敬三分，怕三分，又恨三分。
这只控制着绝大多数影星及导演，能随时在整个好莱坞翻云覆雨的大手正是创新艺人经纪公司(Creative Artists Agency，简称CAA)。
CAA是好莱坞艺人的“老板”，好莱坞最权威的《首映式消息》称之为“好莱坞最有影响力的机构”之一，也有媒体称之为“好莱坞的《骇客帝国》”，因为公司的代理人就像电影中戴墨镜，着黑色套装的密探一样，设计并控制着几乎所有艺人的演艺生涯。
乍听起来，这样的描述有些夸张，但事实确实如此，尤其是在美国的电影与电视领域。
以电影为例，好莱坞2/3左右的一线明星都签在CAA旗下，全明星阵容多达几百位，如果再加上音乐人、作家等，CAA签约艺人总数过千。本文开头引述的汤姆·汉克斯、汤姆·克鲁斯、朱丽娅·罗伯茨、妮可·基德曼等巨星均出自CAA旗下，最多只能算是CAA大家庭的几位杰出代表而已。
CAA在好莱坞的巨大影响力还不仅仅在于签约艺人知名度极高，规模极大，还因为公司旗下艺人门类齐全，组织严密
以电影为例，CAA旗下不仅有汤姆·汉克斯、汤姆·克鲁斯等超一流演员，还有斯皮尔伯格等超一流导演，以及非常优秀的制片人、剧本作家等，可以说，时代华纳如果想投资一部电影，从剧本到电影后期制作，CAA能提供全套班底，而且都是顶级人选。
这正是电影巨头怕CAA的地方，因为CAA通常不提供单独的艺人服务，而是整体作战，用演员就得用CAA的剧本、导演、制片人，而且要出大价钱，有时候CAA还能要求对电影收入提成。因此，电影巨头经常抱怨说，正是CAA的捆绑销售拉高了电影的人力成本。
在CAA旗下，不仅有麦当娜、碧昂丝·诺尔斯、贾斯汀、桑塔纳、摇滚小子、艾力克·克莱普顿、野兽男孩等诸多顶级歌星与乐队，而且从摇滚乐歌手、流行歌手、另类音乐歌手、乡村乐歌手到宗教音乐、拉丁音乐以及R&B歌手，几乎无所不包。不仅如此，CAA旗下还有大量的顶级的音乐制作人及演出经纪人。
在Pollstar杂志2003年度演出排行榜上，排名靠前的100场演出有35%出自CAA艺人。在夏季巡演中，CAA所占份额双倍于从第二到第十名的经纪公司之和。
在电影、电视和音乐领域占据绝对领导地位之后，CAA又将手伸向了体育经纪，进一步压缩了对手生存空间。
关键是CAA的对手们只能眼看着CAA在好莱坞渐成独霸之势却无力阻挡，只能避其锋芒，转向一个CAA相对薄弱的细分领域，等待CAA露出破绽时再绝地反击。
　　 究其原因，真不是CAA的对手们无心无力，而是创立CAA的超级经纪人迈克尔·奥维茨(Michael Ovitz)所设计的模式几近完美，接班的“年轻的土耳其人”(Young Turks)又稳扎稳打，使CAA一步步成为一架越来越强大的战车，以至于当奥维茨本人多年后重操旧业也未能再现传奇，并惨败在他自已创立和打造的CAA脚下。

Analysis on the penetration of industry monopoly culture of innovative artist brokerage company and innovative artist brokerage company (CAA)

CAA, founded in 1975, is far from the earliest performance brokerage company established in the United States, especially nearly 80 years later than the long-standing William Morris Agency. But in today's Hollywood, CAA is a well deserved king. It only takes 30 years to complete the legend that its opponent has failed to achieve in a hundred years.

In the past seven years, among the eight Oscars, CAA's artists have won more awards than the sum of the number of awards won by the artists represented by the second to fifth opponents

At the same time, according to a survey article by a reporter of the Los Angeles Times, nearly half of the global film box office comes from films directed by CAA directors, which is also equivalent to the sum of the three rival films closest to CAA's strength.

