Bernie Lautrette

Los Angeles has watched too many productions pack up and leave in recent years. The news that Mr. & Mrs. Smith is relocating production to L.A. County for Season 2 stands out for a reason. It’s more than one show making the move. It signals that big-budget productions are paying attention to California’s incentives. That with the right conditions, work can come back home. Fallout moved production here recently too. These aren’t small projects. They’re high-profile series that employ hundreds of crew, support vendors, and keep the local industry alive. For Los Angeles, this might be the early stage of a recovery. Not a full fix. Not a return to old patterns overnight. But momentum in the right direction. In an industry where uncertainty is the norm, these decisions matter. They show that policy, investment, and planning have real effects on where and how we tell stories. It’s worth watching how California continues to make itself an attractive production hub. And worth thinking about how to make that recovery sustainable and inclusive for everyone working in this business.

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Today, AEG Global Partnerships - International released The Live Effect – a report uncovering the unparalleled power of live music and events to build communities and forge connections, and showing just how much these experiences mean to fans. Fascinating insights demonstrating the power of live for brands and the unique behaviours connected to live music and fandom. #AEGLiveEffect #OnlyAEG #LiveEntertainment #Music #Partnerships

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https://lnkd.in/gBpA-N3V " I am among the less than 3% of black womxn executive producers in entertainment. And among the 1% of black womxn in creative roles in entertainment. Black womxn navigate the world at the intersection of race, gender, and class. For us, systemic bias magnifies scrutiny while decreasing recognition. Ego, both internalized and projected, often becomes a double-edged sword, necessary for survival and self-definition for all people, yet weaponized against black womxn as “attitude” or “aggression.” In spaces shaped by patriarchal, white-centered norms, Black womxn must constantly negotiate between protecting their identity and being palatable to systems that rarely honor their full humanity. Intersectionality reveals how these pressures are not isolated, but all connected, demanding that Black womxn carry the burden of resilience while the world questions their right to simply be. In the workplace, these dynamics can be seen clearly. When a white man asserts himself, his confidence is often read as leadership, when a Black womxn does the same, it can be mislabeled as hostility, arrogance, or insubordination. Black womxn are frequently expected to prove their competence repeatedly, manage others’ comfort, and shrink their presence to avoid triggering people, meanwhile, our counterparts are given the benefit of the doubt, promoted on potential rather than proof, and shielded by a cultural narrative that frames their ego and lack of experience as ambition. But my ego and lack of experience is not framed in the same light. This is not my personal perception; it’s clear in hiring, pay equity, performance reviews, and pathways to leadership. It perpetuates a cycle where Black womxn must navigate both work and the invisible politics of survival."

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There’s a common misconception that professionals from the entertainment industry can’t or won’t succeed in a traditional 9 to 5 setting. But here’s the truth: if you’ve ever worked on a production set, you’ve already developed a skill set that many corporate teams highly value. Consider this: ✅ Project management under tight deadlines and unpredictable conditions ✅ Cross-functional collaboration with diverse departments and personalities ✅ Creative problem-solving when the script changes at 6 a.m. and cameras roll at 7 ✅ Clear communication under pressure, often with high-stakes stakeholders ✅ Adaptability because every production is different and rarely goes as planned People from production are not just creatives. They are strategic thinkers, consistent team players, and experts in execution. They know how to lead, shift quickly, manage chaos, and still deliver results. These are not bonus qualities in the corporate world. They are foundational. When I joined Marvel, I saw this play out in real time. My experience in writers' rooms and on set helped me more times than I can count. Whether it was managing complex collaborations, fix-on-fail workflow issues, balancing creative with logistical demands, or reading the room in high-pressure moments, my production background gave me a crucial advantage. The belief that entertainment professionals are unwilling or unable to commit to office life is not only outdated, it’s inaccurate. Since the paradigm shift of the last five years, many are actively exploring new career paths that offer structure, impact, and long-term growth. What they bring with them is a unique combination of creativity, grit, and operational know-how. To hiring managers and recruiters: Don’t underestimate someone just because their resume looks unconventional. To entertainment professionals ready for a change: You are more equipped than you think. Let’s recognize production experience for what it really is—a high-intensity training ground for leadership, logistics, and collaboration.

