Representatives

Berle Adams on packaging actors and television shows as an agent at MCA

Berle Adams on the MCA "uniform" for agents

Berle Adams on how MCA agents went after new clients

Berle Adams on packaging television shows as an agent at MCA

Berle Adams on how he structured deals for clients while an agent at MCA

Berle Adams on creating an international television division for MCA

Berle Adams on advice to aspiring agents

Larry Auerbach on the process of booking performers in his early years at the William Morris Agency

Larry Auerbach on the concept of an agency "packaging" a show

Larry Auerbach on the William Morris Agency television department in the 1970s

Larry Auerbach on advice to aspiring agents

Barbara Corday on her responsibilities as a publicist and what she learned from working in publicity

Barbara Corday on getting into publicity

Publicist Warren Cowan on the creation of press teleconferences (for Danny Kaye) and later press junkets 

Warren Cowan on his advice to aspiring publicity professionals

Ruth Engelhardt on what it takes to package a show

Ruth Engelhardt on the art of negotiation

Ruth Engelhardt on advice to an aspiring agent

George Faber on his duties while working for CBS in international publicity

George Faber on the process of publicizing a show like The Beverly Hillbillies in Japan

George Faber on the biggest challenge of publicizing shows in a foreign market

George Faber on dealing with the different customs of countries when doing overseas publicity

George Faber on how his job performance was judged while doing overseas publicity

George Faber on dealing with different CBS offices and executives, and learning foreign languages

George Faber on how publicity has changed since he started his career

George Faber on creating campaigns for the shows he sold

George Faber on advice to aspiring publicists

Irving Fein on moving to Hollywood to be a publicist at Warner Brothers and on publicity for movies in the 1930s and 1940s

Irving Fein on how publicity today is more of a business than a creative process

Frank Liberman on the press release, his media contacts, and on the tricks of the trade

Frank Liberman on dealing with the media as a publicist and on Hedda Hopper and Louella Parsons

Frank Liberman on dealing with celebrity interviews for his clients

Frank Liberman on dealing with the death of a client and on the changes in the publicity business over the years

Frank Liberman on his company Frank Liberman and Associates

Frank Liberman on his early clients

Frank Liberman on representing comedians

Frank Liberman on the clients he accepted and the different kinds of publicity

Frank Liberman on being a member of the Publicists Guild

Frank Liberman on advice to aspiring publicists

Priscilla Morgan on early shows she signed her clients up for and her process of finding clients work

Priscilla Morgan on learning how to be an agent

Priscilla Morgan on negotiating deals for William Morris and dealing with Fred Coe

Don Ohlmeyer on becoming producer of Monday Night Football

Hank Rieger on what makes a good Public Relations person

Hank Rieger on publicists not getting along with celebrities

Hank Rieger on advice to someone wanting to go into Public Relations, and how it's a great career for women

George Shapiro on managing Andy Kaufman - on Kaufman's work on Taxi, on Tony Clifton, and inter-gender wrestling

George Shapiro on managing clients

Nina Shaw on Norman Lear and Bud Yorkin creating the idea of spin-off shows and navigating the corresponding new legal territory

Nina Shaw on her interest in entertainment law and why she chose to work at O'Melveny & Myers in Los Angeles; on there being few African-American lawyers at O'Melveny & Myers when she joined; on working in the entertainment department of O'Melveny & Myers with another African-American lawyer and getting used to there not being many African-American lawyers at that time

Nina Shaw on negotiating talent deals in the 1970s and '80s and how race and gender affected salaries; on negotiating deals for minors

Nina Shaw on starting a firm with Ernie Del and Mike Rubel and on others who wanted to work at the firm; on the firm being a diverse group

Nina Shaw on selecting clientele to represent

Nina Shaw on representing minors

NIna Shaw on how talent agents, managers, and lawyers work together

NIna Shaw on differences between negotiating talent deals for film v. television

NIna Shaw on her negotiating style

NIna Shaw on responding to changes in the industry - media consolidation, etc.

NIna Shaw on negotiating endorsement deals for clients -- as in for Misty Copeland -- and on how the digital world has given people access to talent

NIna Shaw on dealing with infringement of clients' names and likenesses and the impact of right of publicity

NIna Shaw on how the legislation that forbids employers from asking about pay history has impacted the industry

Nina Shaw on her primary responsibility to her clients

Nina Shaw on the formality of attorney/client professional relationships

Nina Shaw on wanting people to see the law as virtuous

Nina Shaw on inclusion riders

Nina Shaw on the diversity at her then-current law firm

Nina Shaw on what makes a good entertainment lawyer

Nina Shaw on what she enjoys about coming to work each day

Nina Shaw on career regrets

Nina Shaw on her proudest career achievements

John Strauss on the makeup of the publicity department at Warner Bros.

John Strauss on the role of the publicity department at a studio

John Strauss on the value of both publicity and advertising

John Strauss on the role of the publicist in smoothing over difficult interviews, with Fred MacMurray as an example

John Strauss on the importance of writing skills and imagination in succeeding as a publicist

John Strauss on the importance of a publicist winning the confidence of the media

John Strauss on advice to someone starting out in public relations

Publicist John Strauss on determining a fee structure for clients

Publicist John Strauss on working with sponsors and ad agencies

John Strauss on publicizing David L. Wolper and Quinn Martin shows

Lou Weiss on William Morris in the '50s and making a deal

Lou Weiss on the advent of packaging television 

Lou Weiss on his role in packaging television shows