In short
Edgar Bronfman Jr. discusses conviction, family-business dynamics, and building entertainment/music/spirits empires—plus lessons on relationships, leadership, and opportunity.
Guests
Edgar Bronfman Jr. (former CEO/co-founder of Warner Music Group; ex-CEO of Seagram and Universal Music; runs Waverley Capital/venture firm). Host: “Stardguy” (Stadgeist/“Around the World” podcast host).
Key claims
Leadership success depends on what you do “once you’re in the room,” not how you got the door. Family businesses require early expectation-setting and unanimity “in spirit,” not just in word. Entertainment and spirits share “emotional end benefits” (selling dreams). Distribution and digital platforms massively expand addressable markets.
Notable examples
As a teen, he co-produced a 1972 film (Peter Sellers, Charles Aznavour) after being told “if you think it’s so wonderful, why don’t you produce it?” He helped greenlight Gladiator after Spielberg called with a script recommendation. He describes Doug Morris’s firing and rebound to run Universal Music. He recruited Dr. Armand Bose for theme-park sound, learning the “recognize what you already have” lesson. He explains selling DuPont stake via a tax loophole before entering MCA/Universal and later building Universal Music Group.
Written by AI. May contain mistakes. Listen to the episode to check what was said.
Chapters
Tap a time to open that second in VOEarly Life of Edgar Bronfman Jr.
1:41 to 3:21
Explore Edgar's upbringing and his initial resistance to family expectations.
“Thank you for being on the Stadgeist podcast.”
First Steps in Film Production
3:21 to 4:58
Edgar recounts his early experiences in the film industry and his first job.
“what we called sleepaway camp was eight weeks.”
Naivete and Learning in Film
4:58 to 6:32
Learn about Edgar's first major project and the lessons he learned as a young producer.
“They needed twine or they needed this or they needed that.”
Turning Point in Career
6:32 to 8:11
Edgar discusses how a challenging situation led to the completion of his first film.
“myself, well, I watched you last year on doing your first movie and you didn't really know what you were doing.”
Transition to Music and Family Business
8:11 to 9:39
Edgar reflects on his transition from film to the music industry and family business.
“but we hadn't gotten it yet, and so I wrote about 40 ,000 pounds worth of bad checks.”
Joining the Family Business
9:39 to 13:20
The story of Edgar's eventual decision to join the family company and his conditions.
“And it was when that movie was being released that my dad and I had dinner and then he asked me if I would come and join the company.”
Adjusting to Corporate Life
13:20 to 14:00
Edgar shares his initial experiences and observations as he joined the family business.
“it's his decision to make, but I would leave at that point.”
Family Dynamics in Business
14:00 to 17:04
Explore the impact of being the CEO's son and the responsibilities that come with it.
“been part of my life or the family's life forever.”
The Making of Gladiator
17:04 to 19:15
Learn the behind-the-scenes story of how the movie 'Gladiator' was conceived.
“As I said, he's just an incredible human being in all sorts of ways.”
Hiring Doug Morris at Universal Music
19:15 to 21:49
Hear the remarkable story of how Doug Morris was hired after being fired from Warner Music.
“The music company was still called the Music Cemetery of America.”
Show all 26 chapters
The Founding of Bose Speakers
21:49 to 25:04
Discover how Dr. Armand Bose's insights led to the creation of Bose Speakers.
“And when we were building the theme park, I realized that one of the things I hated about theme parks was their sound.”
Lessons from Family Businesses
25:04 to 28:03
Gain insights on managing family dynamics in business and achieving success.
“If by any chance you could afford to give me my$10 ,000 back, I'd really appreciate it.”
Navigating Family Dynamics in Business
28:03 to 35:04
Learn about the challenges and decisions faced in a family business context.
“which Charles went along with, but really didn't want to.”
Navigating Family Dynamics in Business
35:07 to 35:38
Learn about the challenges and decisions faced in a family business context.
The Intersection of Spirits and Entertainment
35:38 to 40:49
Explore how Edgar Bronfman Jr. managed both a spirits business and a music empire.
“What did it look like to run these businesses for a period of time simultaneously?”
Building a Music Juggernaut
40:49 to 42:00
Understand the strategies behind the growth of Universal Music Group.
“What did the music side of things look like back then?”
Navigating Family Business Challenges
42:00 to 44:48
Learn about the complexities of maintaining family relationships within a business context.
“they sold Interscope to us because Interscope distributed Death Row and at the time that was very controversial.”
Encouraging Independence in Children
44:48 to 46:40
Discover how Edgar Bronfman Jr. fosters independence and success in his children.
“and for anybody out there who likes rum, try Pindrop Rum.”
Balancing Career and Family Life
46:40 to 49:45
Explore the challenges of balancing a demanding career with family responsibilities.
“His lyrics are so good, and by the way, so much better than anything I've ever written, that it's a joy to listen to what he wrote.”
The Importance of Choosing a Life Partner
49:45 to 52:08
Understand the significance of selecting the right partner for a successful marriage.
“There's, of course, the famous quote behind every strong operator is a strong partner in the household.”
Maintaining Intimacy in Relationships
52:08 to 53:22
Learn strategies for keeping intimacy alive amidst family and career demands.
“The one thing I do remember talking about is that it is important to maintain intimacy with each other.”
The Evolution of the Entertainment Industry
53:22 to 56:00
Examine how changes in the entertainment and spirits industries impact business models.
“in particular for the businesses that you run, do you think that the way the industries of spirits, music, entertainment, and everything in between have developed would have worked in your favor as an owner and operator?”
The Rise of Celebrity Alcohol Brands
56:00 to 57:38
Explore the trend of celebrities launching their own alcohol brands.
“because I think when people were trapped for up to a year or more, drinking was on the rise, and I think people realized that was probably not, you know, they don't want to continue like that.”
Lessons from Music Piracy and Consumer Demand
57:38 to 1:00:22
Learn about the impact of music piracy on consumer behavior and the importance of understanding market demand.
“of these singers, actors, and social media people starting alcohol businesses in particular?”