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Africa’s music industry is no longer on the sidelines. We are now front and center in the global music economy so if you’re an artist, executive, or entrepreneur in this space, this is the time to pay attention. Why? 📈 Africa’s music industry is currently valued at over $10 billion. And each single year, millions of Africans are getting online faster than anywhere else in the world. It is estimated that by the end of 2025, more than half of the continent should be active online. This shift means one thing: millions of new listeners would be entering the streaming economy for the first time. But that’s not even the biggest news. The African Continental Free Trade Area (AfCFTA) is opening up all 54 African countries into a single market. Imagine the possibilities of a connected Africa where music, culture, and commerce move faster across borders. What this means for artists: 🌍 More fans. 💸 More investment. 🚀 More global visibility. And the big players are not sleeping on this, they saw it coming with 🔹 Universal buying into Mavin. 🔹 Warner acquiring Africori, which is one of Africa’s top distributors. 🔹 And Sony backing music tech startups across the continent. All these moves point to one fact that Africa is no longer a “developing” music market. We’re becoming a priority. So whether you’re a rising talent or already building your brand, don’t wait to be discovered, start positioning yourself now for what’s coming. Because the African music industry is not just growing. It’s exploding. And those who understand what’s ahead will lead the future. Are you preparing for that future? #MusicBusiness #AfricaRising #MusicEconomy #CreativeAfrica #Afrobeats #ArtistDevelopment #StreamingEconomy #MazeMedia #TalentManagement #MusicInAfrica #MusicGrowth #LinkedInCreators #AfCFTA

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With Los Angeles production levels in a sorry state, underemployed workers are flocking to a format that’s faster, shorter, cheaper and quite literally overturns film and TV norms. https://lnkd.in/g_TUw6dd

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Ever find yourself in a situation where you're completely winging it? Reflecting on early career experiences, it's funny how sometimes you land a gig where you're "didn't know what the hell I was doing." Like mixing sound for The Doobie Brothers at the Ventura Theater as a first gig - a trial by fire fueled by who-knows-what. It highlights the unpredictable path of professional growth and that initial leap of faith. There's a lesson in that – sometimes, opportunities come before you feel ready, and it's the willingness to dive in and learn that truly matters. Anyone else relate to this? #CareerJourney #ProfessionalGrowth #LearningOnTheFly #SoundEngineering #ThrowbackThursday

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Where are the opportunities in production? Los Angeles public radio station KCRW did a story a few days ago about vertical microdramas. They highlighted a studio launched by early-career entertainment professionals after being introduced to the format early on. (Link in comments.) The comparison is being made to music videos in the 80s and 90s. A new format then where opportunities for innovative and ambitious filmmakers flourished. Takeaway: When new formats emerge, the hierarchy resets. The people who step in early, experiment, and learn the language of the medium often become the ones shaping it. #entertainment #entertainmentcareers #verticalmicrodramas Photo credit @neonboiiz at Unsplash

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SAN DIEGO COMIC CON IS HERE! And although I will not be attending, my latest series will be there in my place. So make sure to swing by the Mad Cave Studios booth at #SDCC to pick up the first issue of "DON'T FORGET YOUR BRIEFCASE" by me and #PhilSevy with #NiaSahadwa on colors and #FrankCvetkovic on letters. And for all your recruiters out there looking to hire a creative thinker. Here's are some of the basic steps of taking a comic from an idea to having it be platformed at the biggest convention in the industry. STEP ONE: Come up with an idea... (easier said than done) STEP TWO: Make it real. Write out what it is in the simplest, most basic terms. Then, write a pitch sheet and treatment that includes: a logline, high concept synopsis, tagline, a plot summary along with character and setting descriptions. (The pitch sheet is one separate document that I usually fold into the treatment. Something short. Something long). STEP THREE: Find an artist to collaborate with. Search. Use your eyes and figure out what will work for the tone of the series. STEP FOUR: Assemble some pitch pages (A cover, maybe 5 pages of art). This could cost you, but if you believe in the idea, it's worth it. Literally put your money where your mouth is. If you aren't willing to invest in your own idea, then why should a creative partner or publisher? STEP FIVE: Pitch and send to publishers. STEP SIX: When you've found a home, strike a deal. STEP SEVEN: Write at least three full issues of the series before it hits stands. STEP EIGHT: Coordinate and lead your creative team throughout the process as scripts get passed around. STEP NINE: Write all the ad-copy and direct-to-retailer ordering copy. Additionally, provide social media copy and collaborate with your publisher's marketing team. STEP TEN: Promote. Promote. Promote. STEP ELEVEN: Make sure you finish the damn thing. STEP TWELVE: Breathe. Because you're probably doing the same thing with five other projects. STEP THIRTEEN: Repeat until you die. Because creating is something we are compelled to do, try not to get bogged down in the rat race and make sure you enjoy the process; otherwise, why do it at all? There's a lot more nuance to all of these steps. And probably a few more to boot. Something I love to talk about on my Patreon and in interviews. However, let's leave it here for now. That being said, if you're looking for a creative candidate who is capable of seeing a project finish from inception to launch—give me a ring. Also, don't forget that issue two of "DON'T FORGET YOUR BRIEFCASE" drops next week.

