UTA signs a dozen clients for art production including “Dune”, “You”, “Bombshell” as the London office picks up the pace

Exclusive: UTA has hired nearly a dozen senior production executives for its Production Arts division for television Oscars in several broad categories, including those who have worked. I don’t know, you Y Bomb.

Like an Oscar winner Dune Visual effects supervisor duo Brian Connery and Tristan Miles have been dating for the past few weeks. Bomb Hair stylist Ann Morgan, king man Producer David Reed e pennyworth / you Executive producer Matthew Patnik.

UTA customers have won four Oscars this year, including Tammy Faye’s eyes Justin Really for makeup and hair, Dune Greg Fraser for Best Cinematography and Achievements in Patrice Vermet’s Production Design for the same film. Many were influenced by Oscar-winning UTA representative Paul Lambert. Dune The visual effects supervisor, according to the agency, will join UTA.

Speaking exclusively to Deadline, UTA production manager Pete Francioza, who oversees the Los Angeles and London teams, said the agency was “talking to the public” after a controversy over several Oscar categories was dropped. .

“It’s hard not to get involved so much in the show, so we want to celebrate these amazing artists,” he added.

Other new companies include aura Visual Effects Manager Dominique Reman, Lord of the Rings’ Toby Walters, bandits of time James Ledwell, The Hobbit The manufacturer Zane Weiner e Clock Duet Parker Chehak and Chris Wright.

The London branch of the UTA Production Arts team has been open for over three years, registering nearly 300 clients and increasing the number of agents by 50% annually, including recently hired sales agent Paul Hartley.

Françoise is a leading actor and wanted to enter the UK as tax breaks led to a huge boom in film and TV production, which cost nearly მილი 6 billion (US $ 7.5 billion) last year when the UK came out of a pandemic in a great situation. . path.

“The UK has become very important to our business,” he said. “This nation provides such money distribution projects that have a significant budget. Our growth rate was similar to that of the manufacturing area in the UK and Europe. “

The UK tax credit incentive offers up to 25% of a film or show budget for projects that shoot more than მილი 1 million (US $ 1.25 million) per hour.

François said UTA’s London operation helped “modernize the deal” in the UK and Europe, “appreciating more American deals” in the local arts sector.

“Traditionally, the rates here were lower, so we tried to get them to agree on how much artists in the US pay. An artist who produces an extraordinary film should be rewarded all over the world, at the same pace.

He said UTA was unique in targeting UK and European markets and would continue to invest in agents and customers “to be creative and magical”.

“I don’t think the UK was as tight as we were. We didn’t just want British and European clients, we wanted incredible talent on the ground to oversee the growth of the business. “