The first useful piece of information was a language. In 2012, at Laurel Hardware in West Hollywood, Liam Scholey overheard Andrés Budnik speaking Spanish. Scholey had grown up in Panama; Budnik was Chilean. Both worked in entertainment. They started talking. A friendship followed, then a Thanksgiving surf trip, then the idea for a management company that would work across borders.
Vision Entertainment took shape in Budnik’s small studio apartment and became official in December 2013. Its founding concern was the limited room Hollywood made for underrepresented voices. The detail worth holding onto is how the founders met: someone recognized something familiar in a place where it could easily have gone unnoticed.
That is a useful starting point for understanding this business. Vision works in recognition: seeing an actor’s potential, understanding a writer’s ambitions, identifying where a story might find a buyer. Its more recent move into production adds another task. Once you have spotted the possibility, can you help build the project around it?
A career has more than one address
Start with the actor. Vision offers career planning, role and script selection, image consulting and representation across the U.S., Latin America and Europe. Its stated remit includes emerging performers and established names. The practical promise is continuity: decisions about the next part should make sense alongside decisions about the next several years.
There is a concrete example in the founders’ account of Spanish actress Priscilla Delgado. In a 2025 interview, Scholey said they had advised her to move to Los Angeles five years earlier. He pointed to work on Euphoria and a role in the new Prison Break project as evidence of the path taking shape. His description puts a conspicuously long interval between the advice and the payoff.
“It took years for them to develop or become known”Liam Scholey, on building the company’s talent roster, 2025
The direction of travel has changed, too. The founders described looking for overseas opportunities for American talent, alongside helping performers from Latin America and Spain enter the U.S. market. Read that as a change in the company’s search area. A career can accumulate useful work in several places; Los Angeles need not supply every next step.
The people behind the people on screen
A writer arrives with a different set of needs. Vision’s literary offering includes script development, pitch preparation, project packaging, series staffing and showrunner opportunities. It also includes deal negotiation and long-term planning. This is representation for the machinery behind a performance: the script, the writing room and the people deciding what gets made.
The organizational chart makes the international claim more tangible. Victor Rodriguez leads literary management for Mexico and the U.S.; Joseph Mustri heads literary management in Spain. Nicolas Keller leads U.S. talent management, while Regina Reynoso heads talent management in Mexico. These are responsibilities attached to particular markets. Someone has to know the people on the other end of the call.
For a prospective client, this is the useful distinction to investigate. An actor can ask about career strategy and roles. A writer can ask about development and buyers. A producer can ask about a creative team. The company serves different professional problems, even when the eventual audience sees everyone’s work in the same two-hour film.
Writers, actors and directors represented, as reported in September 2024.A dated roster measure, not a current headcount.
Then the managers hired a maker
In September 2024, Vision announced Vision Entertainment Studios and appointed Matías Ovalle as Head of Development and Production. Ovalle had spent more than eight years overseeing scripted content development and production at Chile’s Canal 13. His new brief covered film and television, scripted and unscripted work, and U.S. and international markets.
The hire supplies a useful clue to the expansion. Vision brought in someone whose experience involved making television, giving the studio a dedicated production leader. Familiarity with performers and writers could now sit alongside responsibility for developing a slate.
In an interview at the time, Ovalle described a flexible approach. Represented talent could participate in productions, but the studio would also work beyond that arrangement. He emphasized working with local talent in each territory. The roster was a resource, rather than a boundary around every future project.
Vision’s production services span concept development, financing strategies, creative packaging, production, post-production oversight and festival positioning. Scripted series, independent films and documentaries all appear in its stated scope. That gives prospective collaborators several possible entry points: an idea needing development, a package needing partners, or a production needing execution.
Commercial partnerships run alongside the creative work. A map of capabilities, not a promise that every client follows this route.
A slate is a promise with work attached
By mid-2026, Budnik was discussing development and sold projects involving Netflix, an Amazon film, development with ViX, and a film in Spain with Secuoya aimed at the U.S. market. Those relationships put names to the studio’s international ambition. They also describe several stages of business activity, rather than a list of completed releases.
That distinction makes the company more interesting to follow. A management roster shows who a company works with. A developing slate shows what it wants to make. The next test is what reaches production and audiences. The existence of a buyer relationship answers one question while leaving the creative and production work ahead.
The commercial division offers another way to put talent relationships to work. Vision describes negotiating endorsements, developing campaigns, arranging sponsored collaborations and managing press activity. Its customers here include brands, agencies and PR teams. Fashion, beauty, technology, wellness and lifestyle are among the sectors it identifies.
A brand looking for a collaborator can use this service to connect talent selection with campaign execution. For the artist, the relevant issue is whether a commercial appearance belongs beside the rest of the career. Vision explicitly makes that alignment part of its offering. An endorsement may be brief; the public identity around it lasts longer.
The part another business can borrow
Vision operates where several businesses overlap: artist management, literary representation, independent production and talent-led advertising. Its positioning combines international career work with services that can help projects and commercial collaborations take shape. The offering is professional and relationship-based, with production arrangements tailored to the project.
The founders brought different preparation. Scholey worked at WME and ROAR before co-founding Vision. Budnik’s background included talent-agency work and graduate study in business and entertainment at USC. Their company now places that industry experience beside managers with specific territorial responsibilities and a studio leader with television production experience.
My reading of the useful lesson is modest: build around a problem you understand well enough to notice its neighboring problems. Representing an actor introduces questions about roles. Representing a writer introduces questions about development. Bringing the work together creates questions about production. Each additional service needs people who can actually do it.
That approach depends on the quality of the connections. Local creative knowledge, suitable projects and willing buyers all matter. Adding departments cannot, by itself, make a story travel. Vision’s next chapter will be judged in the work those departments help bring into existence: the role that opens another market, the script that finds its team, the production that finally meets its audience.