Chris Fenton’s book “Feeding the Dragon” explains the best way to suitable the capabilities and talents of other people and claim them for oneself

I was reading a book entitled Feeding the Dragon: Inside the Trillion Dollar Dilemma Facing Hollywood, the NBA, and American Business by Chris Fenton and it produced me curious how issues have changed inside the past quite a few years. The time frame in the tail end from the 20th century to present day brought us unbelievable advances in everything we could envision, telecom and medicine becoming two shining examples. Nevertheless it also ushered in the inevitable downsides of such advances - fast off shoring of jobs, mega online retailers crushing local mom and pop shops. Get additional facts about Feeding the Dragon


Maybe one of your least noticed but most pernicious trends is the rise with the Super Middlemen. They are the “experts”, with no whom absolutely nothing appears to obtain carried out. They've turn into an entire industry, peopled with “professionals” that add nothing for the equation besides perpetually drive the have to have for other people to utilize their services.


Such would be the tale woven by author Chris Fenton in Feeding the Dragon, a posterboy for appropriations of other peoples work. It is a book set against the backdrop of the extraordinarily lucrative business of cultural exchange among Hollywood and China. It is this experience that Fenton purports to possess that is certainly the basis for the book - a specific understanding that couple of people recognize. It really is unique understanding he somehow gleaned even though not speaking the language or spending considerable amounts of time in China.


As such, super middlemen’s sole objective appears to become using the status as “expert” to become gatekeepers to a whole market or at the least, parts of an market. The most effective example of those new super middlemen can loosely be referred to as the “Hollywood Agent”, who can grow to be movie producers devoid of carrying out anything more than lunch.


The job of a Hollywood agent is always to introduce producers to studios or actors to directors - that variety of thing. Within the past, it was limited to just that - introductions. Now, they invariably get in to the middle in the process, taking an active part in either the business or inventive process or both, adding extra layers to a deal that may be commonly currently a complicated process.


So, how is this feasible? Agents do not create an original thought for any film or television show. They do not write scripts. They don’t direct or create the film, they do not finance something and they're definitely not actors, no less than not ones you see on the screen. They are inside a exclusive position for the reason that the agent is representing someone or some thing that producers or studios want - an actor, director, script, intellectual property rights, and so on. And this really is precisely where they apply pressure and insert themselves in to the process. They know they could slow and even cease the intended project, siphoning off money with no making a thing or helping anybody apart from themselves. In quick, they acceptable others’ talent and labor to spend themselves.


Indeed, should you pay focus to credits on films you might have already been questioning why you'll find a great number of more producers than there were twenty years ago. The answer in one word, though perhaps just a little oversimplified is: agents. They simply insert themselves into the deal and viola, just like magic, a run of your mill agent has turn out to be a producer, regardless of they brought absolutely nothing inventive or financial for the project. Hat, meet rabbit. This really is perhaps the reason over the previous handful of decades we've observed the number of producers on films jump from possibly 3 or four to ten, fifteen even twenty.


But back towards the book that triggered these observations. Released in 2020 and entitled, Feeding the Dragon: Inside the Trillion Dollar Dilemma Facing Hollywood, the NBA, and American Business by Hollywood agent, Chris Fenton is usually a prime instance of an agent so lost in his own inflated story that he truly chronicled it in a book.


The book is supposed to be concerning the US film studios and their dilemma with China in regards to releasing American films there. Really, it really is a 270 web page egotistical journey, chronicling the author’s maneuvering to insert himself into the film creating process. But his story is about additional than that; he implies all of the way by way of and in nearly every circumstance that he was the guiding force behind all of the results the varying companies enjoyed.


The very good people more than at Terrible Book Club have study the book and have come to similar opinions, observing that the author “starts looking to tie himself to greater people and events” at every chance. The term they use is “starfu**er”. They go on to say, “it seems like he only survived by being close for the people who actually make the deals….”


Now, to be specific, he gives himself an out prior to the book even gets started. He says before chapter one:


Though I used extensive notes and also other supply materials to detail events from extended ago, certain creative freedoms did come into play, possibly resulting in some inaccuracies. My career has focused largely in the movie business, exactly where “showing” instead of “telling” is the norm. The quoted dialogue from real people all through the book was inspired by my recollection of each occasion and should not be taken as verbatim.


