Exploiting Hollywood 1980

   Chapter 201 Eisner's Little Trouble

   "Want to know what's between me and Calvin? Nothing"

   There is an advertisement for Brooke Shields' CK jeans on TV. Ronald made a series of this commercial, but this one was the only one that was repeatedly played on TV.

   "I heard that she is the most popular young girl in America right now?" Minahan Golan raised his sturdy fingers and pointed at Brooke Shields on the TV.

   "Yes, her blue coral reef is very hot. I heard that she is now in a new movie 'Endless Love.'" Yoram replied.

   "We will also invite her to film. She looks very classical, and we can hold her as an Oscar winner."

   Ronald’s excuse was not hungry, and the fast food without the pagoda pattern was eaten by Minahan and Yoram.

   When the two Israelis first saw the slogan, they laughed loudly. It seemed that even foreigners had no problem understanding the slogan.

  Thinking about it, Minahan also arranged for the beautiful heroine to sing a song called "I'mComing" in the blockbuster "Apple" on the Maid Street. It can be seen that no matter what foreign language you learn, the first thing you learn is swear words and that kind of words.

   Ronald didn't want to tell others that he shot this vulgar commercial, so he didn't say anything. The TV station picked this one out and played it repeatedly. It seems that the mother and daughter of Bo Ji Xiaosi will be under a lot of pressure.

  …

   "Want to know what's between me and Calvin? Nothing"

Michael Eisner, president of Paramount Studios, is also talking about the ad.

   "The people in the distribution department are reluctant to go to the theater to promote this CK jeans ad. They excuse that there is no precedent for advertising before the movie, but they are just unwilling to accept the change and have no motivation."

   Michael Eisner, president of Paramount Productions, sat across from a desk with a bald head bigger than him and a thicker neck, reporting to him.

   "Michael, we know each other. Honestly, do you think it's a good idea to run commercials before the movie starts in the cinema?"

The speaker was Barry Diller, chairman and CEO of Paramount. Diller is Eisner's old superior. Since he jumped from ABC in 1974 and took over Paramount, Eisner has also been dug over and placed in the position of studio president. He is the right-hand man who reports directly to him.

   In the past few years, Diller's main focus has been on producing episodes for TV stations, and he gradually let go of film matters to this subordinate who performed well on ABC back then, but had a rude style. .

   This style has a tendency to intensify in Paramount. Recently, many people from the film production department and outside investors of the film have complained to him, stating a lot of Eisner's arrogant actions.

  Barry Diller knew that Eisner had offended a lot of old stubborn and partners when he pushed his own strategy. In fact, he was very satisfied with Eisner's propulsion ability, but things were out of his control, and he needed to be reminded in person.

"I think there is essentially no difference between movies and TV, and TV stars can naturally make movies. And there is no problem with the advertisements on TV programs being played in movie theaters." Eisner remarked eloquently, this is the film and television promoted by the boss Diller The integration strategy must be followed closely.

   "I heard that you recently wanted to fire the studio's vice president of casting, Marion Dolotti?" Barry Diller suddenly mentioned a personnel arrangement.

   "Marion, she's always making trouble for me." Others may seldom see Eisner's complaining side, only in front of this boss and mentor, he still retains some of the candor he used to be.

"I actually liked Marion Dolotti's casting, she was the first woman to have an independent casting director title in the subtitles. 'Grease' the year before, and 'Cowboy' last year," she discovered with her own hands John Travolta. "Eisner praised her first.

   "But she is an old stubborn and unwilling to implement the strategy of integrating film and television. She is always opposed to TV actors participating in movies, and she spreads this idea in front of her subordinates.

  I have no opinion on her personally, but we hired her from the New York casting studio, not to be the casting director, but to be the vice president in charge of casting. This is blatantly against the established strategy, I have no choice but to let her go. "

   Eisner explained his motives for firing Marion Dolotti as contrary to company strategy. He knew it was Barry Diller's bottom line, and his boss had always valued the TV business over the movie business.

   "And Robert Sterwood, who came to me and complained that you didn't like Andy Gibb, the lead character he chose for the Grease sequel."

   Barry Diller clicked again.

   "Come on, Andy Gibb can't act at all..."

   "I didn't mean to accuse you." Barry Diller stopped Eisner from explaining, "We've known each other for a long time, Michael, you've done a great job."

   Eisner, who returned to the office of the president of his studio, was in high spirits and easily fought off the rumors about him on Barry Diller's side. He whistled and practiced golf putting against the artificial turf in the office.