Addressing Climate Change and Its Challenges
1:00:22 to 1:03:23
Discuss the urgent need to focus on climate change and practical solutions.
“And I think the other thing, which is much easier to discover today than it was when I started out, is do people want what it is you're selling?”
Creating Opportunities for Entrepreneurs
1:03:23 to 1:04:47
Discover the mission of Endeavor.org in scaling businesses and promoting entrepreneurship.
“but even around the world, there are pockets of it in Scandinavia, et cetera, but there just isn't enough focus.”
Transcript
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1:11If you were under 18 and you wrote a bad check, you couldn't be prosecuted. So I thought, okay, well, worse comes to worse, I might have to write some bad checks. You know, I always like to say when they invented marriage, people died at 30. In terms of things that I celebrate, the most important thing to me beyond my family is...
1:27The Gstaad Guy:Around the World with your host, the Stardguy. We welcome you back to the Stardguy podcast, sharing stories of excellence with those in the know for those who just know. Thank you so much for being here. Thank you for being on the Stadgeist podcast. As many of our viewers know, you are Edgar Brunfman Jr., the ex-CEO of Seagram, Universal, and Warner Music. And today you run your own venture firm, Waverly. Right. And you have achieved tremendous success in your career. You have experience as a founder, as a creative, and also as a family business operator, all which come with their very different and unique challenges.
2:13And I've been lucky enough to know you since I was about 13 years old.
2:19The Gstaad Guy:I shared a school bus with your kids and became very close friends with your kids, one in particular who is sitting right here. And we built a long friendship since then. Well, I remember meeting you when we lived in London. and you and Aaron went to school together, my wife and I became really friendly with your parents as well. And it's been a long and very happy family friendship. I would love to kick off this conversation by learning a little bit about the life of Edgar before I had the chance of meeting you and learn a bit more about your path from growing up in a family where there was likely an expectation of joining the family business, but then, to my understanding, taking your own creative path instead straight out of college?
3:20I was one of those kids who, well, back in the day when I was young, what we called sleepaway camp was eight weeks. There were no sort of three-week or 10-day options. It was eight weeks. And I hated every minute of every day there. I think I started when I was about nine going away to camp. And there's just no charm to me, unfortunately, in sleeping on the ground or going to an outhouse because there was no plumbing back in those days at camp. And I just didn't like any of the activities, really, except for sailing. And so finally, when I was 14 turning 15, I said to my dad, look, I'm just not going to go to camp again.
4:15Just not doing it. I mean, I'll work. I'll do anything. But just please don't send me to camp. I can't go to camp. And it turned out that my father had invested in a film that was shooting in London. And he got me a job as a T-boy, what here would be in the US would be called a gopher. But at the time, at least, was called a T-boy. And for 10 pound a week, but I got breakfast and lunch on the set, I was just an errand boy. And it's a great way to learn to get to know London because I was not given cab money to go find. They needed twine or they needed this or they needed that. And, of course, in those days, not only were there no mobile phones, there were no – so you couldn't Google it.
5:05You just had to go search. And it was a lot of fun. I really loved it. And I met a lot of wonderful people there. It happened to have been David Putnam was the producer. It was his first movie. Alan Parker was the writer. It was his first movie. And there were just so many great people around. And I said, you know, I think this is what I want to do. And David Putnam was kind enough to invite me back the next summer. He was shooting another movie to be, quote unquote, his assistant. And it was just, instead of being a gopher for everyone, I was really just a gopher for David, except he also asked me to read scripts.
5:55And I read this one script that I thought would make the best movie in the world. I thought it was one of the best things I'd ever read. And I tried so hard to convince David to make the movie, and he had no interest in doing it. And finally, he looked at me and he said, Edgar, if you think it's so wonderful, why don't you produce it? And I said to him, David, I'm 16 years old. I can't produce a movie. And he said, why not? And those words were super important to me because I thought to myself, well, I watched you last year on doing your first movie and you didn't really know what you were doing.
6:37You just hired a lot of good people. Maybe I could. And so with the complete naivete of someone who really didn't know what they were doing and was way too young to do it, somehow uh i managed to co-produce uh a movie starring peter sellers and charles aznavour and a whole bunch of people it was dreadful um david was 100 right 90 plus percent of the movie took place underground um so it was dark and um not well regarded uh so great cast though Great cast, really a great cast, and it was a tremendous experience. And we started the movie with half the money and hoping to raise the money while we – this was 1972.
7:34So I just turned 17 when we started shooting, and I had looked up that in England, if you were under 18 and you wrote a bad check, you couldn't be prosecuted. So I thought, okay, well, worse comes to worse, I might have to write some bad checks. Because in those days, you'd write the checks, they'd be deposited. It was a long process, and it didn't show up in your account for at least 10 days. There was no such thing as wiring or anything like that. and we were very close to getting the rest of the money, but we hadn't gotten it yet, and so I wrote about 40 ,000 pounds worth of bad checks. I always remember on the National Westminster Bank, and about a week later, I get this frantic call from the bank manager, and at the same time that I got that call, I was talking to the financer who was saying, yes, I'm willing to do this, and I tried to put them on conference by, excuse me, by having the two phones.
8:42There was no conferencing. And they said they'd call each other directly and the movie got finished.
8:49The Gstaad Guy:And from that point you went on to focus on your film career. Yeah, I never really wanted to go to college and so I didn't. My dad wasn't too happy about it, and it caused a real rift with him. But I was on my own, and I had to make it work, and I had too much pride to go crawling back. So, you know, I scrapped around. I did a couple of Broadway shows. They didn't work. I did a daytime television special that was nominated for an Emmy. And then I, after a few years, did a movie with Jack Nicholson called The Border when I was 25 and sort of managed to get through. And it was when that movie was being released that my dad and I had dinner and then he asked me if I would come and join the company.
