A cable paycheck is
all the rage, but taxes, commissions and fees can reduce that to $200K per
year, says Scott Feinstein, who manages Taylor Lautner, Mila Kunis and Aaron
Paul -- so a client might dream of Lamborghini but wake up to BMW instead.
This story first
appeared in the Oct. 11 issue of The Hollywood Reporter magazine.
It's easy to overestimate the wealth of a celebrity.
"Take someone who stars on a popular cable TV
show," says Scott Feinstein, a business manager who represents Taylor
Lautner, Mila Kunis and Aaron Paul, among others. "Most people assume
they're making good money, but each cycle has nine to 12 episodes. Let's say
they make $50,000 per episode. Factor in taxes, union dues and commissions, and
it might come out to only about $200,000 per year."
So what happens when one of these stars wants to buy a multimillion-dollar
house, an extravagant car or a piece of jewelry that's astronomically priced?
That's when the business manager steps in.
Of all the members on a celebrity's robust advisory team,
the one who arguably calls the most upon the art of persuasion is the low-key
position of business manager. With financial savvy, they advise clients on how
to spend and save their money, including investments and real estate holdings.
They also quarterback the retirement fund for the inevitable day when a star's
popularity has faded -- requiring them to say "no" to a client who,
if ascendant or A-list, most likely has been utterly seduced by Hollywood's
ever-present, evanescent "yes."
EXCLUSIVE: Very Rare Animated Tupac Shakur Interview...
"A client comes to me and says he wants a
Lamborghini," says Alan Reback, a top business manager. "I say:
'Where are you going to drive that Lamborghini? Twenty-five miles per hour on
Wilshire? What you love is style. Look at this top-of-the-line BMW. It's
cheaper.' "
 |
| Coming soon |
Sometimes common sense doesn't cut it. A business manager
can point out that it makes more financial sense to charter a private jet than
to buy one, but for many stars, that's not the point. Money buys status, and
celebrities want to trade on their cultural cachet while they have it. That
$35,000 watch is an investment, a client might argue. At this point, a business
manager might break out the next weapon in the arsenal: explaining real costs.
For example, Feinstein might divert attention away from the retailer's price
tag and toward the desired object's equivalent value in earnings. That watch,
he'll say, actually costs $100,000. That's how much money must be earned to
support a $35,000 purchase once the necessary subtractions occur. Buying that
watch now could mean forgoing your freedom to choose TV and film projects
later, Feinstein might hint.
Such logic can fail. "The client told me to go f---
myself," says Feinstein. "Another time, a client yelled, 'You are not
my father.' "
Contending with difficult clients is one thing, but clients
who don't know what they want is another. Business manager Shane Glass, who
represents such artists as Motley Crue and Julie Andrews, remembers a client
who came to him when Tesla Motors introduced its stylish electric cars. The
client just had to have one. The problem? There was a three-year waiting list.
But as many top Hollywood business managers often do, Glass pulled strings and
got Tesla's head of sales on the phone, who then arranged to have the car
transported to his client's house for a personal test-drive. "It's too
small," his client responded upon seeing the Tesla. "I don't want
it." Says Glass, "I had to call Tesla back and come up with some
excuse and stress how appreciative I was."
Perhaps even more challenging are the client's friends and
family members who deploy their own persuasive art of guilt and filial ties to
get what they want. Glass says that one of his client's "kids" -- who
was in her early 30s -- once demanded an increase in allowance. The business
manager was tasked with being the "bad guy" who said no. "The
'child' threatened to earn money in illegal ways if we didn't raise [her]
salary," says Glass, who stood firm. (Click here for more on mixing family
dynamics with finances.)
STORY: Russell Simmons ADD52...
Despite typically being paid 5 percent of their clients'
earnings in commissions, it's not unprecedented for a business manager to fire
a client when financial conscience dictates. Reback tells the story of a former
client who was starring on a hit TV show and wanted to buy a beautiful house
across from the Hollywood Bowl. The home was judged to be way too expensive,
but it didn't matter. The client wanted it. Reback was charged with finding a
good mortgage rate. He did, only to be confronted with the client's boyfriend,
who touted a mortgage with an even better rate -- but it also had some catches
and assumed risks that Reback determined to be financially unwise. Forced to choose,
the client sided with her boyfriend. Reback decided to stop representing her.
