COVER FEATURE: CHARLES D. KING
THERE’S PLENTY TO TALK ABOUT IN YOUR CAREER, BUT I’D LIKE TO GET A SENSE OF HOW YOU FOUND YOUR WAY TO HOLLYWOOD. I grew up in Decatur, the suburbs of Atlanta, Georgia. As a kid growing up, I would watch movies and television pretty voraciously. I went to Vanderbilt University, where my focus was initially business, and I was a political science major. One summer, I started doing some things creatively, really just as a way to make some money … some commercials, some print work and some modeling. From that, I began to help friends get into the business, and I discovered that I had a knack for identifying talent in others. Somewhere along the line someone suggested, “Look. You’re at Vanderbilt. You’re studying political science. You obviously have an interest in entertainment. You should think about entertainment law.” I had really no idea what an entertainment lawyer did, but I did recall the show L.A. Law and the character played by Blair Underwood, who was the one African American on the show and who was so charismatic and intelligent. I really liked that character. So I had that model in my mind. I graduated, worked in the corporate world for a couple years, then went to law school with a focus on entertainment law. Around that time, I read this book called Why Should White Guys Have All the Fun? by Reginald Lewis. That’s really where the idea formed that one day, I could perhaps start a media company that would focus on telling these stories that would reflect who I was and would reflect the community. I wanted kids and people around the world to have that same kind of “aha” aspirational moment that I had when I saw L.A. Law because, frankly, I didn’t have enough of those stories and images of people that looked like me. At that point I was considering my entry point into the industry. Someone suggested I look at the talent agency world. I did the research and learned about these titans, like Barry Diller, David Geffen, Bernie Brillstein … these iconic figures who
built these amazing companies and careers and studios all at one point were agents. So I thought that the agency world would be an ideal space for me to cut my teeth, to build the relationships and connect with artists, to understand the landscape and then ultimately go on to build something. It’s the epicenter of the industry. So I moved to LA. I went into the belly of the beast and went to WMA (now WME) and had an amazing career working with some of the most compelling and inspiring artists across every sector. After 15 years, I felt as though I had done everything that I set out to do in that world—having created new deal models for filmmakers, actors, musicians and media titans. It was time for me to forge ahead and really build out this vision that I had since before I even moved to town. So three years ago, I launched Macro and we’ve been having a great journey ever since.
SO IN REPRESENTING ALL THESE CREATIVE FIGURES, IT PUT YOU ACROSS THE TABLE, IN MANY WAYS, FROM PRODUCERS. WHAT WAS YOUR EXPERIENCE OF PRODUCERS AND CONTENT CREATORS FROM THAT VANTAGE? AND HOW DID THAT INFORM YOUR PATH AS YOU CROSSED THE LINE OVER TO THE SIDE OF GENERATING THE CONTENT AS OPPOSED TO REPRESENTING THE ARTISTS? That’s a very good question. I represented filmmakers, writers, directors and a lot of producers too. The best ones, for me as an agent, were the ones who just made things happen, right? They did whatever it took, driving things forward by identifying ideas but also by building out a team and connecting the dots. I never really thought about it until you asked this question, how much I learned from so many of those people about what worked, what didn’t work; when to push, when to lay back; how to coalition-build with the filmmaker and align the right elements to support the filmmaker and the right crew; knowing which distribution
or studio partner would be the best fit for certain types of vehicles; how to navigate the landscape and be amenable to deal structures with talent. It’s like you’re putting together whole companies, teams of hundreds of people, all to work together toward a common goal, and you’re doing it over and over.
GOING BACK OVER ALL THE PRODUCERS THAT YOU WORKED WITH, ARE THERE PARTICULAR INSTANCES THAT STAND OUT IN YOUR MIND AS TIMES WHERE YOU ARRIVED AT SOME DEGREE OF INSIGHT INTO WHAT THE JOB WAS, AT ITS BEST? There was one movie where I had more than one client involved with the production. It started out as a smaller independent movie, but the vision and scope of this movie continued to expand and grow. It wasn’t a massive $100 million movie or anything like that, but it went from being a tiny, micro-budget project to more of a low-to-mid-size film. But the producer on it was someone who had made many movies that were much larger in scope, an incredibly accomplished producer who was already at the top of their game. Now this was one of the most challenging films that I was involved in. I still joke with friends about this one particular film, that I had hair before that movie. [Laughs] But I’ll tell you this: The producer, athough they went through lots of ups and downs through it—and there were some moments of yelling and things like that—the thing that really struck me through all of that was how committed that producer was, from the time it was a micro-budget movie all the way to the mid-size range that it ended up in. Even though they had produced these massive blockbusters, they were just as committed to this film as to anything else that they had worked on or could be working on. The amount of energy and time they committed was absolutely extraordinary. It made a huge impression upon me, how when you believe in a story and you’re passionate, then it doesn’t matter what your producer fee
The Official Magazine of the Producers Guild of America