9:49The Gstaad Guy:And the songwriting and music element was during the film Passion? Yes. Well, that just started because I was at dinner with somebody, and he was with a friend of his daughter. He had promised he would take her out. And we went back to his apartment, and she started playing the piano and singing. And I thought, oh, my God, this is like a goddess and so talented and whatever, whatever. so I said I got to learn to write lyrics I've got to date her how most am I gonna so that was my angle and I started writing with her and then I got signed to a music publishing deal and the publisher introduced me to now probably my one of my oldest friends in the world Bruce Roberts and we've been writing together I've written with a few other people too like David Foster but we've written a lot together over the years.
10:51So age 25 at dinner with your father. Yeah, I was actually 26 by that time when the movie finished. And he just said to me, would you, well, I was a big shot, meaning I said I'd take him out to dinner and I thought he would pay, right? But he didn't. He just made, he just waited and waited. He didn't care. and it was an expensive restaurant and I'm like, okay, he's just not going to do it. So I had to pay the dinner. I always remember that. It's like, you know, careful what you say. And then the next day, his assistant called me and said, could I come in and see him? And he said to me, I'd like you to come and be part of the company.
11:39The Gstaad Guy:And how did you feel about that at the time? I had mixed feelings, honestly, because, you know, I had just done this picture with Nicholson. That was a big turning point potentially for my career. The truth is in Hollywood, if you get to that level, you get more pictures made, even if the one you made wasn't that great. And I went back to L.A., which is where I was living, and every friend of mine who'd seen me struggle in the entertainment business, I expected to say, listen, you finally made it here. You're crazy, whatever. And they said exactly the opposite. They said, are you nuts? Of course you're going to go do that.
12:19And I did. And I went to New York to have dinner with Dad. And I said to him, you know, my answer is yes, but I have three conditions. So he said to me, well, I knew your answer was yes. I said, how did you know that? He said, well, you wouldn't have flown all the way here to say no. And I said to him, well, we have a lot to get to know about each other because I would always have flown here to say no. I could have said yes on the phone. So that he kind of looked at me a little bit like, hmm. And then I just told him that whatever job, it shows you how little I knew about corporate America, whatever job he was going to give me needed to be temporary because if I didn't like it, I was leaving.
13:03I didn't want some responsibility that I couldn't fulfill. Second, I had an older brother already in the company, and if it wasn't all right with him, I didn't want a civil war in the family. And three, I just wanted him to know that if I came in, I'd obviously have to prove it, but I was coming in to run it. If ever he decided that I was going to be number two or number three, it's his decision to make, but I would leave at that point. And he said, I think I can deal with those conditions. And I started working there.
13:34The Gstaad Guy:And what was the transition like from being a California creative to being an executive in a New York alcohol business with thousands of employees? Well, first of all, I did for three months. I was another errand boy for one of the executives. But it felt great, actually. I mean, it felt in a way like coming home, been part of my life or the family's life forever. and it felt great. I was shocked at the craziness. I mean, honestly, it was not, I found at least knowing as little as I did, I still had the arrogance to decide this is not a well-run company. And I was actually working for the president of the company and I had to make trip reports, like book reports, and whenever we would travel, who we met with and what was said, etc.
14:41It seemed like a gigantic waste of time. But anyway, I did that. But I also at the same time started a file called LSD. And that file contained memos and thoughts from various executives where the only possible explanation for what they put down on paper was that they were on LSD at the time. there were just things that you couldn't believe and look at this and just say this is insane including the president of the company i then rose up to the company obviously i had the advantage of being the ceo's son so i was given more responsibly sooner than anybody else would have been. But the important thing was that I took those responsibilities seriously and did, I must say, extremely well with the responsibilities I was given.
15:36Otherwise, I would never have had the opportunity to become CEO. So I always tell my kids and my friends, it doesn't really matter who got you in the door. It's all on you once you're in the room. right and so lots of people get in the door lots of different ways through friends or this or that or but it's all yours once you're in the room and so it's not again how you got the opportunity it's
16:04The Gstaad Guy:what you do with the opportunity for sure so so how many years were you working with your father and with the business before you became the ceo i became ceo so uh 12 years well 12 years and were Were you working alongside your father during that whole time? No, not all the time. I went to run Seagram in Europe for a few years living in London. I came back. I was running the U.S. spirits business, then all of the U.S. And I would see him on a work basis once or twice a week, but it wasn't like I had a desk in his office. because I think he really wanted to see what I could do. And I wanted to prove to him I could do well.
16:56The Gstaad Guy:I'd love to hear more about how Gladiator was made during your exposure to the movie world. It was a pleasure to create a relationship with Steven Spielberg. As I said, he's just an incredible human being in all sorts of ways. And fairly early on, actually for the first two or three years that I was at Universal, the studio was just unerringly terrible. We had flop after flop after flop, and it was really, really discouraging. And one day on Friday afternoon, I get a call from Steven Spielberg, and he says to me, listen, Edgar, your team has passed on a script which I think is going to make a really good movie.
17:45obviously we owe you the first look because this is a deal that i have made with dreamworks but if you guys are going to pass we'll take it to another studio i really think you should read the script over the weekend and call me on monday because i really think your team is wrong on this one okay so i said thank you for the opportunity and i hung up the phone and i thought to myself you know what i don't even really need to read the script if steven spielberg's telling me it's a great script and my team who've done nothing but make disasters, you know. But anyway, I did read it. I thought it was a fantastic story.
18:18I called Stephen Monday morning and I said, thank you so much. We're going to make the movie. I said, can you just do one thing for me? He said, what's that? I said, well, there are lots of moments in the movie where it says somebody's throat gets slid or somebody's thing gets sliced open. And I said, it's an expensive movie with no star because at the time there was the movie made someone a star but I said it's very expensive can you just make sure it's not so bloody that nobody can go see it he said don't worry and that movie turned out to be gladiator wow and when I told my team we were making gladiator they said we can't make that movie and I said why not they said it's a toga movie I said what's a toga movie they said it's a historical drama no one goes to see historical dramas I said you know what I think people go to see good stories, and we're making this movie.