And just like that, he lets himself on the hook for each and every misstatement, exaggeration or comprehensive fabrication.


When you make a decision to read the book, read it very carefully simply because there is certainly plenty of double speak where he maneuvers the reader to assume quite a few issues inside the pages. For instance, he implies he developed the dual release tactic for the Bruce Willis film Looper, with one version for China and another for basic world release. He does not actually say he did it, and he most absolutely didn’t do it, but he absolutely wants to leave the reader with that impression.


And Impressions look to be what this book is about. So as to reinforce his specialist credentials, he liberally lifts paragraphs from other published operates, which normally leave the reader baffled. To once again quote Terrible Book Club: “I do not must read three paragraphs of an write-up about how cool you will be in a book you are writing about how cool you are.”


But he does not stop there. He makes certain to tell the reader that he logged 140,000 air miles over the course of a handful of years, implying that that was all between the US and China….his second home as he calls it within the book. But other published reports say he was only in China a handful of times - definitely not 140,000 frequent flier miles worth or enough to justify calling it you are second home. In attempting to make himself into an expert, he admits he doesn’t speak Chinese. Certainly, somebody claiming to become an expert in the way a country goes about its business must be fluent in the language, must have lived there and know the people and its culture. But he has accomplished none of these items.


This brings in yet another dilemma with agents or other so referred to as “experts”. People can self-publish articles or press releases stating they're an specialist within a specific field. But like lots of points on the internet, there’s no verification. You say “what’s the issue?” Properly, none if you’re writing concerning the Red Sox bullpen prospects or why pencil sharpeners are intriguing. But when you are claiming to become an expert on US / China Relations, your advice can cause real problems because US / China relations are tense just about all the time.


But back for the book. Possibly the silliest but most emblematic vignette issues the author when he was working as a waiter at Olive Garden. After he figures out the system for upselling patrons and winning Employee from the Month twice(!), he declares himself “an Olive Garden God” (web page 41). Drunk from the hubris of getting the Olive Garden God, he begins sneaking in to the restaurant walk-in refrigerator, at some point stealing and eating 273 tira misus.


But even as his manager fired him, Fenton spins the story in his favor, telling his future former employer techniques he could improve his business. The boss looked at Chris and pondered this and said, yes that sounds like a great thought, thank you Chris. Now does anyone really assume the incident occurred as written? Most will call BS but a lot of are going to be left believing, “he truly is often a great guy”. In spite of the reality he’s a thief and probably a confidence man.


And there you have it: in common agent fashion, one gets caught carrying out anything bad and embarrassing, the story gets spun into an accomplishment. Bravo!


Just after the Olive Garden incident, Fenton tells us, he began his profession within the film sector as an agent at the prestigious William Morris Agency. Following a profitable tenure there he moved on to DMG Entertainment, a international entertainment company that created such films as Iron Man 3 and Looper. He worked for that company for seventeen years exactly where he attained the position of President of North American Films.


That is what he tells us in his book even though journalist Andrew Rossow, Esq. did a little of investigating. In accordance with Rossow, this is the actual story: Fenton did get a job at William Morris exactly where he was fired. The reason Fenton provides is the fact that he was too nice a guy. Meaning, he will not tell us why he was genuinely fired. Subsequent, he got a job at MBST. There, he was fired for result in, reportedly for attempting to steal customers from the company. His entire tenure at MBST is mysteriously fully absent from his book. When one thing is absolutely left out of an autobiographical book, one has to suspect the worst.


Subsequent, Fenton started to accomplish freelance work as an agent for hire, his main client getting DMG Entertainment. There, He worked as a free agent on and off for many years till they lastly hired him. His time employed there was for five years not seventeen. He was subsequently let go from that company and is now embroiled within a $30 million dollar lawsuit for fraud, breach of fiduciary duty, and negligence.


And, there you've got it, the life and career of a Hollywood agent now, somehow, a china expert.

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