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In Turnaround

Producer Joe Roth is known for making money, if not always art, but a string of flops—including Gigli—has the town wondering when (or if) he’ll regain his form.

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For most of his career, Joe Roth has been the consummate Hollywood player. Charismatic, rich, powerful, creative, he has run two studios (Twentieth Century Fox and Disney), produced 39 movies, and directed four others. He is a master of the game of assembling, making, and marketing movies. He works the film business (and his own media profile) better than anybody. He’s even producing February’s Oscar ceremony.

Yet Hollywood insiders have long known Roth’s dark secret: His reputation is better than his track record. At 55, Roth suddenly finds himself in the awkward position of having to prove himself yet again. The future of his three-year-old venture, Revolution Studios, is riding on the success of its next three movies—Ron Howard’s Western The Missing, starring Tommy Lee Jones and frontier fighter Cate Blanchett (who’s already generating Oscar buzz); Mike Newell’s fifties college drama–cum–feminist fable Mona Lisa Smile, starring Julia Roberts; and Peter Pan, a $115 million co-venture with Sony and Universal that represents Roth’s biggest roll of the dice ever.

“It’s very ambitious,” says Roth of Pan, adding that he’s wanted to make the movie since he was at Disney. “It has children, animals, special effects, flying, wire work.”

If this trio doesn’t provide some box-office fireworks, Roth is in big trouble.

Three years ago, Roth quit working for Michael Eisner and swiftly raised a ground-breaking—and unreplicable—$1 billion financing package for Revolution (named after the Beatles song) that made him the envy of Hollywood. He enjoys a rare freedom: He answers to no one and can green-light just about any movie he wants to make. So, what’s not to like? Well, Tomcats. The New Guy. Stealing Harvard. Tears of the Sun. Hollywood Homicide. Master of Disguise. And of course Gigli, the Bennifer fiasco that’s still a punch line on The Tonight Show. One critic called Revolution’s most recent release, the sports weepie Radio, “a synthetic mush of molasses-soaked pablum.” Pablum which, it should be noted, is making money.

Roth (who owns 62 percent of Revolution) promised his equity partners—Sony Pictures Entertainment (theatrical), Fox Broadcasting and Starz Encore (pay cable), along with several foreign distributors—36 commercial pictures in six years, at least some of them starring his first two in-house movie stars, Julia Roberts and Bruce Willis. Sir Howard Stringer, the Sony Corp. of America chairman, ponies up more than half of his film-production costs while underwriting distribution and marketing. In exchange, Roth agreed to play consigliere to Stringer’s executive team, and seemed likely to succeed John Calley as Sony Pictures Entertainment chairman. Indeed, Stringer has been criticized for giving away the store to Roth.

But Calley recently resigned to produce movies with Ron Howard and Mike Nichols. And while both Calley and Roth continue to serve on the committee that oversees SPE, they now share the boardroom with three other executives whose stars have risen: Columbia Pictures chairman Amy Pascal, Columbia TriStar Worldwide Marketing and Distribution president Jeff Blake, and Sony Digital president Yair Landau.

The last time Sony bet on Hollywood brashness—hiring Jon Peters and Peter Guber to run the studios—the conglomerate ended up taking a $2.7 billion write-down. This time, the Japanese kept their distance and waited to see how the partnership with Revolution fared. Until recently, the results were at least financially, if not always artistically, solid.

“The Japanese don’t believe in an Über-leader who goes with his gut,” says United Talent Agency chairman Jim Berkus. “Everything is run by committee. Checks and balances. Work by consensus.”

That’s not Joe Roth’s style. When he left Disney in January 2000, Roth was able to position himself as the successful studio chief behind such breakouts hits as Home Alone and The Sixth Sense, and as the maverick cinéast who bucked Eisner’s corporate mandates by backing smart films like The Insider, A Civil Action, O Brother, Where Art Thou?, Cradle Will Rock, and Beloved. Roth promoted Revolution as the new, streamlined, 21st-century studio: no bureaucracy, no meetings, no fuss, no muss. All you had to do was get Joe to say yes.


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