19:09And then the other, I would say, there's another time when we had just bought MCA. We were renaming it Universal. The music company was still called the Music Cemetery of America. And one of the best, this is 1995, one of the best music executives in the world at that time, it might be, was a guy named Doug Morris. And he was running all of Warner Music in the U.S. and he was, I thought, about to be named head of music globally. And the guy running MCA, I didn't think was really very good. I had just gotten there, but I didn't think it was really good. And David Geffen actually calls me and says to me, they just fired Doug Morris.
19:55And I'm like, David, don't be ridiculous. They're promoting him. he said I'm telling you they just fired Doug Morris I'm like David can't be and then you know David who starts every conversation at DEFCON 5 you know sort of starts screaming I am telling you this is what's happened it's my okay so I call Doug's office and I spoke to his assistant and and I said is Doug there she said no he's on his way home he had a home in Long Island and in those days there weren't cell phones, 1995, but there were car phones. So I said, do you think you can reach him in his car? And she said, I'll try. And so I got a hold of him in his car and I said, hi, Doug, how are you?
20:41He said, well, it's the worst day of my life. He said, not only have I been fired after 25 years at the company, but I was escorted by security out of my office and told I could only take my briefcase. and they accused me of theft or stealing on my expense reports, et cetera. He said, I'm devastated. So I said to him, well, I said, Doug, have you actually seen a movie called The Shawshank Redemption? He said, yes. I said, well, Doug, you're the guy who just got out of prison and I'm the guy who's waiting for you on the beach. And he said, what? I said, turn the car around. He said, what? I said, turn the car around.
21:25And two days later, he was the head of Universal Music. Wow. Wow. And he did a phenomenal job. That's amazing.
21:34The Gstaad Guy:I love these stories. I mean, you have no shortage of these amazing, inspiring stories. If you don't mind, I'd love to hear again the one about introspection with your friend who ended up founding Bose. Well, I mean, I certainly couldn't call him my friend, but Dr. Armand Bose founded Bose Speakers. And when we were building the theme park, I realized that one of the things I hated about theme parks was their sound. They're just so, they're like airports. You can't really hear anything and it's just awful. And so I went to see Dr. Bose. I got myself an appointment to go to Boston and see Dr. Bose.
22:21and ask him whether he'd be interested in helping us. At the time, he was a professor at MIT? He was originally, as a young man, a professor at MIT. By this time, he was an older gentleman and had built the company to heights. And in trying to just have a conversation with him, I asked him, how did you start this company? And he said, well, actually, he said, I had put together sort of a mathematical formula. He said, I was a math professor at MIT. That's all I was. to reduce sound in a way that would allow it to project in a small space rather than a large space. And he said, and I went around trying to get people to buy it from me or license it from me, and nobody would.
23:08So he said, one day I went to see this older professor, he said I was a young man at the time, who spoke in riddles, but everyone thought he was incredibly clever. and I spoke to him and I told him my problem and he said to me, Armand, he said, do you know what my father, his professor's father did during World War II? And of course, Armand said, I had no idea. And the older professor said, well, he was trapped in China during World War II and he made his living as a, I want to say as an antiques dealer, but it wasn't that fancy. He would just go out into the country, get knickknacks, and come into the city and try to sell them.
23:57That's what he did. And he said, and Armand, do you know what is very important, the critical part of that person's job? And Armand Bo said, no. He said, it's not finding something of value. It's recognizing that you have something of value. and that, he said, I hope that's helpful, goodbye. And Armand Boz left his office, like, what was that about? And then about three days later, he told me, Armand Boz told me, I realized what he was telling me was that I had something of value and I wasn't recognizing it. And so I went to him, and he put up$10 ,000, and some other people put up some money, and I started the Bose Company.
24:49Wow. And a nice addendum to that story is about seven years later, the older professor had retired, was living in California, and wrote to Dr. Bose and said it was still a private company. He said, look, I've got cancer. It's got a bunch of expenses. If by any chance you could afford to give me my$10 ,000 back, I'd really appreciate it. Wow. And Dr. Bo said nothing has ever made him happier than writing that mana check for$250 ,000, which is what his$10 ,000 was then worth.
25:24The Gstaad Guy:Wow. Incredible story. Yeah. Well, thank you so much for sharing. Absolutely. Lots of our listeners today are part of family businesses and I'm sure work hard to have a similar path where they can maintain a good relationship with their families and their parents who's likely running the business, but also prove themselves and rise to the top without threatening that relationship. Are there any lessons you can share from how you did that? well i think there's there's a couple of broader lessons for family businesses because we ended up selling the company um i think i think expectation setting is really critical right away uh people need to know what the what the goal is and what the potential path to that goal is number one number two there has to be effectively unanimity in the family, or at least with the pertinent members of the family who are charged with the business, there really needs to be unanimity.
26:36Because what I learned is while there was unanimity in word, there was not unanimity in spirit and emotionally. And so my father and uncle who always had um i would say a difficult relationship my father was the older brother um i think i mean i don't know i think charles always felt a little bit in his shadow he my my father was more gregarious uh more outgoing um and he was the chairman and ceo and that was always going to be the case because my grandfather was very patriarchal and a huge Anglophile so the first son was definitely but Charles also had a very important an equal percentage of the company as my father and though he didn't
27:36he ran bits of the business like Canada for a while but when I got there he was not really in charge of anything except Seagram had a large investment at the time in DuPont. Charles was in charge of that investment. But we sold that investment, which Charles really didn't want to do, but he went along with it. And then we bought MCA, which turned into Universal, which Charles went along with, but really didn't want to. And then eventually we bought Polygram and made Universal Music Group, which is then and now still the largest music group in the world. And Charles didn't like that either. And I think the level of enmity that existed was very, very unfortunate.
28:30And I think if I had to do it all over again, I would have done the same. I would have made the same decisions. DuPont was a complete flatliner for the next 25 years after we sold it. And the entertainment business grew exponentially. But I would have found, I should have found, I think, a way to diminish Charles's role in a fair and equitable way, but just, I don't know, buy part of his share out or somehow let him feel freer than he felt trapped in a company that he didn't like. He didn't like the direction it was taking.
