Today we’d like to introduce you to Loren Miles Albento.
Loren Miles, we appreciate you taking the time to share your story with us today. Where does your story begin?
I grew up loving movies and television. I attribute my passion for film to my parents, who immigrated from the Philippines and enjoyed watching American films and shows. Often, they would take me and my younger sister to the theater in Salinas, California, where I was born and raised. I still recall watching a plethora of Disney films, as well as watching films in my teenage years such as Sam Raimi’s original Spider-Man, Titanic, Harry Potter, and Peter Jackson’s epic The Lord of the Rings trilogy in theaters. I was inspired and in awe of great storytelling and world-building. Being in the theater felt like a surreal expansion of imagination! I likened the experience to watching the greatest magic trick or illusion, one that made you think and feel as if these worlds and characters were real. I knew from a young age that I wanted to be a part of storytelling through entertainment and help build that shared experience for others.
During high school, I immersed myself in learning more about films by watching both older and contemporary works that I could rent from Blockbuster. I explored the works of great directors like Martin Scorsese, Steven Spielberg, and Quentin Tarantino, among others. As much as I respected and enjoyed these films and held these filmmakers in high regard, I longed to see myself represented on screen through stories and characters that reflected my own cultural perspective.
I attended California State University, Long Beach, where I majored in film with an emphasis on screenwriting. I initially thought I would carve a path as a writer and hoped to create coming-of-age stories with leading characters who were AAPI (Asian American-Pacific Islander). At the time, representation in film and television was not what it is today. While we’ve made significant progress, particularly in AAPI representation, there is still much work to be done to uplift other underrepresented perspectives in the industry.
Alongside school, I gained experience through internships at companies like Disney, where I learned firsthand how many roles contribute to making movies and television shows. Disney has always been ahead of the curve in terms of storytelling, diversity, and inclusion. My internship with the Disney Channel team exposed me to the process of script development, production, casting, and working with agents—professionals who represented directors and writers. At the time, I was still exploring my path, but this experience helped shift my focus from solely being a creative to representing talented creatives, just as agents did. I foresaw a future in which this role made sense for me. I hoped it would enable me to support storytellers and creatives from communities like my own and help individuals who weren’t always given the opportunity to share their stories in film and television.
I took my first job working as a floater assistant at CAA. I met a top literary talent agent, who also happened to be Filipino, that inspired me to continue pursuing representation. Seeing someone who looked like me excel in this role at the highest level was a pivotal moment in my career. It reaffirmed that it could be done, no matter how challenging the path. I later transitioned to working with multi-hyphenate comedian talents as an assistant at APA (now IAG). During my time on the agency side, I realized that while I valued business deal-making, I longed for more creative involvement in shaping my clients’ careers.
Eventually, I pivoted into management and producing, landing a role at LBI Entertainment, a top-tier talent management firm. The company is led by Rick Yorn, one of the most well-regarded managers in the industry. At the company, I worked as an assistant for an incredible manager and producer, who became a stellar mentor. I have had the privilege of working alongside extraordinary, well-known talents while also guiding and developing the careers of exciting new diverse creatives. Among them are Filipina filmmaker Diane Paragas, who directed and wrote her debut feature, Yellow Rose, which was later sold to Sony Pictures/Stage 6 marking an incredible milestone as the first Filipino-American film to be acquired by a major studio. Diane’s next project will be directing her first studio feature film in development with Sony Pictures/Columbia. I also work with Indigenous-Inuk actress Anna Lambe (True Detective, The Grizzlies, Three Pines), who leads North of North, one of the first Indigenous centered comedy series. The show is now streaming and premiered globally with rave reviews on Netflix this April.
Despite the ever-changing landscape of the entertainment industry, my career remains an exciting and gratifying journey. I take pride in not only continuing to support our amazing talents at LBI but also in spearheading new projects and elevating voices from my own community and other underrepresented cultures. The work continues, and I am honored to be a part of this ongoing movement in entertainment and to be supported by my colleagues and other like-minded creatives and executives who share the same goals.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Navigating through a pandemic, a double strike, and witnessing the implosion of the streamer wars and television industry has made it particularly difficult to build a substantial business overall. Even more so, over a decade ago when I first started, the industry was historically slow to tell diverse and authentic stories.
