Category: Movies, Entertainment & Media

The Bottomless Well of Nepotism and the Issue of Business Survival


My dear readers, I wish I could stop writing about it, but it never ends – there are always more examples to share. I already wrote The Curse of Private Business: Nepotism and then More on Nepotism, but I cannot resist the urge of giving a space to yet another example. And even though it concerns the entertainment industry, it is an important financial issue as well.

You see, in the deteriorating economic environment (and it will continue deteriorating), there is only a handful of industries that have a chance of surviving. Filmmaking is one of them. Not the whole of entertainment, but cinema in particular. People already pretty much stopped reading books, and who knows what's going on with the music industry. Only a small percentage of population can afford to go to the concerts, sporting events, or theater.

But no matter what happens, people will continue seeking an escape from their dreary lives in the darkness of movie theaters or in front of their TV screens. So, whether we like it or not, it is socially important that Hollywood spreads their financial resources wisely and survives. It would be even better if the production funds were also distributed with artistic responsibilities in mind, but that's a subject for another post (or, perhaps, even another blog).

From a strictly financial point of view, I cannot even complain about the stupid Michael Bay's movies – at least they make money. But I have a problem with irrelevant films that get pushed through studios and independent production companies with the help of connections and familial relationships. Some of them are not able to cover even 10% of their budgets. And not because they are complicated intellectual creations (I don't mind money being spent on actual masterpieces), but because they are simply crap. And it is not about the nepotism per se, as I previously wrote. It is about mediocrity and losses caused by nepotism. In any business, not just filmmaking, if nepotism results in success and profits, objectively it can be tolerated.

So, how is it done? The August 29th issue of New York Magazine had a little interview with Zoe Kazan – Zoe Kazan Needs Coffee, conducted by one of my favorite magazine writers, Jada Yuan. It is actually in the theater section, because on top of having her screenplay being made into a movie (He Loves Me), in which she also stars together with her boyfriend Paul Dano, this 28-year-old has a play, commissioned by Manhattan Theater Club, opening this fall in New York (!).

Of course, Ms. Yuan shines the light on the grounds of this first-time screenwriter's ability to penetrate Hollywood's entry barriers. She starts by defining the interviewee as Elia Kazan's granddaughter. Then she goes on to point out the connection between the directors spearheading He Loves Me – Jonathan Dayton and Valerie Faris, and the boyfriend (they directed Paul Dano in Little Miss Sunshine). Finally, in her last question she names Zoe Kazan's parents – both screenwriters: Nicholas Kazan (who co-wrote Frances, adapted Alan Dershowitz's Reversal of Fortune, and penned excellent, but underrated Fallen) and Robin Swicord, who has a good knack for adapting highbrow sentimental literature (Little Women, Practical Magic, Memoirs of Geisha, The Jane Austin Book Club).

And again, the nepotism would be okay (after all, we know how lazy people are – nobody wants to work hard and look for new talents), if writing was Ms. Kazan's genuine calling and her ideas were original. But He Loves Me is just another rehashing of the Greek legend of Pygmalion. And here is how she answers Jada Yuan's question, why did she start writing:

"Because when I was first trying to get acting jobs, there would be these huge slots of time, where I wouldn't have work…"

Soooo, she started writing because she had free time? Are you joking me? True writers write because they cannot live any other way. Not, because they need to kill some time or as a form of "self-actualization." The saddest thing is that I happen to know incredibly talented young writers with original ideas, who try and try again, querying agents and production companies just for a chance to get their excellent scripts read. Robert McKee says that one of the main concerns of the screenwriting professors is preventing their best students from killing themselves.

But Ms. Kazan? Whatever she is going to write, will be read by someone with a finger on the green-light button. And then, money and resources will be invested on something that only a small group of people (most of them also connected) will be interested to see.

CFO Folklore: “The Servant of Two Masters”


440940251img1_mediumTwo-headed bosses are common when people work for businesses founded by relatives, which, I am sure, can be a source of fascinating undercurrents and rivalries.  I invite my readers to share relevant stories.

I, on the other hand, worked (more than once) for equal partners who were not related.  Each of the duos consisted of individuals so different, it was a miracle they stayed in business together.  As a CFO, forced into the middle of the co-owners dynamics, I was able to observe common behavioral tendencies in the bosses themselves and people around them.

Business partners' alliances are usually symbiotic.  One is an idea generator, the other is an implementer.  One is brains, the other is money.  One can close a deal in seconds, the other makes sure the company performs.  They always complement each other, or they wouldn't be in the trenches together. 