29:17The Gstaad Guy:It's undeniably unorthodox to go down a path of entertainment and music with the existing business and success of a company like Seagram. Why take that path? so first of all in the days that uh when i first got into the company really pretty much until 2000 the spirits business was declining fine uh when i first started we had here in the u.s mothers against drunk driving which is a perfectly good cause and you know there was just a lot of energy pushing down the consumption of alcohol. And so it was a good cash flow business, but it didn't have a lot of growth. And what I used to say to the board is, in the stewards business, I said, every year I wake up 5 % down because my volumes are going down about by 5 % globally, and I don't have any more pricing power.
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30:24So I've got to figure out how to manage that in a way that allows us to grow profit, which just meant I kept having to cut, and that wasn't great. In the meantime, my father had made a brilliant decision to sell a small oil business that my grandfather had bought at a great time in the market. And so you can receive$2 billion for that oil company, 1980 or 81. and then tried to buy a company. That didn't work out, thank goodness. And then tried to buy a company called Conoco, another oil business. He said, look, I've sold our oil business at$12 a barrel in the ground and the price of oil has now gone to$3 a barrel in the ground.
31:17Might as well get back in. And it ended up that DuPont bought Conoco instead. but we ended up in all of that with about 23 % of DuPont. And it was a very successful investment for a time. And eventually I went on the board and it was a good company but you could tell I was worried about two things. I didn't see that it's a commodity business. I didn't see the real opportunity for growth in the commodity business. and in the late 80s, I believe, there had been this explosion in Bhopal, India. It was Dow chemical, but it killed thousands of people. And I was very worried that something like that could happen to DuPont.
32:06And of course, they took great precautions and thank God nothing has happened, but they're transporting very dangerous chemicals all over the world. And you never know. So I was worried that there was no real growth left. It was dangerous. There could be a really negative event. And then the thing that really tripped up or made me move was our lawyers came to us and said, there's a loophole in the tax code. And they said, one person is going to walk through that loophole and then Congress is going to close it. And that loophole effectively allowed us to sell our stake in DuPont for a 7 % dividend received tax rather than a 34 % capital gains tax.
33:00And we had a capital gain of about$6 billion. So that differential of 25-ish percent was about$1.6 billion. And I'm like, okay, we got to do this.
33:20And we did. The only buyer was DuPont. It took about 18 months of negotiations with DuPont. And in the same week, we'd been separately negotiating only for about two or three months with Matsusha Electric that had bought MCA before it wasn't called Universal at the time. And unfortunately, we announced the sale of DuPont and the acquisition of MCA in the same week, which was entirely coincidental, but nobody thought it was coincidental, and I can understand that. And so the market really hated that trade at the time, particularly the markets in Canada, because Canada had a rule that, I don't know if it may still, that 80 % of a Canadian investor's portfolio had to be in Canadian companies.
34:15So they loved investing in Seagram because that way they could invest in DuPont. But because we were a Canadian company, they could still meet their 80 % requirement. So when we sold DuPont and went into the entertainment business, nobody in Canada liked that. Canada held a lot of our stock. Our stock was down 15 % or 20%. And we were just getting hammered. But, you know, and I got a lot, a lot of bad press for a number of years. And I do remember Charles saying to me at one point, I don't know how you can take it. and I said well because I think I'm right and you have to have that you have to believe that to sort of get through any adversity This podcast is brought to you by
35:06The Gstaad Guy:bringing you interchangeable charm jewelry hand painted with enamel on styling silver allowing you to celebrate all the things you love and all the things you might question through interchangeable styling silver bracelets bangles, whoop charms mini charm bracelets rings cufflings and much more and all customizable through our 3d builder on poubelle.com that is poubelle p-o-u-b-e-l dot com thank you so much for watching and now back to the podcast i mean that conviction and and yourself is what pushed your abilities to run these businesses simultaneously at one point and build something that had never really been done before, the resources you had in play to do all these things in music while also doing the work in Spirits?
36:05The Gstaad Guy:What did it look like to run these businesses for a period of time simultaneously? Well, first of all, it's not as crazy as it sounds. first of all we were family business we were used to having in the spirits business all of our assets in north america and the uk effectively a little bit in france so we had our assets in very quote-unquote safe places we didn't have a lot of assets in latin america at the time or other places but we sold around the world so looking for another investment i wanted those same characteristics i wanted the assets to be in safe place, but I wanted to be a global business.
36:47And entertainment met that criteria. It obviously was close to my heart as well, I admit, but it met that criteria. The other thing that I've always believed about consumer products companies is that there are only two kinds. Food is a little bit in the middle, but there are really only two kinds of consumer products companies, those that sell what I would call productive or useful end benefits, and those that sell emotional end benefits. So if you're selling a toothpaste, that's a useful end benefit. It makes your teeth whiter. If you're selling a product like Chivas Regal, you're selling it because it makes you feel better about yourself to order that scotch.
37:29And the entertainment business had that in common with the spirit business, you're selling dreams. And so I didn't think it was that far afield. And we were very, very fortunate when we were at Universal. First, we created the Universal Music Company group. We also created the Universal theme park in Florida. And we had a small day park, which we still do. We expanded it in Los Angeles. I shouldn't say they do. And we had a day park, a not very good one to be honest with you, in Orlando. And I thought we had the infrastructure to compete with Disney, and I thought Disney could be competed with.
38:16But it had to be a theme park that didn't appeal to a five - and a six-year-old because they're going to Disney no matter what. And so you had to be realistic about that. And so we built out Universal Orlando, and it was basically made for kids, sort of probably nine, ten and above, and their parents. Where did the desire to expand the theme parks
38:41The Gstaad Guy:and where does that come from? So one of the things that I needed to do at Universal was build a good relationship with Steven Spielberg because he had just, quote unquote, left for DreamWorks, but his offices were on the lot at Universal. He owned a piece of the theme parks and we wanted to make a deal with DreamWorks. So I spent a fair amount of time with Stephen, who's brilliant. It was not hard to build a good relationship with him. He's an incredibly gifted, intelligent, thoughtful human. and he said do you know anything about the plans that have been made for the theme park i'm like no i know nothing about it he said i'm going to show that to you so a week later he made a whole presentation to me about the work that he had done with the universal uh creative team and i thought it was fantastic obviously we changed a lot and we had to change it in order to to deliver our strategy of a sort of older kids.
