Ask An Assistant: Beatrice Lovett (Executive Assistant, MGMT Entertainment)

Beatrice Lovett,

Executive Assistant, MGMT Entertainment

Interview by Don Rutledge, Coordinator, Locations & Production Services, Universal Studios

Hi Beatrice! Thanks for taking the time. You started as an actor and attended Pepperdine for your BA (Theater and Media Production) and later, your MFA (Screenwriting). Can you talk about that and how it led to you pursuing management?

Hi Don, likewise! I moved out to LA to attend college and ultimately to act. I got a talent manager when I was a freshman and getting thrown into the industry that young really shaped me. I had unrealistic expectations of how my career would develop which was coupled with a talent rep[resentative] who wasn’t a great fit, which forced me to rethink my goals and pivot. 

I knew I wanted to learn more about storytelling, and I had always enjoyed writing, so I decided to get my Master’s in Screenwriting. While I was in the program, I had a blast reading my classmates' scripts, giving them notes, and introducing them to my friends who were already working in the industry. I was trying to advocate for my peers the way I wished someone would have done for me, and that’s where my desire to work in management began.

Today, you're an assistant at MGMT Entertainment with a focus on repping writers, directors, and digital talent. What's your day-to-day? And how did you initially land the role?

Well, I have two bosses—one of whom represents literary clients (i.e. screenwriters, directors, filmmakers) and the other represents digital talent (i.e. influencers who do brand deals on social media but are branching out into stand-up comedy, acting, writing, etc). Since my bosses have vastly different clientele, my responsibilities vary, but I’m mostly scheduling meetings for my bosses and their clients with producers and brands, fielding phone calls, and assisting with content creation and delivery. I also read incoming projects to determine if a client should engage, and I do some financial accounting too.

I got the job interview for my literary boss through a friend of a friend. After I had been working for my literary boss for a couple of years, I started working for my digital boss too. I was already developing a mentor-mentee relationship with her, so when she decided she needed an assistant, I was already there and it just made sense.

Does your MFA in Screenwriting come into play? Would you recommend further education for other early career professionals? 

For me, it definitely does. Having experience on the creative side has allowed me to connect with my boss’ clients and build relationships with them. I’ll read their stuff and we’ll talk about it, and it’s been great practice for when I have my own clients.

In my opinion, if you want to work in literary representation or as a producer, you should take at least one Intro to Screenwriting class and make a short film. Those experiences alone will inform how you give notes to creatives, since you’ll understand their perspective.

I think getting an MFA can be a good way to get hands-on creative experience, make connections, and build up a portfolio and résumé. However, it isn’t imperative to have a graduate degree in order to be successful in the industry, and there’s no guarantee that you’ll get a job after you graduate depending on the MFA program you’re in. 

You work hard to cultivate your individual taste and find emerging talent. Can you tell us a little about watching the comedy scene around town? How many shows do you see each month, and how do you find them? What are you looking for in the comedians you hope to represent? 

Shows are spread out across town, and you can typically only attend one show a night—maybe two. My favorite shows are the ones at small, cozy venues on the east side, but I also love a night at The Comedy Store going from room to room. I was going to a few shows each week before the union strikes, but now I only go to a few shows a month with the sole purpose of seeing the comedians I’m tracking.

I hear about shows through friends at the agencies and venues, but also by going on thecomedybureau.com and looking at comedians' websites for their show dates.

As for what I’m looking for in comedians I hope to represent, I tend to gravitate towards women, the LGBTQIA+ community, and weirdos. I particularly like people who have a voice and want to write and/or direct movies and TV shows, or even act. Bonus points if they’re self-motivated and always working on new material. 

Social media is a useful tool for new talent to showcase their skills, although I've also heard from comedians that the quantity of followers they have on TikTok, Instagram, etc. isn't always a good predictor of the comedian’s quality. What's your opinion on building a client’s social media presence and developing a fanbase?

In my opinion, it’s important for comedians to have a digital presence since they have to market themselves to a degree, and everyone is on their phones 24/7. For stand-up comics, you should definitely post clips of your sets and/or crowd work videos on TikTok and Instagram, and consider additional content if it feels authentic to you! I truly believe that if you’re authentic in your content your audience will find you… or rather the TikTok algorithm will lead them to you.

Can you talk more about supporting clients? Is management a bit like dealt cards where your career is only so good as the clients in your hand? How do you cultivate talent, especially talent whose job it is to make others laugh?

Your job as a manager is to support your existing clients and bring in new ones, so your focus is on them. However, you should encourage your clients to collaborate with other creatives and make things together. It’s about making sure your clients are building relationships and trying to create their own opportunities just as much as you’re trying for them. 

As for cultivating talented funny people, I think everyone has their own strategy. It also depends on what the person's goals are and what they want to be working on at that moment—then we can go from there. I always tell them to reflect on experiences that have impacted them and channel those feelings into their work.

Where do you think the comedy landscape is heading? 

I think it’s leaning more into the digital space, and people who are getting their start in that area are starting to be able to cross over more easily into traditional entertainment. Look at Meg Stalter for instance. She went viral for her TikTok videos and has since branched out into acting and stand-up. I’ve found so many awesome comedians on TikTok without even trying—the algorithm has just noticed I like stand-up comedy and people who make funny videos, and it sends people right to my "For You" page. Social media in general makes it easy to see a comedian's content and the amount of views they’re getting, so it’s like you can see their popularity in real time.

Let's say I've read this interview, and I’m ready to dive into the comedy management space! Any advice? Classes to take? What would you have told your younger self?

You can do a whole slew of things. Take a screenwriting class where you focus on writing a pilot or a feature. Film a short with your friends. Take an improv class. Go to as many stand-up shows as possible and scour TikTok for videos that make you laugh. Watch TV shows and movies. Moreover, just figure out your taste. Talk to comics after shows and just be their friend. Start cultivating relationships with other creatives. 

I would’ve told my younger self to slow down. Having a career as a rep is a marathon, not a sprint. It takes time to build relationships and for puzzle pieces to fit together.

Oh also—if someone bails on the show you’re supposed to go to together, still go by yourself. You never know who you’ll meet and you need to force yourself to be a social butterfly when you’re out. You can be anti-social when you get home!