"She turned into one of the bigger TV stars
around," says Reback. "I probably lost a boatload of money, but if I
had to do it again, I would." Referring to a Hollywood star who came close
to financial ruin after an outrageous spending spree that included buying nine
Rolls-Royces, a pyramid-shaped super-tomb and a medieval castle, he adds,
"I don't want the perception of being Nic Cage's business manager."
How
Business Managers Handle Money for Stars Who Make Less Than They Think -
See more at:
http://www.hollywoodreporter.com/news/how-business-managers-handle-money-639487#sthash.VpqCZfyK.dpuf
Illustration by: MiraRuido
A cable paycheck is all the rage, but
taxes, commissions and fees can reduce that to $200K per year, says
Scott Feinstein, who manages Taylor Lautner, Mila Kunis and Aaron Paul
-- so a client might dream of Lamborghini but wake up to BMW instead.
This story first appeared in the Oct. 11 issue of The Hollywood Reporter magazine.
It's easy to overestimate the wealth of a celebrity.
"Take someone who stars on a popular cable TV show," says
Scott Feinstein, a business manager who represents
Taylor Lautner,
Mila Kunis and
Aaron Paul,
among others. "Most people assume they're making good money, but each
cycle has nine to 12 episodes. Let's say they make $50,000 per episode.
Factor in taxes, union dues and commissions, and it might come out to
only about $200,000 per year."
So what happens when one of these stars wants to buy a
multimillion-dollar house, an extravagant car or a piece of jewelry
that's astronomically priced?
LIST: THR's Power Business Managers 2013
That's when the business manager steps in.
Of all the members on a celebrity's robust advisory team, the one who
arguably calls the most upon the art of persuasion is the low-key
position of business manager. With financial savvy, they advise clients
on how to spend and save their money, including investments and real
estate holdings. They also quarterback the retirement fund for the
inevitable day when a star's popularity has faded -- requiring them to
say "no" to a client who, if ascendant or A-list, most likely has been
utterly seduced by Hollywood's ever-present, evanescent "yes."
"A client comes to me and says he wants a Lamborghini," says
Alan Reback,
a top business manager. "I say: 'Where are you going to drive that
Lamborghini? Twenty-five miles per hour on Wilshire? What you love is
style. Look at this top-of-the-line BMW. It's cheaper.' "
Sometimes common sense doesn't cut it. A business manager can point
out that it makes more financial sense to charter a private jet than to
buy one, but for many stars, that's not the point. Money buys status,
and celebrities want to trade on their cultural cachet while they have
it. That $35,000 watch is an investment, a client might argue. At this
point, a business manager might break out the next weapon in the
arsenal: explaining real costs. For example, Feinstein might divert
attention away from the retailer's price tag and toward the desired
object's equivalent value in earnings. That watch, he'll say, actually
costs $100,000. That's how much money must be earned to support a
$35,000 purchase once the necessary subtractions occur. Buying that
watch now could mean forgoing your freedom to choose TV and film
projects later, Feinstein might hint.
Such logic can fail. "The client told me to go f--- myself," says
Feinstein. "Another time, a client yelled, 'You are not my father.' "
STORY: The Sky-High Cost of Keeping Stars Safe
Contending with difficult clients is one thing, but clients who don't know what they want is another. Business manager
Shane Glass, who represents such artists as Motley Crue and
Julie Andrews,
remembers a client who came to him when Tesla Motors introduced its
stylish electric cars. The client just had to have one. The problem?
There was a three-year waiting list. But as many top Hollywood business
managers often do, Glass pulled strings and got Tesla's head of sales on
the phone, who then arranged to have the car transported to his
client's house for a personal test-drive. "It's too small," his client
responded upon seeing the Tesla. "I don't want it." Says Glass, "I had
to call Tesla back and come up with some excuse and stress how
appreciative I was."