39:52But almost all the IP that we had in the theme parks at that time was Stevens. It was ET. It was Jaws. It was Close Encounters, even though that was made for Columbia. It was Jurassic Park also. Jurassic Park, he had done, but we hadn't integrated it into the theme parks yet. But it became part of the Islands of Adventure when we built it. when we built it, we had a Jurassic Park world. So he was incredibly important to our current theme park business, would be, I believe, to our future theme park business. And what better creative partner could you possibly have? And so, yes, we did take a very, very big bet for Seagram, meaning just from a balance sheet standpoint, on Universal Orlando.
40:45but it fortunately turned out well.
40:49The Gstaad Guy:What did the music side of things look like back then? Was it all about signing on new artists? The music business back then was actually in good shape. It was pre-Nabster and pre-MP3s and all that stuff. So the music business was very good. It's always been a very strong cash flow of business because it doesn't take a lot of money to make an album. and frankly, artists get paid every six months, nine months, or 12 months, but retailers would pay us every 30 days. So we kind of had a negative float, which was nice, and that made it, I thought, a very compelling business to invest in because it was so strong in cash flow, which the film business is the opposite.
41:37But when we bought MCA, there were six major music companies. MCA was the smallest. It was actually referred to as the Music Cemetery of America as opposed to the Music Company of America. And I was fortunate enough to change out management. That's a story in and of itself. And we then, Time Warner started getting rid of its executives and assets. they sold Interscope to us because Interscope distributed Death Row and at the time that was very controversial. And then in 98 we bought Polygram and put together this juggernaut of a music company. And then the music industry went through a very tough time.
42:22But Universal Music Group alone today is, I don't know, worth$40 or$50 billion.
42:28The Gstaad Guy:So what was the sentiment when actually eventually letting go of those businesses?
42:38Well, I didn't want to let go, to be honest with you, but the situation was becoming pretty intolerable between my father and my uncle. But as my father once said to me in a Jewish family, if you're mad at the son, you yell at the daughter-in-law. So I was getting a tremendous amount of heat from Charles Charles and my father, they hardly ever confronted each other. But it was just getting pretty dysfunctional. Charles made it very clear to the board that he did not like my leadership. He did not like the direction the company was going. Actually, the day we bought, the day we agreed by Polygram, he asked me to resign.
43:26So it was just getting difficult. and the markets were very strong in 2000. And my dad said, what do you think about just selling the company? I said, well, honestly, I'd rather not, but I also can't continue like this. And if the markets are strong, I think we can get a very good price. And honestly, I'd rather sell one on 46 than one on 56 because I want to do more. so we did end up selling the company we sold it for a very high price but of course in those businesses you have to sell for stock because the cash flow just doesn't make up for all cash purchase and we were fortunate to sell some of Vivendi's stock but Vivendi which had been an incredibly successful company had a guy who basically ran it into the ground.
44:28And so it turned out in retrospect not to have been the best buyer. I mean, I'm not sure that if we had sold it to somebody else that we all would have been perfectly happy with the outcome. I think we would have. But selling the family business and then having the consequent company collapse two years later was horrible to live through.
44:52The Gstaad Guy:I'm sorry about that hey into every life I mean your kids have independently achieved tremendous success without actually stepping back into the family businesses as you did would you say that that is something you wanted to protect your kids from or is that a choice of their own well first of all I think my the younger set of kids really grew up with entertainment being more of their family business than the spirits business. But funnily enough, Aaron has gone back into the original family spirits business and started a rum called Pin Drop Rum, which is a phenomenal, phenomenal product, an incredible package, and it was conceived and produced in the Bahamas.
45:48and for anybody out there who likes rum, try Pindrop Rum. It's an amazing, amazing product. I love that.
45:57The Gstaad Guy:And he also took a very similar path to you, started off, I mean, he went to college. He went to college. To Harvard. He went to Harvard, which then and now I couldn't ever dream of getting into. He then went on to do a master's at Oxford, which then and now I could never dream of getting into. He wrote songs as well. And then he was, and maybe still is, I hear fewer of them, a songwriter. And he wrote amazing songs. I mean, amazing songs, which I told him at the time, and I haven't changed my view. Just really, really a gifted writer. And I would say, full stop. But his lyrics, which I can, because I wrote lyrics or write lyrics, His lyrics are so good, and by the way, so much better than anything I've ever written, that it's a joy to listen to what he wrote.
46:54The Gstaad Guy:While growing up spending a lot of time in your home in London, I watched you encourage your kids to be independent thinkers and entrepreneurs in their own rights. So it makes absolute sense that Aaron and your kids have gone down those paths. my question to you is backtracking to the family business side of things what does it take in the household to maintain a healthy relationship with kids or parents when there may be existing tensions at the office that you don't want to bring back into the house what i realized fairly early on in my executive career someone said to me so it must be like 98, 99.
47:40They said to me, how do you manage running a company, being married, having at the time six children? And when I answered him, I hadn't thought about it, but it just came out. And I said, well, I gave up friends. And it really was true. And it's not something that I meant to do, but there's only so much time in the day. And particularly when you're the CEO, you're expected, you may not be busy 24 hours of every day, but you have to be ready 24 hours a day. And you have to be knowledgeable 24 hours a day so that when you have to make a decision, you know everything there is to know so that you can make the best possible decision.
48:26Oftentimes things happen. You don't have the time to get up to speed. You just have to be ready. and so it's a very demanding job. I loved it, but it's very demanding. So that time has its demands. I think the best thing you can do for your children is to have a healthy marriage. So I didn't do that for my first set of children and I always regret that that happened And I feel I've done that for my second set of children. We've been married 31 years, and I'm still very much in love with my wife. She's a little more, you know, she's not sure that she's so much in love with me, but I'm still very much in love with her.
