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Before You Doubt Yourself: Pep Talks and other Crucial Discussions

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Michael Bassey Johnson

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“And then came Jane Rosenthal (De Niro's handpicked CEO to oversee his production company). She had adored Rocky and Bullwinkle as a girl, and her husband, real estate investor Craig Hatkoff, had made a Valentine’s Day present to her of the collected series on DVD. She, like others before her, thought there was a potential film in Ward’s iconic characters and surreal sensibility, and in 1998 she negotiated a deal with Universal Pictures to acquire the rights and produce a $75 million film for the summer moviegoing season.” ...Fearless Leader, a role for which Rosenthal thought De Niro was perfect. When she asked him, she recalled, “he really laughed at me.… He didn’t grow up watching it. It wasn’t his thing.” But she persisted. “I was always joking with him about it. Then I finally said, ‘Okay, you’ve got to get serious here. It’s a three-week role. Do you want it or not?’ ” Amazingly—perhaps because he knew the film was, as he called it, “Jane’s baby”—he did.”

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Book:De Niro: A Life
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“Among those watching the Larry King interview was Diane Disney Miller and her husband, Ron. In response to a caller asking whether Walt Disney had really been frozen, Eisner said that no, Walt had been buried in an unmarked grave in a secret location. “His wishes were that it was unmarked, and not available to anybody to ever find out,” he said. “But I went up there and talked my way into them showing me where he’s buried.” Why would the grave be unmarked? King asked. Walt “wanted his privacy forever,” Eisner replied. “It’s a beautiful little spot and nobody could ever find it, and I’m very proud that I talked myself into it.” Diane didn’t know whether to laugh or cry. How could Eisner say this on national television? He knew perfectly well that Walt was not buried in an unmarked grave. Diane herself had told him that Walt had been cremated, after they had dinner all those years ago.”

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Book:Disney War
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“The Executive Leadership Assessment (results) quickly devolved into arguments about the ways in which Disney management did or did not function as a team, which pretty much proved the consultant’s point: that Disney’s top-tier executives, under Michael Eisner’s governance, does not make a good team; They don’t qualify as "a team," much less a group. Later, