The Big Picture, Part II
Dawn's Deal:
We were now in full pre-production mode on The Big Picture and it was easy to ignore the rumblings from Columbia because we were getting such an enthusiastic response to the script. All the major creative staff had been hired (art director, director of photography, costume designer and set designer) and we were starting to meet with the cream of young actors for the lead role of Nick Chapman. It was a good time to be making independent films - the creative community, both above and below the line, saw them as important milestones in their careers and a chance to do interesting, challenging work. But we had no idea how tough things were going to get until one day when the principals in the film, director/writer Chris Guest, producer/writer Michael Varhol, and executive Producer Bill McEuen, were summoned to a meeting with Dawn Steel, who had barely moved into her new offices at Columbia.
I wasn't at this meeting but I heard everything in detail as soon as they returned. I'll admit events might have been embroidered somewhat by the tellers of the tale, who were all writers and creative people after all, but I'm sure the key points were unembellished. To begin with the whole scene was an eerily reminiscent of the very behavior we were lampooning in the film which was in itself darkly fascinating in a deer-in-the-headlights kind of way.
At the Columbia Pictures lot Dawn Steel had taken over David Puttnam's old office and the contrast between the two executives taste was evident as soon as they entered the room. Whereas Puttnam had favored warm tones and comfortable furniture arranged on Persian rugs, Dawn had transformed the space into a minimalist study in black and white. When they were ushered in, footsteps echoing off bare walls and floor, she greeted curtly them from behind a huge glass and chrome desk and motioned for them (I swear this is what I was told) to sit down on three folding chairs lined up in front of her desk.
One of the three (I can't say I'm sure but I think it was Chris Guest) tried to make polite conversation and remarked on a photograph of Dawn's young daughter, displayed in a frame on her desk. I'm told Dawn gave a brief response before turning the photograph away from their view and saying,” Well, enough about my daughter, we're here to talk about this film," and then laid this little gem on them:
"This script stinks!" (or something to that effect)
She went on to say that she'd passed on it at Paramount because it was a total dud, not funny at all, and would be a colossal waste of the studio's money if it went forward. Then she lowered the boom: she looked at Chris and said - "This film will torpedo your career. I'm offering you an chance to step away from it and in return I will give you an opportunity to direct something here at the studio, a film of your choosing." Her intention was clear: if she could persuade Guest to pull out this would constitute a breach of contract with Columbia and allow her to renege on their end and leave us all holding the bag (and owing the bank all their money back).
I'm sure there was a moment of speechlessness as they all sat there like recalcitrant schoolboys in front of the headmaster on their folding chairs. I know that Michael was completely shocked, especially since she'd chosen to make this offer in front of the entire partnership. I mean, it takes some serious cahones to basically tell one person she'll make their career and the others will go down with the ship.
I don't know if or for how long Guest deliberated this offer but to his everlasting credit he had the equal amount of chutzpa to tell her, "thanks....but no thanks."
And that, apparently was the end of the meeting. They were summarily dismissed from her office without a backward glance. Chairs scraping, they slunk out and never to see her or the inside of the Columbia lot for the duration of this production. They were now personae non grata.
I heard this story back at the office, amongst the hustle and bustle of pre-production, and we certainly didn't tell anyone else about what had happened. Too terrified at that point, I think, that a leak of this kind would spook the momentum that was pushing our world forward.
And that's what it was.....our whole world. And we were determined not to let it come apart at the seams.
Next: Casting is completed and we start production with some very funny guys.
We were now in full pre-production mode on The Big Picture and it was easy to ignore the rumblings from Columbia because we were getting such an enthusiastic response to the script. All the major creative staff had been hired (art director, director of photography, costume designer and set designer) and we were starting to meet with the cream of young actors for the lead role of Nick Chapman. It was a good time to be making independent films - the creative community, both above and below the line, saw them as important milestones in their careers and a chance to do interesting, challenging work. But we had no idea how tough things were going to get until one day when the principals in the film, director/writer Chris Guest, producer/writer Michael Varhol, and executive Producer Bill McEuen, were summoned to a meeting with Dawn Steel, who had barely moved into her new offices at Columbia.
I wasn't at this meeting but I heard everything in detail as soon as they returned. I'll admit events might have been embroidered somewhat by the tellers of the tale, who were all writers and creative people after all, but I'm sure the key points were unembellished. To begin with the whole scene was an eerily reminiscent of the very behavior we were lampooning in the film which was in itself darkly fascinating in a deer-in-the-headlights kind of way.
At the Columbia Pictures lot Dawn Steel had taken over David Puttnam's old office and the contrast between the two executives taste was evident as soon as they entered the room. Whereas Puttnam had favored warm tones and comfortable furniture arranged on Persian rugs, Dawn had transformed the space into a minimalist study in black and white. When they were ushered in, footsteps echoing off bare walls and floor, she greeted curtly them from behind a huge glass and chrome desk and motioned for them (I swear this is what I was told) to sit down on three folding chairs lined up in front of her desk.
One of the three (I can't say I'm sure but I think it was Chris Guest) tried to make polite conversation and remarked on a photograph of Dawn's young daughter, displayed in a frame on her desk. I'm told Dawn gave a brief response before turning the photograph away from their view and saying,” Well, enough about my daughter, we're here to talk about this film," and then laid this little gem on them:
"This script stinks!" (or something to that effect)
She went on to say that she'd passed on it at Paramount because it was a total dud, not funny at all, and would be a colossal waste of the studio's money if it went forward. Then she lowered the boom: she looked at Chris and said - "This film will torpedo your career. I'm offering you an chance to step away from it and in return I will give you an opportunity to direct something here at the studio, a film of your choosing." Her intention was clear: if she could persuade Guest to pull out this would constitute a breach of contract with Columbia and allow her to renege on their end and leave us all holding the bag (and owing the bank all their money back).
I'm sure there was a moment of speechlessness as they all sat there like recalcitrant schoolboys in front of the headmaster on their folding chairs. I know that Michael was completely shocked, especially since she'd chosen to make this offer in front of the entire partnership. I mean, it takes some serious cahones to basically tell one person she'll make their career and the others will go down with the ship.
I don't know if or for how long Guest deliberated this offer but to his everlasting credit he had the equal amount of chutzpa to tell her, "thanks....but no thanks."
And that, apparently was the end of the meeting. They were summarily dismissed from her office without a backward glance. Chairs scraping, they slunk out and never to see her or the inside of the Columbia lot for the duration of this production. They were now personae non grata.
I heard this story back at the office, amongst the hustle and bustle of pre-production, and we certainly didn't tell anyone else about what had happened. Too terrified at that point, I think, that a leak of this kind would spook the momentum that was pushing our world forward.
And that's what it was.....our whole world. And we were determined not to let it come apart at the seams.
Next: Casting is completed and we start production with some very funny guys.
posted by vallie at 8:22 AM
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