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In the world of filmmaking, unexpected connections can spark incredible opportunities. What happens when a chance introduction leads to a pivotal casting decision? Recently, a connection led to the casting of La Matadora's lead role, making the announcement official. It’s a testament to the power of networking and the collaborative spirit within the film industry, bringing together publicists, filmmakers, and representatives from private equity and family offices. It's all about having "a meeting of the minds." This situation underscores the importance of cultivating diverse relationships and remaining open to unexpected synergies. It serves as a reminder that the next big opportunity might arise from the most unforeseen connections. Curious if anyone else has experienced how a single introduction can change the trajectory of a project? #FilmFunding #Filmmaking #Networking #MovieProduction #CastingDecisions

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There’s been a lot of talk this week about SAG-AFTRA’s new Verticals Agreement, the first contract to officially recognize micro-dramas and mobile-first storytelling. As someone who works directly with talent, producers, and creators in this space, I see both the potential and the growing pains. On one hand, this agreement legitimizes a format that’s been driving engagement and discovery for sometime now, short, serialized stories designed for our phones. It gives actors a pathway to work under union protections in a space that’s been a bit of a gray area. But here’s the catch: this isn’t a “one-size-fits-all” solution. Budgets, distribution models, and creative ownership all look different in vertical content. What works for a traditional shoot might not translate to a 3 minute episodic series built for mobile viewing. For the actors, it’s about understanding what you’re signing. For the producers, it’s about rethinking how we build sustainable ecosystems for this kind of storytelling. And for everyone in between, it’s time we start talking about how to do this right, together. There’s a lot more to unpack from industry folks, talent, and their reps alike, but one thing’s for sure: vertical storytelling is here to stay. 😴 (More thoughts on Monday).

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 3/15/26: Families kept the multiplexes humming over Oscar weekend with $28.5M in ticket sales for HOPPERS.    The Disney/Pixar Animation PG comedy adventure was playing at 4,000  theatres ($7,125), per Comscore. It's also benefiting from tracking best for first choice with under-25 women (eight points over norm). HOPPERS has done $86.8M domestic & $164.7M worldwide. BUDGET BUZZ: $150M to produce.   Universal's PG-13 romantic drama REMINDERS OF HIM opened #2 to an over-performing $18.3M at 3,400 theatres ($5,362), per Comscore. Hollywood handicappers were initially expecting $10-12M. It's tracking best for first choice  with over-25 women (two points over norm). Rotten Tomatoes critics are negative at 56%, but audiences are happy at 89%. BUDGET BUZZ: a modest $25M to produce.   HIM is directed by Vanessa Caswill (LOVE AT FIRST SIGHT) and stars Maika Monroe, Tyriq Withers & Rudy Pankow. It's based on the bestselling novel by Colleen Hoover (IT ENDS WITH US).   Domestic ticket sales were $83.7M, according to Comscore Head of Marketplace Trends Paul Dergarabedian. That's down 13.3% from the prior weekend, but up 54% vs. this time last year. Comscore's year to date tally has 2026 at  $1.41B, up 15.15% from $1.23B in 2025. The prior weekend had 2026 up 13.21% vs. 2025.   Meanwhile, back at the multiplexes: A24's R rated sci-fi thriller UNDERTONE opened #3 to $9.3M at 2,570 theatres ($3,634), per Comscore. Directed by Ian Tuason (EXTREME CLOSE UP), it's tracking for first choice below norm for all demos. Rotten Tomatoes critics are okay at 76%, but audiences are booing at 52%. BUDGET BUZZ: $3-4M to acquire rights.   Paramount/Spyglass Media's SCREAM 7 was #4 in weekend three with $8.4M (-51%) at 3,243 theatres ($2,575). It's done $106.5M domestic and $177M worldwide. BUDGET BUZZ: $45M to produce from Paramount & Spyglass.     Next weekend (3/20/26) 🐝🐝🐝🐝: Amazon MGM Studios' PG-13 sci-fi drama PROJECT HAIL MARY is opening at about 4,000 theatres. It's tracking best for first choice with over-25 men (nine points over norm). Rotten Tomatoes critics are already cheering at 94%.   MARY, directed by Phil Lord & Christopher Miller (THE LEGO MOVIE co-directors), stars Ryan Gosling, Sandra Hüller & the voice of James Ortiz.   . Searchlight/Mythology Entertainment's R rated comedy thriller READY OR NOT 2: HERE I COME is opening at about 3,000 theatres. It's directed by Matt Bettinelli-Olpin & Tyler Gillett, who also co-directed the 2019 original READY OR NOT.   READY 2 stars Samara Weaving, Kathryn Newton & Sarah Michelle Gellar. It's tracking best and equally well for first choice with under-25 men and over-25 women (each one point over norm). Rotten Tomatoes critics are already positive at 86%.   The first READY episode opened 8/21/19 to $28.7M domestic and did $57.6M worldwide on a budget of $6M.   (See more at www.ZAMM.com)          #movies #boxoffice #hoppers              