Perhaps even more challenging are the client's friends and family
members who deploy their own persuasive art of guilt and filial ties to
get what they want. Glass says that one of his client's "kids" -- who
was in her early 30s -- once demanded an increase in allowance. The
business manager was tasked with being the "bad guy" who said no. "The
'child' threatened to earn money in illegal ways if we didn't raise
[her] salary," says Glass, who stood firm. (Click
here for more on mixing family dynamics with finances.)
Despite typically being paid 5 percent of their clients' earnings in
commissions, it's not unprecedented for a business manager to fire a
client when financial conscience dictates. Reback tells the story of a
former client who was starring on a hit TV show and wanted to buy a
beautiful house across from the Hollywood Bowl. The home was judged to
be way too expensive, but it didn't matter. The client wanted it. Reback
was charged with finding a good mortgage rate. He did, only to be
confronted with the client's boyfriend, who touted a mortgage with an
even better rate -- but it also had some catches and assumed risks that
Reback determined to be financially unwise. Forced to choose, the client
sided with her boyfriend. Reback decided to stop representing her.
STORY: How Hollywood's A-List Diversifies: Property Flipping, Restaurants, Fashion and Nightclubs
"She turned into one of the bigger TV stars around," says Reback. "I
probably lost a boatload of money, but if I had to do it again, I
would." Referring to a Hollywood star who came close to financial ruin
after an outrageous spending spree that included buying nine
Rolls-Royces, a pyramid-shaped super-tomb and a medieval castle, he
adds, "I don't want the perception of being
Nic Cage's business manager."
- See more at: http://www.hollywoodreporter.com/news/how-business-managers-handle-money-639487#sthash.VpqCZfyK.dpuf
Illustration by: MiraRuido
A cable paycheck is all the rage, but
taxes, commissions and fees can reduce that to $200K per year, says
Scott Feinstein, who manages Taylor Lautner, Mila Kunis and Aaron Paul
-- so a client might dream of Lamborghini but wake up to BMW instead.
This story first appeared in the Oct. 11 issue of The Hollywood Reporter magazine.
It's easy to overestimate the wealth of a celebrity.
"Take someone who stars on a popular cable TV show," says
Scott Feinstein, a business manager who represents
Taylor Lautner,
Mila Kunis and
Aaron Paul,
among others. "Most people assume they're making good money, but each
cycle has nine to 12 episodes. Let's say they make $50,000 per episode.
Factor in taxes, union dues and commissions, and it might come out to
only about $200,000 per year."
So what happens when one of these stars wants to buy a
multimillion-dollar house, an extravagant car or a piece of jewelry
that's astronomically priced?
LIST: THR's Power Business Managers 2013
That's when the business manager steps in.
Of all the members on a celebrity's robust advisory team, the one who
arguably calls the most upon the art of persuasion is the low-key
position of business manager. With financial savvy, they advise clients
on how to spend and save their money, including investments and real
estate holdings. They also quarterback the retirement fund for the
inevitable day when a star's popularity has faded -- requiring them to
say "no" to a client who, if ascendant or A-list, most likely has been
utterly seduced by Hollywood's ever-present, evanescent "yes."
"A client comes to me and says he wants a Lamborghini," says
Alan Reback,
a top business manager. "I say: 'Where are you going to drive that
Lamborghini? Twenty-five miles per hour on Wilshire? What you love is
style. Look at this top-of-the-line BMW. It's cheaper.' "
Sometimes common sense doesn't cut it. A business manager can point
out that it makes more financial sense to charter a private jet than to
buy one, but for many stars, that's not the point. Money buys status,
and celebrities want to trade on their cultural cachet while they have
it. That $35,000 watch is an investment, a client might argue. At this
point, a business manager might break out the next weapon in the
arsenal: explaining real costs. For example, Feinstein might divert
attention away from the retailer's price tag and toward the desired
object's equivalent value in earnings. That watch, he'll say, actually
costs $100,000. That's how much money must be earned to support a
$35,000 purchase once the necessary subtractions occur. Buying that
watch now could mean forgoing your freedom to choose TV and film
projects later, Feinstein might hint.
