It was no surprise that ICM wanted to cooperate. Aaron truly had a good eye, after all. But Aaron was somewhat cool toward package deals.
Aaron wanted to develop a film company, not content himself with being an independent producer. Rather than cooperate with an agency, he might as well sign production contracts with film studios.
Besides, Aaron was not someone like Steven Spielberg, who could casually attach his name to films.
Steven Spielberg participated in the production of multiple films every year and had been credited as a producer on plenty of bad movies.
Moreover, Spielberg had never joined an agency, and CAA's Michael Ovitz had always wanted to sign him to CAA.
Since the 1980s, Steven Spielberg had only made films for Universal and Warner Bros. If he really joined CAA, that would definitely have to change.
After Jennifer Connelly signed her contract with ICM, the two left.
Nancy Josephson arrived at the office of ICM president Jeff Berg. "Uncle Berg, I spoke with Aaron Anderson. He seems somewhat resistant to the agency packaging system!"
Jeff Berg smiled. "Resistant?"
"Though he's young, he has no shortage of ambition. His current film, Ghost, was independently produced by his Dawn Pictures."
"He bought the screenplay while he was still at CAA!"
Nancy Josephson said in surprise, "So after leaving CAA, Aaron first made the low-budget Phone Booth and turned it into a commercial success."
"Then he used the money he earned to directly develop Ghost. He really has guts, and his actions are certainly aggressive."
"Yes, aggressive." Jeff Berg nodded. "When he was an agent at CAA, he rarely managed talent. His work was primarily focused on film deals."
"He really is capable. He spotted rookie directors like Steven Soderbergh and David Fincher."
Nancy Josephson smiled. "Uncle Berg, do you