I’ve always felt that diverse creatives and business executives share a unique challenge—we must fight for better representation while showing that our unique perspectives foster common connections. I strongly believe that now, more than ever, it is crucial to highlight that despite our different backgrounds, we all share universal human experiences.
Asian and other diverse talents are still underrepresented in key creative and executive roles. The lack of decision-makers results in fewer stories being told from these unique perspectives. Despite these obstacles, the industry is continually changing, with more AAPI and diverse creatives breaking through and gaining recognition. Successes like Parasite (one of my favorite movies of all time), Everything Everywhere All at Once, and Crazy Rich Asians, as well as shows like Reservation Dogs, Beef, Squid Game, and Shōgun, have helped open doors for more authentic representation.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I am a talent manager. As a talent manager, my job is to help guide the careers of artists. I specialize in both developing talent and representing filmmakers and writers. I’m also fortuante to work alongside a few established talents. The core of this career is finding opportunities and offering strategic advice to help clients grow in their unique careers. It’s not just about booking gigs—it’s about building a brand, advising on smart career moves, and ensuring our clients get the right exposure.
A significant part of my job consists of reading scripts and reviewing material for client consideration. I take a very hands-on approach in helping clients develop their scripts and offering creative advice. As a highly social person, I love connecting with like-minded industry professionals who share a common goal of telling more inclusive stories and championing young artists. Essentially, we work behind the scenes to ensure our clients receive the right opportunities to advance their careers in entertainment.
A major focus of my literary business is developing talented filmmakers who have something meaningful to say through their artistry in a bold and entertaining way. Some of my favorite films, like Parasite and The Dark Knight, comment on the human condition while immersing audiences in compelling stories, dynamic characters, and visually engaging worlds. Even when a film is purely entertaining on the surface, it can still reflect deeper truths about culture, human nature, and the world we live in. In my opinion, the best films strike a balance, keeping audiences entertained while leaving them with something to think about long after the credits roll.
One film that played a pivotal role in shaping my career is Yellow Rose. I first saw it at a LA film festival, and it immediately caught my attention. I was captivated by its beautiful coming-of-age story told through the lens of a Filipina-American young woman navigating a career as an aspiring country music artist. However, her life and dreams are upended when the government separates her from her mother, forcing her to navigate life on her own. The film’s director, Diane Paragas, shared how she never gave up on making this film, despite it taking over a decade. It was inspiring to see how the film resonated so deeply with many individuals, especially given its subject matter. The film is so beautiful because it is entertaining and infused with original music composed by Diane. This film also serves as a commentary on society, making its messaging even more relevant today.
Ultimately, I signed Diane as one of my first clients while I was still a junior manager. Together, alongside her former respected entertainment attorney, Ashley, we facilitated the sale and distribution of Yellow Rose to Sony/Stage 6. It was a significant milestone for me and my client, and now she is preparing to direct her first studio film, which is currently in development.
Do you have any advice for those just starting out?
The best advice I can give to anyone entering this industry, especially right now, is to remember why you’re here: because you’re passionate about storytelling and truly love movies and television.
I hope that younger professionals starting out understand that you can be both kind and genuine while working in this industry. I’ve seen it firsthand in my colleagues and within the circles of industry friends and executives I do business with. Filmmaking is already challenging… let’s collaborate and approach our jobs with honesty and integrity. I know this may sound idealistic, but a good friend who trained me on my first official desk in the business gave me an invaluable perspective: “We’re not curing diseases or performing life-or-death operations. We’re making entertainment to entertain.”
Be kind to one another, and prioritize a healthy work-life balance. I know it’s easier said than done, and there will always be difficult people to navigate, but learning to adapt without compromising your mental health is essential. The most important piece of advice I wish I had known early on is to always check in with yourself and at the end of a hectic day, take a moment to remember why you wanted to work in entertainment in the first place. Lead with your passion, and let that guide you forward.
Contact Info:
- Linkedin: www.linkedin.com/in/lorenm-albento
Image Credits
Bella Saville Netflix The Loungebooth