Such logic can fail. "The client told me to go f--- myself," says
Feinstein. "Another time, a client yelled, 'You are not my father.' "
STORY: The Sky-High Cost of Keeping Stars Safe
Contending with difficult clients is one thing, but clients who don't know what they want is another. Business manager
Shane Glass, who represents such artists as Motley Crue and
Julie Andrews,
remembers a client who came to him when Tesla Motors introduced its
stylish electric cars. The client just had to have one. The problem?
There was a three-year waiting list. But as many top Hollywood business
managers often do, Glass pulled strings and got Tesla's head of sales on
the phone, who then arranged to have the car transported to his
client's house for a personal test-drive. "It's too small," his client
responded upon seeing the Tesla. "I don't want it." Says Glass, "I had
to call Tesla back and come up with some excuse and stress how
appreciative I was."
Perhaps even more challenging are the client's friends and family
members who deploy their own persuasive art of guilt and filial ties to
get what they want. Glass says that one of his client's "kids" -- who
was in her early 30s -- once demanded an increase in allowance. The
business manager was tasked with being the "bad guy" who said no. "The
'child' threatened to earn money in illegal ways if we didn't raise
[her] salary," says Glass, who stood firm. (Click
here for more on mixing family dynamics with finances.)
Despite typically being paid 5 percent of their clients' earnings in
commissions, it's not unprecedented for a business manager to fire a
client when financial conscience dictates. Reback tells the story of a
former client who was starring on a hit TV show and wanted to buy a
beautiful house across from the Hollywood Bowl. The home was judged to
be way too expensive, but it didn't matter. The client wanted it. Reback
was charged with finding a good mortgage rate. He did, only to be
confronted with the client's boyfriend, who touted a mortgage with an
even better rate -- but it also had some catches and assumed risks that
Reback determined to be financially unwise. Forced to choose, the client
sided with her boyfriend. Reback decided to stop representing her.
STORY: How Hollywood's A-List Diversifies: Property Flipping, Restaurants, Fashion and Nightclubs
"She turned into one of the bigger TV stars around," says Reback. "I
probably lost a boatload of money, but if I had to do it again, I
would." Referring to a Hollywood star who came close to financial ruin
after an outrageous spending spree that included buying nine
Rolls-Royces, a pyramid-shaped super-tomb and a medieval castle, he
adds, "I don't want the perception of being
Nic Cage's business manager."
- See more at: http://www.hollywoodreporter.com/news/how-business-managers-handle-money-639487#sthash.VpqCZfyK.dpuf
Illustration by: MiraRuido
A cable paycheck is all the rage, but
taxes, commissions and fees can reduce that to $200K per year, says
Scott Feinstein, who manages Taylor Lautner, Mila Kunis and Aaron Paul
-- so a client might dream of Lamborghini but wake up to BMW instead.
This story first appeared in the Oct. 11 issue of The Hollywood Reporter magazine.
It's easy to overestimate the wealth of a celebrity.
"Take someone who stars on a popular cable TV show," says
Scott Feinstein, a business manager who represents
Taylor Lautner,
Mila Kunis and
Aaron Paul,
among others. "Most people assume they're making good money, but each
cycle has nine to 12 episodes. Let's say they make $50,000 per episode.
Factor in taxes, union dues and commissions, and it might come out to
only about $200,000 per year."
So what happens when one of these stars wants to buy a
multimillion-dollar house, an extravagant car or a piece of jewelry
that's astronomically priced?
LIST: THR's Power Business Managers 2013
That's when the business manager steps in.
