From KCRW, I'm Kim Masters, and this is The Business.

Boy State, a new documentary from director's Jesse Moss and Amanda McBain,

plunges the viewer into a sea of more than a thousand rowdy Texas teenage boys,

politics junkies who spend a week on an educational exercise,

trying to devise a functioning government.

Moss and McBain have made more intimate films in the past.

They shot this one with the whole crew of cinematographers.

Because we'd been on fiction sets before, I did give everybody walkie-talkies.

I have to tell you, I don't think anybody used them because no one had time.

The work paid off boy state was a

hit at sundance setting a record for the biggest documentary buy ever at the festival at 12 million dollars

we'll talk with moss and mcbane about the critical process of choosing their central characters

the year they spent editing their reams of footage, and the bidding war that landed

their film with Apple and A24. But first on the news banter, of course you realize, this means war.

Stick around. It's the business from KCRW.

I am joined by my buddy and banter, Matt Bellany. Hello, Matt. Hi there. So, the town has been in an uproar this past week. A group of agents started out with four guys from CAA, but it turned out that they were part of a broader plan. They left CAA, and they said they were starting a new management company.

And there's been a lot of talk about how the agency business basically is not so great

anymore for various reasons.

For example, you know, it used to be if you pulled the brass ring and you got a show like

Big Bang Theory and you went into syndication, you would get extraordinarily rich as a client and your agent would also participate in the wealth.

And now you have everybody tilting towards streamers. You have an industry completely constricted

because of the pandemic, lack of cash flow, lack of, you know, opportunity right now.

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