Either will squeeze all juices out of you, and yet their personalities differ just as much as their abilities.  One is usually more diplomatic, better with people, logical, frugal.  The other is brash, careless, erratic, a lavish spender.  They don't see eye to eye about the majority of business issues and frequently talk to their CFO or Controller separately, presenting contradictory positions.

260 years ago, in "The Servant of Two Masters," Carlo Goldoni depicted the delirium of working for two employers who try to find each other without knowing they live in the same hotel.  Sounds familiar?  Poor Truffaldino is so anxious, he develops a stutter.  Imagine the hilarity!  Well, at least he got double wages.  When your single-salary job depends on maneuvering two conflicting bosses, you don't feel like laughing. 

Most people end up aligning themselves with one of them.  Sometimes, it works out in a natural way: if one owner oversees Production, while another spearheads Sales and Marketing, it is obvious where VP of Ops and VP of Sales allegiances will lie.  

Even when it's not clear-cut, people have a tendency to navigate with their issues toward the boss who is perceived to be "nicer," regardless of his preparedness to make relevant decisions.  As the result, you may end up with a wrong solution, or the issue is brought to the other owner's attention anyway; only now he knows that you tried to bypass him.   Either way, you are screwed.

CFOs and Controllers should not form any alliances when they work for two partners.  When monetary matters are concerned, both must be kept in the loop.  In super-important cases, get them into the same room, whether they like it or not.  I am known for bringing bosses into the office from their summer residencies in the middle of July, when I had to.

Of course, you have to earn your right to do so with hard work and authoritative success.  You also need to be very diplomatic with both of them – either must think you prefer deal with him and inform the other out of courtesy.  It takes Machiavellian skills to boss the bosses.  Otherwise, you will end up stuttering, like poor Truffaldino.

We Are All “Up in the Air”


MV5BMTI3MzYxMTA4NF5BMl5BanBnXkFtZTcwMDE4ODg3Mg@@._V1._SY317_ Back in the Fall of 2009, when "Up in the Air" was released, I didn't see it, but people told me I should have.  I watched it the other day.  Wow!  It is not just an excellent movie and the most realistic piece of American cinema I've seen since 2005.  It is also a gold mine of occupational themes that hit so close to home, it's unreal.  You know, the subtle truths about corporate existence, which are so familiar to those of us, who have been boiling in that soup their entire lives.  Thank you, Jason Reitman!

Our new economic reality of depressed businesses and desperate people serves as a recognizable background to the personal stories unfolding in front of us.  The uncertainty of survival in the contemporary corporate world is so pervasive, nobody knows what tomorrow shall bring.  "Living in the Now" is not a conscious choice of enlightened individuals anymore.  Whether a CFO or a receptionist, in companies large or small – every wage-dependent person lives one day at a time.

As the matter of fact, George Clooney's character, Ryan Bingham, is sent to large companies.  These companies can still afford to hire an outside firm to conduct the "separation" exercise for them, with fancy folders and severance packages. 

In small business environment, even during the best of times, you wouldn't think of spending money on protecting yourself from the brutal necessity of firing people with whom you worked side by side.  As a CFO/Controller, I've had my share of sitting across the table in a conference room, looking into a person's eyes and delivering the bad news.  I developed my own style as well: do it gently, make them feel better, give them hope…  Some even thank me at the end.  Just doing my job, like Ryan Bingham.

He, actually, works for a small company owned and managed by his boss (Jason Bateman), who (how typical!) changes his mind about the company's direction three times in a few depicted weeks.  Ingeniously, the filmmakers reduce smooth and dashing George Clooney to a powerless subordinate: his entire way of life is about to be changed by his boss's decision and there is nothing he can do about it.  "…Here's the boat?.. Do you want to be in the boat?"  You are either in or out.  You have no choice.  You swallow your pride and you go along.  Just doing your job.

What are we doing?  How do we go on and live with ourselves when we fire someone who is good at his job?  How do we sleep at night after dismissing hundreds of hopefuls' resumes?  And what happens when our own resumes get swept into trash?  Do people feel anything at all?  Those are our hopes that get dismantled.  Do we register the weight of what we do?  I don't know.

Everyone's life is up in the air, with no help coming.  Help ourselves? We can try to stay positive and continue struggling on – that's the best we can do.

 

“The Social Network”: A Case of a Failed CFO


Social_network_Andrew_Garfield_04 It's the Oscars week.  You cannot escape the promotional hype unless you cut yourself off from all media. 

The movie leading in the preliminary rounds (Golden Globes, various Guilds, etc.) is "The Social Network."   It's not surprising – the popularity of this movie is rooted in public's preoccupation with sudden success and overnight rise to riches.

