Exclusive: Two more senior Kmr Talent agents, Doug Kesten and Tracey Goldblum, Vice Presidents and Co-Heads of New York On-Camera Commercials, have left the agency, whose franchise with SAG-AFTRA was suspended on Friday following weeks of mounting problems with client payment delays.
The veteran duo has joined Los Angeles-based agency Brady Brannon & Rich, which is focused on commercial representation, to open a New York office. They also are bringing with them their assistant.
“All of us at Bbr have admired the outstanding work ethic, integrity, and care for performers Doug and Tracey have exhibited throughout their careers,” said Bbr CEO Stuart K. Robinson. “It’s an honor for us to have them join the Bbr team.”
Goldblum worked in the commercial department of Abrams Artists for almost 36 years, rising to SVP, before she joined Kmr in 2019 to launch a New York commercial department. In 2020, she was joined by Kesten, who...
The veteran duo has joined Los Angeles-based agency Brady Brannon & Rich, which is focused on commercial representation, to open a New York office. They also are bringing with them their assistant.
“All of us at Bbr have admired the outstanding work ethic, integrity, and care for performers Doug and Tracey have exhibited throughout their careers,” said Bbr CEO Stuart K. Robinson. “It’s an honor for us to have them join the Bbr team.”
Goldblum worked in the commercial department of Abrams Artists for almost 36 years, rising to SVP, before she joined Kmr in 2019 to launch a New York commercial department. In 2020, she was joined by Kesten, who...
- 3/25/2024
- by Nellie Andreeva
- Deadline Film + TV
When Leslie Odom Jr. was about to turn 30, he thought about quitting acting. He had been hustling for a decade in Los Angeles by then, nabbing small TV spots here and there. He loathed the unpredictability, and the thought of another decade of not knowing whether he would ever be able to get a mortgage or pay down his student loans.
“What is going to change about 30 to 40?” he wondered. “Am I just signing up for this forever? How do I grow up?”
Odom considered hospitality as his next jump,...
“What is going to change about 30 to 40?” he wondered. “Am I just signing up for this forever? How do I grow up?”
Odom considered hospitality as his next jump,...
- 2/24/2021
- by Brittany Spanos
- Rollingstone.com
Leslie Odom Jr. is on track to burst into the Oscar race with a possible double nomination, for Supporting Actor and Original Song, for his contributions to Regina King’s One Night in Miami. As part of Deadline x Rolling Stone, a special issue of our AwardsLine print magazine dedicated to music in cinema, Odom tells Rolling Stone’s Brittany Spanos about the strength he found in playing the legendary songwriter and producer Sam Cooke, and the key conversation with a mentor that kept him on the path toward his breakthrough in Hamilton.
When Leslie Odom Jr. was about to turn 30, he thought about quitting acting. He had been hustling for a decade in Los Angeles by then, nabbing small TV spots here and there. He loathed the unpredictability, and the thought of another decade of not knowing whether he would ever be able to get a mortgage or pay down his student loans.
When Leslie Odom Jr. was about to turn 30, he thought about quitting acting. He had been hustling for a decade in Los Angeles by then, nabbing small TV spots here and there. He loathed the unpredictability, and the thought of another decade of not knowing whether he would ever be able to get a mortgage or pay down his student loans.
- 2/24/2021
- by Brittany Spanos
- Deadline Film + TV
Not so many years ago, acting classes were fairly uncomplicated affairs. You needed a spacious, well-lit studio. You would add perhaps a few chairs and tables or movable blocks for scene study work. Top that with a teacher who knew what he or she was about, plus students eager to master the craft, and you were set. In some cases, that model still holds. But many, if not most, acting classes have become decidedly more complex.Consider the catalogue of equipment that Los Angeles acting teacher Brad Greenquist (www.bradgreenquist.com) uses in his acting-for-the-camera classes. "I have a Panasonic DVX100A camera that I shoot with, usually on a tripod but sometimes hand-held or with a dolly," he reports. "I have a boom and a boom pole and a Røde mike, and also an Audio-Technica lavaliere system with a portable receiver-mixer, which allows me to use two lavs to...
- 6/16/2010
- backstage.com
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