Barry Diller's Hollywood Journey: Triumphs and Turmoil Behind the Scenes

Barry Diller's Hollywood Journey: Triumphs and Turmoil Behind the Scenes

In 1977, Barry Diller, then the young CEO of Paramount Studios, experienced a pivotal moment in the history of cinema during a preview of Saturday Night Fever at the iconic Chinese Theatre in Los Angeles. As Diller sat in anticipation, a publicist leaned in with cautionary words, suggesting that John Travolta, the film's lead, was a liability. The publicist lamented, "[John] Travolta’s the problem. He’s a television person. You don’t put a television person in a movie. The kid just doesn’t put asses in seats." Diller recalls replying internally, "Well, not old Hollywood asses."

Two weeks post-preview, Saturday Night Fever opened to massive success, drawing crowds that wrapped around the blocks of theaters nationwide. Surprisingly, under Diller's leadership, Paramount jumped from a problematic fifth to number one among major studios in just two years. This turnaround was particularly sweet for Diller, who faced mockery from former executives who accused him of endangering the institution.

During his decade at Paramount (1974-1984), Diller championed unforgettable films, including Raiders of the Lost Ark, Terms of Endearment, and Beverly Hills Cop. While these achievements were noteworthy, he also encountered several misfires. He described William Friedkin’s The Sorcerer, for instance, as "a bloated, over-budget nightmare," emphasizing the pitfalls of Hollywood's unpredictability.

The production of Saturday Night Fever was notable for its departure from Hollywood norms; the script was an original idea lacking the typical celebrity-driven pedigree. Diller noted that even the director, John Badham, was primarily known for television. The film's success showcased a shift in how movies could be made, illustrating that creativity and fresh perspectives could defy entrenched expectations.

Drawing from his earlier experiences at ABC, where he pioneered the Movie of the Week and miniseries, Diller found himself grappling with the high-stakes world of film. He famously described the industry as riddled with ego and self-promotion, contrasting it with television's previously structured environment. His boss, Charlie Bluhdorn, reigned with the unpredictability of an emperor, often proposing bizarre film ideas as instant blockbusters, including absurd crossovers like “the tale of Sitting Bull and Hitler at war with each other.”

Diller often put his instincts on the line—and not always successfully. Many projects he endorsed were met with lukewarm receptions, which he candidly acknowledged, stating, "just darts thrown at the board." Yet, despite his blunders, he continued to push boundaries. His lesser projects, such as Lipstick and The Big Bus, received scathing critiques. The audience at an advance screening of Marathon Man illustrated this chaotic blend of creativity and controversy, inciting violent reactions during a particularly harrowing torture scene, culminating in Diller being evacuated for his safety.

One ambitious project, the 1976 remake of King Kong, encountered obstacles rooted in misguided decisions, particularly with producer Dino De Laurentiis. Diller recounted De Laurentiis's insistence on casting an inexperienced model and his peculiar request for breast augmentation—foreshadowing what would eventually lead to Jessica Lange’s acclaimed performance in the film.

Diller's encounters with Hollywood titans were not without dysfunction. His dealings with directors like Terrence Malick turned sour, with Diller investing substantial sums only to face indefinite delays. He eventually cut off Malick’s salary, resulting in a 20-year hiatus from directing for the auteur, exemplifying the high stakes involved.

Moreover, Diller frequently navigated tumultuous relationships with actors. His decision to run a provocative advertisement featuring Robert Redford and Faye Dunaway offended Redford, resulting in a five-year estrangement that left Diller and others at Paramount reeling.

After the success of Saturday Night Fever, the royal family took an interest in Travolta. At a request from Princess Margaret, Travolta’s disinterest was encapsulated in his response: "I don’t do tea!" This was just one example of the eccentricities surrounding the era and Travolta's rising stardom.

Diller's foresight in choosing projects was patchy; he notably questioned the viability of Grease as a follow-up for Travolta, which producer Robert Evans also deemed ill-fated, instead advocating for American Gigolo, illustrating the self-doubt that accompanied decision-making in show business. This foresight proved to be glaringly incorrect as Grease became a massive hit.

An unfiltered glimpse into the industry at the time reveals rampant drug use, as Diller disclosed witnessing extensive cocaine use on set while visiting the production of Popeye. His experiences even led to the shocking revelation that his driver was a significant cocaine dealer.

In 1984, Diller transitioned to 20th Century Fox, where he served as CEO until 1992. His skepticism towards the casting of Bruce Willis in Die Hard highlighted his evolving journey in Hollywood; he expressed concern about Willis’s marketability. However, after witnessing a rough cut of the film, he recognized its potential, reversing his initial stance.

Barry Diller’s reflections on his career provide insight into the tumultuous and unpredictable nature of the film industry. His experiences reveal a balance of triumph against a backdrop of persistent skepticism and significant challenges, effectively crafting the narrative of a man advocating for innovative storytelling in Hollywood.