Domination in America, Starting from being a Boxing Champion Chapter 504 - 405 Date5

The job of a boxing promoter involves much more like ceaselessly promoting boxers, helping them find suitable opponents, negotiating appearance fees, match timings, venues, pre-match promotions, and so on, often requiring months or even more ti to prepare for a match.

Once everything is arranged and the boxer competes in the match, whether they win or lose, it all boils down to just a few minutes, in contrast to the promoters who are more active in this industry.

The role of an actor's agent is similar—after signing an actor, the agent needs to package and promote them, help select scripts, find suitable roles, and possess a certain degree of education to know which scripts suit their actors best.

Sotis, they even need to know so acting and handle crisis public relations, awards public relations, among other skills that a professional agent should have.

Compared to actors, they often outclass many actors who haven't even completed middle school in terms of experience, knowledge, intelligence, and connections, which is also why many agents can keep a firm hold on their artists.

Within the Hollywood agency circle, there is a hierarchy as well.

CAA (Creative Artists Agency), WMA (William Morris Endeavor), ICM (International Creative Managent), and UTA (United Talent Agency) are considered the 'Big Four' in the talent agency industry.

Among the Big Four, Susan Waters' company WMA, founded in 1898, predates the other three agencies combined and is also considered the mother of Hollywood agencies.

Before the 1970s, WMA was the most powerful agency in Hollywood.

In 1975, Michael Ovitz and four other agents left WMA to establish a new agency, CAA, ending WMA's monopoly and becoming the most powerful agency in Hollywood.

However, by 1995, with Ovitz and others leaving CAA and with the establishnt of new agencies like ICM and UTA, CAA's power diminished, WMA rejuvenated with sha, and in recent years has been able to compete with CAA in terms of strength.

At WMA, there's a notorious 'mailroom' where all agents must start, and only those who do well in the mailroom can advance to beco full-fledged agents.

The work in WMA's mailroom is very diverse and challenging primarily involving running errands for stars and veteran agents, dealing with various tasks.

For example, delivering checks to stars having parties in Beverly Hills hotels, informing them that a script deal is finalized, or delivering scripts to artists flirting on cruise ships, and even stopping by Chinatown to bring a pig's trotter al for a veteran agent, assisting actors with scripts, carrying bags, cleaning suits and more, working tirelessly twenty-four hours a day.

It's said that those who persevered in the mailroom eventually beca very powerful.

For instance, CAA founder Michael Ovitz, forr Disney chairman Michael Eisner, forr Paramount president Barry Diller, and DreamWorks president Jeffrey Katzenberg, all Hollywood tycoons, had their training in WMA's mailroom.

Since the mailroom produced too many formidable characters, in the 1980s, WMA actively shortened the training period in the mailroom from two years to three months for newcors.

Link didn't know how long Ms. Susan Waters had spent in the mailroom, but from her deanor, she seed very capable.

"Mr. Baker, what a coincidence, I just t Catherine not long ago, and here I see you again,"

Ms. Susan said with a hearty laugh.

"You know Catherine?"

"Yes, more than a decade ago, she ca to Hollywood to make her mark, and I had just started in the industry then, we worked together for so ti,"

Ms. Susan explained with a shrug.

"Indeed, a coincidence."

Link shrugged his shoulders.

"Oh, I forgot to congratulate Mr. Baker on successfully taking over Lionsgate Films, becoming the youngest person to steer a movie company in Hollywood. Mr. Baker, you have already achieved dazzling success in boxing and the music industry, and you are sure to make remarkable achievents in Hollywood that will amaze everyone,"

Ms. Susan said with a smile while praising him.

"Thank you! I hope so,"

Link replied lightly, glancing at the script on the table, "Texas Chainsaw Massacre," "Is this the next movie you've prepared for Annie?"

"Yes, coincidentally, it's a project from your company, Mr. Baker,"

Ms. Susan stated.

Link nodded, looking at the script, "Annie should have no issues auditioning, and in the future, Lionsgate Films has any suitable roles that Annie likes, feel free to have her try out. Also, Ms. Waters, Annie is my girlfriend, so please take good care of her at work, and let know if there are any problems."

"Sure, Mr. Baker, I get your point. I'm friends with both Annie and her mother, so of course, I should take care of her,"

Ms. Susan smiled slightly, her gaze towards him showing so surprise.

Regarding Link and Dadalio, she had read about them in newspapers and heard so details from Dadalio's mother.

She initially thought Link was a playboy who loved the ladies and that his relationship with Dadalio was just a casual fling.

Yet hearing his concerns sounded serious, as if talking about a genuine girlfriend; this surprised her.

This also made her rethink Dadalio's career.

With a powerful figure like Link supporting her, Dadalio shouldn't settle for her current status; she should have access to more and better opportunities, possibly becoming a top Hollywood actress.