   "pop", another push hole. Eisner hummed a song, stepped forward, bent over and pulled the golf ball out of the hole.

   When you bend over and bow your head, blood flows to the brain. Eisner looked down at all the furnishings in the office, which were upside down, with the desk above and the chandelier below.

   Sudden doubts rose in my heart. Eisner put down the putter and sat back in his chair to think.

   "Why did Barry Diller specifically mention Marion Dolotti and Robert Sterwood?" Eisner rubbed his chin.

"Could it be that my opponents in the studio system heard the news that I was going to fire Marion?" Since taking office, he has adopted a strategy of differentiated strikes, never letting the person with the most vehement opposition have the most support By.

   But Marion Dolotti, the vice president of casting, is the leader of several Oscar-winning actors, and she has deep connections in the industry. And the casting studio he founded is still running in New York. She, who often quarrels with herself face to face, is not afraid of the threat of her dismissal at all.

  And Robert Sterwood, with the power of several blockbuster movies, began to point fingers at himself. The lucky record salesman, thinking he'd found the secret to a successful movie, was trying to do it again.

  Eisner first made a phone call to his eyeliner at the brother company, "Okay, Warner Bros. has met her? She didn't agree to change jobs? Thank you, I see."

   Marion Dolotti has actually been in contact with Warner Bros., and has not yet agreed to the other party's poaching. If she agrees to the other party, there will be one less vice president in the company who opposes her. However, he may be able to take advantage of her upright character to be cruel to her and establish her own prestige within the company.

   "Ms. Dolotti, please come to my office." Eisner thought over and over, and pressed the call button to give the secretary an order. He decided to talk to Marion Dolotti first.

  Eisner and Dolotti have accumulated deep conflicts. At the high-level meeting, the eyes of the two have no longer met.

   Marion Dolotti was also surprised to learn that Eisner was looking for her, and she walked to the long-lost office of the president.

   "Marion, please don't leave us." Eisner unexpectedly waited outside the office door, holding Marion Dolotti's palm with both hands. "I hear you're thinking about leaving Paramount? We can't live without you, even though we disagree on some things."

  Eisner ushered Marion into the office and said something outrageous. Take her out in ten minutes.

   Marion Dolotti had a guess in her heart, and when she returned to the office, she made a phone call to Julia Taylor, her former subordinate who took over the New York casting studio after him.

   "Julia, it's my Marion... I'm afraid Eisner is going to fire me. I'll accept an invitation from Warner Bros. to work there. You know my whereabouts first."

  Michael Eisner is very satisfied with his operation. If Marion was smart enough, she would leave on her own and accept an offer from Warner Bros. If she is stupid enough to stay, it will be better. The effect of public dismissal will be more shocking both inside and outside the company than resignation, and her power in Paramount Studios will be more stable.

   "Pick up Katzenberg." Eisner connected the phone to the subordinate in charge of production.

   "Jeffrey, I'm Eisner. How's the Grease sequel going?"

  Jeffrey Katzenberg was on the other end of the phone, feeling a little abrupt. Eisner rarely gets into the details of a specific production.

   "Stewwood found a screenwriter, and he insisted that the film could be completed before the end of the year. As long as they get to the start, we must invest in the production cost according to the contract."

   "Agree to his request, and don't start filming after getting the script. I'll go to MCA's Sidney, understand?" Eisner explained a few words and hung up the phone.

   MCA's Sidney, referring to Sidney Simberg, the president of Universal Pictures' parent company MCA.

   Since the early seventies, Paramount and Universal have formed a joint venture, with the two studios sharing distribution channels outside North America. Therefore, the two studios often exchange projects. If Paramount is not optimistic about a project, Universal may buy it and take over, and vice versa.

   "How did Robert Sterwood, the owner of the record company, offend Eisner?" Katzenberg was well aware of Eisner's plans. Sterwood is obsessed with making Andy Gibb a hit. And his contract stipulates that the sequel to Grease must start filming at the end of the year in order to receive automatic investment from Paramount.

  Eisner first pretended to agree to the shooting plan, then looked for reasons to stop, put the script on the rotation list, and let Universal take over. In such a short time, Sterwood is likely to be forced to give up Andy Gibb as the protagonist due to investment pressure, and suffer a secret loss.

"Andy Gibb really can't act anyway, and that long face doesn't look on camera." Katzenberg picked up the phone, "Put me on Ovitz from CAA, and ask their screenwriter to talk about 'Grease Sons' tomorrow. ' script contract."

   (end of this chapter)