This is especially true in the field of TV program production where CAA started. From 2004 to 2005, the total number of TV programs represented by CAA exceeded the sum of the second and third places, and they were the most popular TV series in the United States, such as everyone loves Raymond, crazy housewives, story of the emergency room, survivors, White House elite, crime scene, trial Amy, bachelor, David night show, American Idol and so on. Especially in terms of evening entertainment programs and TV movies, CAA's TV writers, producers and other artists control the eyes of almost all Americans.

In addition to film and television, CAA has also been unmatched in the field of music. In Hollywood films, superstars such as Tom Hanks, Tom Cruise, Julia Roberts and Nicole Kidman are absolute protagonists. They have created popular roles for the world with their exquisite acting skills.

But in the reality of Hollywood, they are just a chess piece, just like props in the film, all at the mercy of the big hand behind the scenes.

I'm afraid outsiders can't imagine that these superstars are not manipulated by famous directors such as Steven Spielberg or super producers such as John Wells, because they are both chess pieces. In fact, not to mention a single performing star, even movie giants such as Time Warner, Disney and MGM respect, fear and hate this big hand.

It is the Creative Artists Agency (CAA) that controls the vast majority of film stars and directors and can turn over clouds and storms in the whole Hollywood at any time.

CAA is the "boss" of Hollywood artists. The most authoritative "premiere news" in Hollywood calls it "one of the most influential institutions in Hollywood". Some media also call it "Hollywood's hacker empire", because the company's agents Design and control almost all artists' acting careers like spies wearing sunglasses and black suits in movies.

At first glance, this description may sound exaggerated, but it is true, especially in the field of film and television in the United States.

Take movies as an example. About two-thirds of Hollywood's first-line stars are signed by CAA, with hundreds of All-Star lineups. If you add musicians and writers, the total number of CAA signed artists is more than one thousand. Tom Hanks, Tom Cruise, Julia Roberts, Nicole Kidman and other stars quoted at the beginning of this article are all from CAA, and can only be regarded as several outstanding representatives of CAA family at most.

CAA's great influence in Hollywood is not only due to the high popularity and scale of the contracted artists, but also because the company has a complete range of artists and strict organization

Taking movies as an example, CAA not only has super first-class actors such as Tom Hanks and Tom Cruise, but also super first-class directors such as Spielberg, as well as excellent producers and screenwriters. It can be said that if Time Warner wants to invest in a film, CAA can provide a full team from script to post production, and they are all top candidates.

This is exactly where film giants are afraid of CAA, because CAA usually does not provide individual artist services, but the overall battle. If you use actors, you have to use CAA scripts, directors and producers, and you have to pay a high price. Sometimes CAA can also ask for a commission on film revenue. Therefore, film giants often complain that it is the binding sales of CAA that drives up the labor cost of films.

Under CAA, there are not only Madonna, Beyonce Knowles, Justin, Santana, rock boy, Eric Clapton, Beast Boy and many other top singers and bands, but also almost everything from rock singer, pop singer, alternative music singer, country singer to religious music, Latin music and R & B singer. Moreover, CAA also has a large number of top music producers and performance agents.

In pollstar magazine's 2003 performance ranking, 35% of the top 100 performances were by CAA artists. In the summer tour, CAA's share is double that of the brokerage companies from second to tenth.

After occupying an absolute leading position in the fields of film, television and music, CAA extended its hand to sports brokers, further compressing the living space of opponents.

The key is that CAA's opponents can only watch CAA gradually become a dominant force in Hollywood, but they are unable to stop it. They can only avoid its edge and turn to a relatively weak segment of CAA, waiting for the Jedi to fight back when CAA reveals its flaws.

The reason is not that the opponents of CAA are careless and powerless, but that the model designed by Michael Ovitz, the super agent who founded CAA, is almost perfect, and the successor "Young Turks" are steady, making CAA a more and more powerful chariot step by step, so that when Ovitz himself returns to his old business many years later, he failed to reproduce the legend and was defeated at the foot of the CAA he founded and built.