Of all the members on a celebrity's robust advisory team, the one who
arguably calls the most upon the art of persuasion is the low-key
position of business manager. With financial savvy, they advise clients
on how to spend and save their money, including investments and real
estate holdings. They also quarterback the retirement fund for the
inevitable day when a star's popularity has faded -- requiring them to
say "no" to a client who, if ascendant or A-list, most likely has been
utterly seduced by Hollywood's ever-present, evanescent "yes."
"A client comes to me and says he wants a Lamborghini," says
Alan Reback,
a top business manager. "I say: 'Where are you going to drive that
Lamborghini? Twenty-five miles per hour on Wilshire? What you love is
style. Look at this top-of-the-line BMW. It's cheaper.' "
Sometimes common sense doesn't cut it. A business manager can point
out that it makes more financial sense to charter a private jet than to
buy one, but for many stars, that's not the point. Money buys status,
and celebrities want to trade on their cultural cachet while they have
it. That $35,000 watch is an investment, a client might argue. At this
point, a business manager might break out the next weapon in the
arsenal: explaining real costs. For example, Feinstein might divert
attention away from the retailer's price tag and toward the desired
object's equivalent value in earnings. That watch, he'll say, actually
costs $100,000. That's how much money must be earned to support a
$35,000 purchase once the necessary subtractions occur. Buying that
watch now could mean forgoing your freedom to choose TV and film
projects later, Feinstein might hint.
Such logic can fail. "The client told me to go f--- myself," says
Feinstein. "Another time, a client yelled, 'You are not my father.' "
STORY: The Sky-High Cost of Keeping Stars Safe
Contending with difficult clients is one thing, but clients who don't know what they want is another. Business manager
Shane Glass, who represents such artists as Motley Crue and
Julie Andrews,
remembers a client who came to him when Tesla Motors introduced its
stylish electric cars. The client just had to have one. The problem?
There was a three-year waiting list. But as many top Hollywood business
managers often do, Glass pulled strings and got Tesla's head of sales on
the phone, who then arranged to have the car transported to his
client's house for a personal test-drive. "It's too small," his client
responded upon seeing the Tesla. "I don't want it." Says Glass, "I had
to call Tesla back and come up with some excuse and stress how
appreciative I was."
Perhaps even more challenging are the client's friends and family
members who deploy their own persuasive art of guilt and filial ties to
get what they want. Glass says that one of his client's "kids" -- who
was in her early 30s -- once demanded an increase in allowance. The
business manager was tasked with being the "bad guy" who said no. "The
'child' threatened to earn money in illegal ways if we didn't raise
[her] salary," says Glass, who stood firm. (Click
here for more on mixing family dynamics with finances.)
Despite typically being paid 5 percent of their clients' earnings in
commissions, it's not unprecedented for a business manager to fire a
client when financial conscience dictates. Reback tells the story of a
former client who was starring on a hit TV show and wanted to buy a
beautiful house across from the Hollywood Bowl. The home was judged to
be way too expensive, but it didn't matter. The client wanted it. Reback
was charged with finding a good mortgage rate. He did, only to be
confronted with the client's boyfriend, who touted a mortgage with an
even better rate -- but it also had some catches and assumed risks that
Reback determined to be financially unwise. Forced to choose, the client
sided with her boyfriend. Reback decided to stop representing her.
STORY: How Hollywood's A-List Diversifies: Property Flipping, Restaurants, Fashion and Nightclubs
"She turned into one of the bigger TV stars around," says Reback. "I
probably lost a boatload of money, but if I had to do it again, I
would." Referring to a Hollywood star who came close to financial ruin
after an outrageous spending spree that included buying nine
Rolls-Royces, a pyramid-shaped super-tomb and a medieval castle, he
adds, "I don't want the perception of being
Nic Cage's business manager."
- See more at: http://www.hollywoodreporter.com/news/how-business-managers-handle-money-639487#sthash.VpqCZfyK.dpuf
Azealia Banks'
career has been stagnating lately, as she hasn't released any new music
since last October and often seems more focused on starting Twitter
beef than working on albums. Much of that is due to her dissatisfaction
with her record label, Universal Music Group, which became known in January after she tweeted some less-than-positive things about her deal.