49:18I doubt that. And, you know, I think that's so investing time in that and then, you know, being there for your kids. and there's not a lot of time left in the day. I used to play golf. I used to love to play golf. I used to have a pretty low handicap. As I started having kids, I play now three or four times a year. It takes a whole day, basically, and I don't want to take that away from the family.
49:45The Gstaad Guy:I'd love to talk more about choosing the right partner. There's, of course, the famous quote behind every strong operator is a strong partner in the household. What do you look for and what does it take? Well, look, I think it's just good fortune, honestly. I mean, I think you can make a lot of intellectual choices and have certain boxes ticked, which are important. I think having a similar view of the world, I think having the same sense of core values, not so much core religion, but just core human values, um all of that's critical uh but you know i always like to say when they invented marriage people died at 30 so if people were going to die at 80 or 90 they would have come up with a different system okay it's very hard to to be married and see the same person every day I feel like for 40, 50 years.
50:56I mean, it's hard. And so the number of marriages that not only are still together, but are happy is relatively few. And I always just say to people, look, it's worth it. I mean, I'm so glad where I am in my life and with my wife. but I always say to people, if when that, if I say to a guy, but I say the same thing to a girl, if either you're watching someone walk down the aisle to you or you're walking down the aisle to someone else, if at that moment you're not 100 ,000 % sure this is the right thing for your life, don't do it because just the smallest doubt at that point means that to survive over decades it's just not going to happen so you know whatever gets you to that point of absolute certainty and that this is just someone with whom i must must spend the rest of my life if you can't get there don't make that commitment
52:09The Gstaad Guy:I have had the pleasure of becoming close friends with both Hannah and her husband Brendan over the past couple of years because of my work and I heard your speech at their wedding was exceptional but also included some great life lessons for relationships do you remember some of those life lessons that you shared today? The one thing I do remember talking about is that it is important to maintain intimacy with each other. However that happens, it's important to remember why you got married in the first place. And oftentimes, children require so much time and attention that it's impossible to spend time and attention on each other.
52:58And ultimately, that's not good, right? I always say people, children will, they may or may not remember whether you showed up at every soccer game, but they'll sure remember if you got divorced. So, you know, you've got to take care of the marriage at the same time as you're taking care of the children. But I don't remember the specific lessons.
53:21The Gstaad Guy:Thinking about the way times have changed, in particular for the businesses that you run, do you think that the way the industries of spirits, music, entertainment, and everything in between have developed would have worked in your favor as an owner and operator? Definitely on entertainment because the benefit of content is that distribution went from, you know, however many hundreds or tens of thousands of cinemas around the world to an infinite number of iPads and other devices. Same with music. And it costs nothing to move the content from where it was made to any of those devices. So your addressable market increased by, it's incalculable.
54:17I always remind people that a million seconds is 12 days and a billion seconds is 32 years. So there's a huge difference, right? So when you go to addressing a couple of million people or even 20 or 30 million people who could afford albums at the time to billions and billions and billions of people, it's extraordinary. So I think on that side, I think to the extent that distribution was important to those businesses, which it was, um that's a been a there's there's a they've been disintermediated with the platforms like netflix um but uh i think you know those entertainment businesses are still doing tremendously well um spirits i think it's a little bit uh more of a mixed bag because with the with the internet and everything, the arguments for and against the consumption of alcohol now resonate across billions of people every day as opposed to a relatively small group.
55:34And so I think while I grew up in the family business and I do have a cocktail or two at night and I really enjoy wine, I think there probably are more people choosing today to to stay away from alcohol or to reduce their alcohol intake, and that's fine. I think it just makes it a little more challenging for that business. And I think COVID had a lot to do with that as well because I think when people were trapped for up to a year or more, drinking was on the rise, and I think people realized that was probably not, you know, they don't want to continue like that. so I think that would have made that business a little bit a little bit harder but it's um it's still some a business I was and remain very proud of I mean I'm incredibly grateful to be born
56:27The Gstaad Guy:in this digital era where I can do what I do and I wouldn't be able to do it five ten years ago for sure and definitely not before that but one thing I'm a part of and something I've noticed is that lots of people particularly people with audiences and followers are now founders of alcohol businesses. And until about 15 years ago, very few spirits and alcohol businesses had known founders or founders that were ever even communicated. It was brand first or product first. Whereas now many of the success stories are founder first with a lot of actors like George Clooney starting spirits of their own or even something as small as my own rosé.
57:12and creatives bridging the world of music and alcohol
57:18The Gstaad Guy:with niche brands like Aaron's with Pindrop and things as big as Snoop Dogg starting his own line as well. What do you think happened in the past 10 years where it's become such a reoccurring story of these singers, actors, and social media people starting alcohol businesses in particular? Well, first of all, I guess it shows that the two businesses I was invested in weren't as far apart as it may have appeared. Exactly. Again, speaking to emotional end benefits. Yeah. I think it obviously started in a big way once George Clooney sold Casamigos. And I believe he started that business with his friend Randy Gerber.
58:05and, you know, the brand really took off. I think, though, there's been too much celebrity branding now, particularly in the tequila area, but sort of extending everywhere. And my experience is the real brands, and I would say Casamigos is a real brand, But the real brands are usually built slowly and they disappear slowly too. And they're built in bars with people tasting the product. It's not easy to build a global spirits brand. And I think those that do get a lot of distribution because some famous celebrity is associated with them, it's fine. But I haven't seen many that actually stick because at the end of the day, people who do drink at the premium end of the market tend to know what they're drinking, why they're drinking it.
59:16And if they try it and they don't think it measures up, they move on. So a celebrity can maybe get somebody to try something, but it doesn't mean they'll keep trying it. One thing that I've seen through, and I would use music perhaps as the best example, when Napster came along and the MP3 came along and then LimeWire came along and Kazaa and all these businesses to effectively take music from artists and labels and give it to consumers for no cost. And that was obviously fundamentally unfair. And thank goodness the situation's been more or less righted, not to suggest that there isn't still piracy and all that stuff.
