Sponsor (July-Sept 1961)

SPONSOR ASKS: WHAT TIPS CAN YOU SUGGEST FOR NEGOTIATING WITH TALENT7 Those replying to this week's question are: . James A. Stabile, NBC TV, New York • Tom McDermott, Four Star Tv. North Hollywood, Calif. • Albert E. Marten, lawyer, New York James A. Stabile, ' p staff, tv network. NBC What basic rules do you follow in negotiations? I have been asked that question many times. The answer always has been, and still is. that there is no set Know the issue thoroughly, and never underestimate the ability of the other side or fixed pattern or formula that can be applied. And there is no book that can teach one "how to negotiate." There are certain fundamentals which are of tremendous assistance: 1. Know the issue or subject thoroughly. 2. Never underestimate the intelligence and ability of "the other side." Always assume he knows at least as much as you do. 3. Be prepared to "blow the deal" if discussions reach the stage where it appears that conflicts are irreconcilable. This involves the ability and authority to: ( a I Have flexibility within an over-all framework of terms and conditions that would be acceptable to management; ( b I Make a decision with knowledge you have management support. 4. Above all, apply just plain common sense in analyzing and appraising any situation. I learned early in my career the importance of knowing the issue or 42 subject well before taking an adamant position. 1 recall an extensive and heated discussion which involved the privilege of designating a laboratory for the processing of prints for a film series. Since the program series was of significant importance to each side, each insisted upon the right to select the film laboratory. Under normal circumstances, such an issue would never be considered vital, but because of the nature of the program and the recognition that film processing would involve a very careful handling of the film that had been shot, neither side would yield to the other. During a lull, I asked which laboratory the producer expected to use. To everyone's amazement, it was the same laboratory we desired to recommend. A simple lesson for all: before you argue about a particular issue, ask questions and ascertain the facts. Does one need any specific professional or educational background to handle a talent negotiating position in the broadcasting and advertising business? No. There is a tendency to turn to lawyers but a legal training is not essential though, admittedly, it is helpful. A business administration background is equally as effective. exec. v.p. in chg. Television, North Tom McDermott, prod.. Four Star Hollywood, Calif. When Dick Powell, Charles Boyer and David Niven established Four Star Television in 1952, they had a Talent is easier to negotiate with when negotiator is talentoriented built-in solution to the problem of negotiating with talent. There is a high degree of camaraderie existing within the ranks of people in the entertainment indus try. When an artist is doing bus ness with Four Star, he realizes t he is negotiating with a tale oriented firm. He knows the pre dent, Dick Powell, has many tim< been on the other side of the desl He also knows that everything po sible has been done to present a attractive and fair offer. This, I believe, is the reason Foil Star has been responsible for intrj ducing more established talent to tlji video screen than any other studl in Hollywood. Indeed, I have dealt with this pro lem from the other side of the feni also. Before becoming a partner Four Star Television, I spent a gre deal of time in Hollywood as a re resentative of the Benton & Bowl advertising agency. That was in tl earlier days of the medium, befo the creation of shows was turn over to production companies. Upon first meeting creative peop I was considered an outsider watchdog of the client's dollar. Ho ever, once actors, producers, a writers were aware that I was p. of the creative, rather than the sa end of the business, an attitude trust became evident. I am not suggesting that one nee to give in to every whim of the fw pie on the creative end. But, it my contention that if writers, acto producers, and directors are treat with respect for their initiative, t ent, and professional competen then these are the qualities uhi will be received in return. Albert E. Marten, lawyer, specializ in show business, New York My first tip on dealing with taUl for a client is . . . DON'T . . . that if the talent is represented by an torney, an agent, a personal mai ger, or any other professional repsentative. What's required then i personal magician with a flair for normal psychology. There are many categories of I ent in radio and television. Thertcommercial talent and show talt SPONSOR • 17 JULY 19