Well, the reason for me to write about this film is that I cannot miss the opportunity to discuss a character, who in 2004 thought of himself as a CFO of Facebook. 

When Mark Zuckerberg appointed Eduardo Saverin to be his CFO, it was a logical step for the 20-year-old code-writing CEO.  Saverin was a close friend; appeared to be versed in business matters; more importantly, he had personal funds, having just made $300K through savvy oil investments.  Is this enough to make somebody an acting CFO?  Of course, not.  However, one could have learned how to be one.   It was not the case here.

If nothing else, the movie provides vivid illustrations to what a real CFO should NEVER-EVER DO.

1.  The first thing that Mr. Saverin did wrong was not taking his appointment seriously. He did not bother to define his role, his functions, his practical responsibilities.  If you are not creating the product itself, you should be doing other things that make you irreplaceable.

2.  When you accept CFO position, you become your CEO's partner.  That means you develop common vision, you define company's mission.  When it's finalized, you shove your disagreements aside and you do your best to facilitate the success on the chosen path.

3.  You NEVER separate from the company.  All experienced CFOs know that things can happen behind your back even if you seat in the next-door office.  If you are on the opposite coast and out of touch, consider yourself out.

4.  With startups, you should always try to utilize your company's growth potential to the fullest and then capitalize on it.  If Mr. Saverin wasn't so arrogant and argumentative, he most likely would realize that  online advertising brings real money only on a big scale.  Hence the right strategy was to look for more investors for the company growing with an astronomical speed.  Instead, he wasted his time setting up appointments with advertisers.

5.  If you want to stay with the company, you shoud NEVER do anything to damage it out of spite: closing accounts, calling the cops – that's just wrong.

6.  And you ALWAYS, not just read, but study every single legal document you sign.

Following the film's paradoxical leitmotif of an awkward kid creating the largest social network on this planet, the filmmakers suggest that Mark Zuckerberg pushed Mr. Saverin out of Facebook, because Eduardo got accepted into The Phoenix Club at Harvard.   

"You may say that I'm a dreamer," but I want to believe that Mr. Zuckerberg and people around him realized they have no use for someone who couldn't contribute into the exploding enterprise's development.  Just screaming all the time, "I'm the CFO," doesn't make you one.             

 

The Best Boss in Cinematic History


Ever since I started this blog, I have been searching my memory for a movie character who would exemplify the "ideal boss."  And I don't mean just some harmless person who stays out of your way.  Those are not good bosses – they don't bother you, but they don't improve your professional status either.  I mean a really-really good boss: someone who pays attention to his employees' progress, to their state of mind; someone who facilitates utilization of employees' potentials to the fullest; someone who goes out of his way for the sake of his subordinates' job satisfaction.

I know it is a mythical creature of Gandalf and Dumbledore proportions.  That's why I wasn't looking for real-life examples.  I have never met such a boss.  And even though I try very hard to be a decent manager myself, my professional existence is too erratic for following through with all good intentions.  Moviemakers, on the other hand, are in the business of creating larger-than-life characters that don't necessarily reflect reality, but provide for highly engaging and, in some rare cases, intellectually impactful experiences.  Look, Francis Ford Coppola and Mario Puzo gave us a myth of a person for whom honor, love for his wife and children, and fairness were the most important things in life – Vito Corleone.  Do people like that exist in real life?  Of course, not.

I love and know Cinema.  My tastes are very eclectic.  I don't go for the mainstream adventure crap of the Clash of the Titans type.  But, from Federico Fellini's Casanova to Mike Judge's Idiocracy, from Lars Von Trier's Dogville to Guy Ritchie's Snatch, if it's anywhere between good and brilliant, I saw it.  There are American and foreign directors whose filmography I can recite by heart.  I go to festivals and have an IFC membership.  Surely, I thought, I can come up with a character that fits my description of an ideal boss.

Alas, it was not easy and took me several months of periodic pondering.  But last week, it finally hit me.  Eurika!  I found him!  It's the San Franciso Police Department captain in So I Married an Axe Murderer wonderfully portrayed by the great Alan Arkin.  This guy not only notices that something is wrong with his employee, Charlie's friend, officer Tony Giardino (Anthony LaPaglia), but he actually listens to his complains.  Moreover, for the sake of raising his employee's morale, he goes out of his way and indulges Tony's fantasy.

Just watch (by the way, I am very grateful to whoever smoothly compiled this video, which actually consists of three separate clips from different parts of the movie).



 

Do bosses like that exist in real life?  No, but it's fun to watch and dream.