Chris Fenton’s book “Feeding the Dragon” explains the way to proper the skills and talents of others and claim them for yourself

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 things have changed inside the past numerous years. The time frame in the tail end of the 20th century to present day brought us unbelievable advances in every thing we could envision, telecom and medicine becoming two shining examples. However it also ushered within the inevitable downsides of such advances - fast off shoring of jobs, mega online retailers crushing local mom and pop shops. Get far more info about Feeding the Dragon


Maybe one of your least noticed but most pernicious trends is definitely the rise from the Super Middlemen. They're the “experts”, devoid of whom nothing at all seems to acquire carried out. They have become an entire sector, peopled with “professionals” that add absolutely nothing for the equation other than perpetually drive the require for others to make use of their services.


Such is the tale woven by author Chris Fenton in Feeding the Dragon, a posterboy for appropriations of other peoples work. It’s a book set against the backdrop of the extraordinarily lucrative business of cultural exchange amongst Hollywood and China. It's this expertise that Fenton purports to have that's the basis for the book - a particular knowledge that couple of people comprehend. It can be unique know-how he somehow gleaned whilst not speaking the language or spending important amounts of time in China.


As such, super middlemen’s sole goal seems to be using the status as “expert” to grow to be gatekeepers to an entire market or at the least, parts of an market. The most effective example of these new super middlemen can loosely be referred to as the “Hollywood Agent”, who can become movie producers without having undertaking anything much more than lunch.


The job of a Hollywood agent is always to introduce producers to studios or actors to directors - that variety of thing. Inside the previous, it was limited to just that - introductions. Now, they invariably get into the middle of your process, taking an active part in either the business or inventive process or each, adding a lot more layers to a deal that is definitely generally already a difficult process.


So, how is this feasible? Agents don’t develop an original thought for a film or tv show. They do not create scripts. They do not direct or create the film, they don’t finance anything and they may be certainly not actors, at the least not ones you see around the screen. They may be inside a one of a kind position simply because the agent is representing an individual or anything that producers or studios want - an actor, director, script, intellectual property rights, and so on. And that is specifically where they apply pressure and insert themselves in to the process. They know they could slow or perhaps stop the intended project, siphoning off money without generating a thing or assisting anyone aside from themselves. In quick, they acceptable others’ talent and labor to spend themselves.


Certainly, in case you pay attention to credits on films you may have already been wondering why there are actually a lot of a lot more producers than there were twenty years ago. The answer in one word, despite the fact that possibly somewhat oversimplified is: agents. They simply insert themselves in to the deal and viola, just like magic, a run of the mill agent has come to be a producer, in spite of they brought absolutely nothing inventive or financial towards the project. Hat, meet rabbit. This is maybe the reason over the previous couple of decades we've got observed the number of producers on films jump from possibly three 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 really a prime instance of an agent so lost in his personal inflated story that he in fact chronicled it in a book.


The book is supposed to be concerning the US film studios and their dilemma with China on the subject of releasing American films there. Actually, it really is a 270 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 each of the way via and in almost every single circumstance that he was the guiding force behind all of the good results the varying companies enjoyed.


The great people more than at Terrible Book Club have study the book and have come to similar opinions, observing that the author “starts trying to tie himself to higher people and events” at each and every chance. The term they use is “starfu**er”. They go on to say, “it appears like he only survived by getting close to the people who essentially make the deals….”


Now, to become certain, he offers himself an out ahead of the book even gets began. He says ahead of chapter one:


Although I used substantial notes and also other supply supplies to detail events from extended ago, particular inventive freedoms did come into play, possibly resulting in some inaccuracies. My career has focused largely within the movie business, where “showing” as an alternative to “telling” is definitely the norm. The quoted dialogue from real people all through the book was inspired by my recollection of each occasion and shouldn't be taken as verbatim.


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


If you make a decision to read the book, study it carefully mainly because there's many double speak exactly where he maneuvers the reader to assume lots of items in the pages. For example, he implies he made the dual release strategy for the Bruce Willis film Looper, with one version for China and one more for common world release. He does not actually say he did it, and he most certainly didn’t do it, but he absolutely desires to leave the reader with that impression.


And Impressions seem to become what this book is about. In an effort to reinforce his specialist credentials, he liberally lifts paragraphs from other published performs, which frequently leave the reader baffled. To again quote Terrible Book Club: “I don’t have to study 3 paragraphs of an article about how cool you happen to be in a book you are writing about how cool that you are.”


But he doesn’t quit there. He tends to make certain to inform the reader that he logged 140,000 air miles over the course of some 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 instances - definitely not 140,000 frequent flier miles worth or sufficient to justify calling it you are second home. In trying to make himself into an specialist, he admits he does not speak Chinese. Absolutely, someone claiming to become an specialist within the way a country goes about its business needs to be fluent inside the language, should really have lived there and know the people and its culture. But he has carried out none of these things.


This brings in another trouble with agents or other so referred to as “experts”. People can self-publish articles or press releases stating they are an professional inside a specific field. But like a lot of things on the internet, there’s no verification. You say “what’s the problem?” Nicely, none if you’re writing in regards to the Red Sox bullpen prospects or why pencil sharpeners are interesting. But if you are claiming to become an specialist on US / China Relations, your guidance can cause real problems since US / China relations are tense pretty much all of the time.


But back for the book. Possibly the silliest but most emblematic vignette concerns the author when he was operating as a waiter at Olive Garden. When he figures out the system for upselling patrons and winning Employee of the Month twice(!), he declares himself “an Olive Garden God” (page 41). Drunk in the hubris of getting the Olive Garden God, he begins sneaking into 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 strategies he could increase his business. The boss looked at Chris and pondered this and mentioned, yes that sounds like a terrific thought, thank you Chris. Now does any one really consider the incident occurred as written? Most will call BS but lots of will likely be left believing, “he really is actually a very good guy”. Despite the truth he’s a thief and probably a self-assurance man.


And there you've it: in standard agent fashion, one gets caught undertaking something bad and embarrassing, the story gets spun into an accomplishment. Bravo!


Immediately after the Olive Garden incident, Fenton tells us, he began his career within the film industry as an agent in the prestigious William Morris Agency. Following a prosperous tenure there he moved on to DMG Entertainment, a global entertainment company that made such films as Iron Man 3 and Looper. He worked for that company for seventeen years where he attained the position of President of North American Films.


That is what he tells us in his book while journalist Andrew Rossow, Esq. did a little of investigating. According to Rossow, this really is the actual story: Fenton did get a job at William Morris where he was fired. The purpose Fenton gives is the fact that he was too nice a guy. Which means, he doesn't tell us why he was genuinely fired. Next, he got a job at MBST. There, he was fired for trigger, reportedly for attempting to steal clientele in the company. His complete tenure at MBST is mysteriously fully absent from his book. When anything is entirely left out of an autobiographical book, one has to suspect the worst.


Next, Fenton started to do freelance work as an agent for hire, his primary client becoming DMG Entertainment. There, He worked as a free agent on and off for many years till they ultimately hired him. His time employed there was for 5 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 have it, the life and profession of a Hollywood agent now, somehow, a china professional.

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