1:00:07But I think one lesson was what I said before, which is if a consumer wants it, they'll find a way to go. And people will always enable that. And so don't try to swim upstream. It just doesn't work. And I think the other thing, which is much easier to discover today than it was when I started out, is do people want what it is you're selling? Whether it's a service or a product, whether it's B2B or B2C, don't fool yourself into pretending that they want it when they're showing you that they don't. And don't take the time or the money to teach them they're wrong. because they're not wrong. The customer knows.
1:00:54They know what they want. They know why they want it. And there's some reason why they don't want what you have.
1:01:03And you just have to accept that because I've seen so many people push against that for years and come to the same unfortunate conclusion. So if you have a great idea, test it. make sure that you think you can sell it. If you can't sell it, understand there's something fundamentally wrong with it and you either need to fix that or move on.
1:01:28The Gstaad Guy:Well, in a very start-guy fashion, something we always do on these podcasts is we talk about something that is à la poubelle, which in French is to the trash, and we want to change about the industry or the world we find ourselves in, or something that is fantastique that we want to celebrate and be grateful for? Are there one or two things on either side that you could share? It could be as broad or specific as you'd like, but something you'd like to change, something you celebrate and like. Well, on the things I'd like to change, I would like to see the world much more focused and governments much more focused on trying to solve climate.
1:02:12I'm terrified about what's going to happen with climate and the hundreds of millions, if not billions, of people who are going to be adversely affected. And, of course, it's always the poor that are most affected. And there are potential solutions. Technology will have to get us out of it. but it won't come from changing from oil and gas to renewable energy. That is not feasible. If you could click your fingers and do it, it would be great. It still wouldn't be enough, but it's simply not feasible. So zealotry about oil and gas makes no sense. You have to accept that even renewables cannot function without natural gas.
1:03:06So let's stop having that nonsensical argument and figure out the things based on the reality of what we have and how to solve them. And there are things to do. I wish I saw a much greater energy. Well, the United States, I don't even want to talk about, but even around the world, there are pockets of it in Scandinavia, et cetera, but there just isn't enough focus. And once we do focus, it's likely to be too late, at least for hundreds, if not billions of people. In terms of things that I celebrate, the most important thing to me beyond my family is, since I was lucky enough to have a lot of opportunity, to see if I could create a situation where more people could have opportunity.
1:03:52And I happen to be the luckiest person in the world to be chairman of an organization called Endeavor.org. And Endeavor is a group that encourages entrepreneurs who've built a business but who need to scale that business. So it's not startups, but we call it scale-ups. And to create entrepreneurial ecosystems all around the world. And it's grown from when I joined. We were in four countries. We're now in 45 countries. Our entrepreneurs got jobs, created jobs for 10 ,000 people. There are now 4 million people working directly for our entrepreneurs. And we are the strongest, most extraordinary network of what I would call high-impact entrepreneurs in the world.
1:04:42And that organization is just magic. Well, thank you so much for being here on the Schnellgate podcast. It was a pleasure. And I wish you good luck with this podcast and continued good luck as the Stadman and whatever else you do. Thank you. Love it.
1:04:58The Gstaad Guy:Thank you so much. Thank you. Bye now. Thank you for listening to this episode of the Stardguy podcast. If you're keen to learn more, please follow along by engaging with our social channels on Instagram, TikTok, Spotify, YouTube, and Apple podcasts. And we look forward to seeing you next week. Merci beaucoup. A la prochaine. And a big hug from the Stardguy.
From the publisher
The Gstaad Guy sits down with Edgar Bronfman Jr, former CEO of Warner Music Group, and now co-founder of the venture firm Waverley Capital, to explore what it takes to back your own judgement when almost nobody around you agrees with it. From producing his first film at sixteen to running a family business he eventually sold at the top of the market, Edgar reflects on a career defined by early conviction, an instinct for where value was moving before others saw it, and the belief that it does not matter who got you in the door, only what you do once you are in the room.
The conversation gets into the years of bad press he absorbed while trading a chemicals stake for the entertainment industry, the difference between unanimity in word and unanimity in spirit inside a family, and why the customer is never wrong about what they want. Edgar speaks candidly about the personal cost of the job and what he gave up to do it, the standard he sets for anyone about to get married, and what he would do differently for the family member who never wanted the company to go the way he took it. Measured, unsentimental, and full of stories he tells without embellishment, it is a conversation about judgement, legacy, and recognising value where others miss it.
Filmed at Casa Cipriani New York’s Liberty Corner Suite.
(00:00) Intro ✨🎙️
(01:55) Anything But Summer Camp 🏕️😏
(04:21) Why Don't You Produce It? 🎬💡
(06:11) Forty Thousand Pounds Of Bad Cheques 💸😬
(08:31) Learning Lyrics To Get A Date 🎵❤️
(09:27) The Dinner He Had To Pay For 🍽️😅
(10:54) Three Conditions For His Father 👨👦📋
(12:50) The File Marked LSD 📁😏
(14:22) It's All On You Once You're In The Room 💪🎯
(15:37) The Script His Team Passed On 📝❌
(17:56) Turn The Car Around 🚗🔄
(20:11) Recognising What You Already Have 👁️✨
(24:06) Unanimity In Word, Not In Spirit 🗣️⚖️
(27:53) Two Kinds Of Consumer Company 🏢🔍
(30:04) The Loophole Worth 1.6 Billion 💰🔓
(36:19) Competing With Disney 🏰⚔️
(41:05) Selling At Forty Six, Not Fifty Six ⏳💼
(43:52) I Gave Up Friends 😔🤝
(46:26) When They Invented Marriage, People Died At Thirty 💍⏳
(50:03) What The Internet Did To Distribution 🌐📦
(54:09) Why Celebrity Spirits Rarely Stick 🥃⭐
(56:24) The Customer Is Never Wrong 🛍️✅
(58:10) À La Poubelle vs. Fantastique 🗑️✨
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