Celebrity management for artists

What management actually covers

Day to day: which offers reach you and which do not, what a piece of work should pay, what the agreement says about usage and exclusivity, how one booking sets up the next, and the press that goes around it. The unglamorous half — terms in writing, usage priced honestly, schedules that hold, one person answerable when something changes at short notice — is the half that decides whether a career compounds or just stays busy.

Saying no is part of the service

An agent who passes everything along is a postbox. Work that pays today and damages the category you want tomorrow is work worth declining, and declining it is easier when somebody else does it on your behalf. That judgement is most of what you are buying.

Where the money is lost

Almost always in usage. A fee that looks generous for a day's shoot is a poor deal if the material then runs as advertising for two years across every medium, because you have sold that too and were not paid for it. Knowing what to grant, for how long and in which territory is the difference between a good fee and a bad contract.

Who we represent

Performers and public figures across television, music, film and digital. What matters is that there is an audience and a body of work to build on, and that you want somebody handling the business of it. Where you are in that is less important than which direction you are going: established and wanting the offers filtered, rising and wanting structure, or crossing over between mediums or markets. For talent sets out the three.

How to join

Through the form. Tell us what you do, where you are based, what you have already worked on and what you want next — specifically, because a vague introduction is hard to act on. If there is a fit, the team gets in touch to talk it through. Applying is not a guarantee of representation, and any terms are discussed and agreed with you before anything is signed. Join the roster.