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Early in my career, I didn’t know the word transmedia. I was working as a game animator when something clicked. A game engine didn’t just make games, it could also build animated series, live experiences, interactive worlds…entire story universes. Later, I learned that Henry Jenkins defined transmedia as: “A process where elements of a fiction are dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.” I came at it from a more pragmatic angle. What if every asset, across every platform, was the same asset? One designer. One artist. One asset. Everywhere. Not duplicated. Not rebuilt. Not reinterpreted. A single source of truth. That became the core idea: use a game engine to develop an entire story world once, then distribute it seamlessly across a transmedia landscape. And it turns out - you can. Over the past 4.5 years, my team has used Unreal Engine to produce the A for Adley Family Cartoon. Those same assets have powered Fortnite experiences, been ported into Roblox, deployed in custom apps, and even used to generate children’s books through a custom Unreal-based book renderer. I didnt know transmedia was a thing. I just saw an opportunity and solved for efficiency, consistency, and scale and made transmedia storytelling viable for small creators.

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If your game lives or dies on connection…why would you remove the human from it? I spent a lot of time at GDC hearing teams talk about using AI for voices. And I get it, budgets are tough. Especially in indie. But when it comes to performance, voice isn’t just a delivery system for lines. It’s emotion. It’s nuance. It’s culture. It’s lived experience. It’s the thing that makes a player feel something. And that will never come from a dataset. It comes from a human being who has spent years training, working, and honing their craft. There are so many incredibly talented voice actors out there, at every level, who bring depth, connection, and truth to the work. And there are ways to work within different budgets that still respect both the project and the performers. Going fully AI should not be the path forward. All that time, energy, and care you’ve put into your game? This ONE choice risks losing the player connection that makes it truly resonate. #GameDev #IndieGameDev #GameAudio #VoiceActing #Storytelling #NarrativeDesign

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In this impactful Entertainment University Expert Series lesson, Randy Henry, a seasoned Detroit Channel 4 veteran director in television and media, delivers a powerful, real-world masterclass on what it truly takes to succeed behind the camera in broadcast television. With decades of experience shaping news, live programming, and studio productions, he breaks down the fast-paced world of television directing from control room leadership and technical execution to storytelling under pressure and managing live broadcasts with precision. Drawing from his career in one of the nation’s most competitive media markets, Randy provides students with insider knowledge on how television really works, the roles that drive production, and the discipline required to operate at a professional level. This session goes beyond theory, equipping aspiring directors, producers, and media professionals with the mindset, communication skills, and technical awareness needed to thrive in television and media. Designed for the next generation of industry leaders, this lesson empowers students to move with confidence, think quickly, and execute excellence in every production environment. 🎥 https://lnkd.in/eid7MQhJ #television #director #broadcast #media #production #leadership #atnetwork #entertainmentuniversity #expertseries

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Producer/Director James Pratt discusses strategies on attaching marketable and "name" talent to your film (Big Apple Film Festival Industry Networking Sessions). James Pratt is an award-winning director and producer residing in Los Angeles, California. His most recent work includes being executive producer on 4-time academy award nominee Edward Norton's Longevity Hackers (2024) and associate Producer on Harland Williams new comedy Film, Wingman (2025) which stars Kayla Wallace (Landman) and Jamie Kennedy (Romeo + Juliet). #BigAppleFilmFestival #FilmIndustryNetworking #JamesPratt #FilmDirector #FilmProducer #IndependentFilm #FilmmakingTips #AttachNameTalent #CastingStrategies #FilmProduction #HollywoodFilmmakers #LongevityHackers #WingmanMovie #IndieFilmmakers #FilmmakerNetworking #BehindTheScenes #MovieMaking #FilmFestivalSeason #CreativeProducers #DirectorLife

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In the world of film and television, terminology matters. Yet, it’s surprisingly common for people to confuse the roles of a Casting Director and a Talent Agent. These are two very different professions, each playing a unique and essential role in the production and representation process. Let’s clear up the confusion once and for all. To read, click the link in our linktree! #atlanta #film #tv #actors #talent #castingdirectors #talentagencies

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48 new film projects are the latest recipients of tax credits under the Film and Television Tax Credit Program. California Film Commission #FilmCalifornia #indiefilms

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I've been thinking about how much of the behind the scenes work in talent management is changing. Research, scheduling, content briefs, contract summaries etc, AI is quietly moving through a lot of the admin that used to consume entire afternoons. For those of us working in Talent Management, that's not a bad thing. It frees up more time for the work that actually moves the needle. The tools are getting better fast. But the job, at its core, is still about people. Curious ... how is AI showing up for you right now? Are you using it, avoiding it, or still figuring it out? Lets discuss...

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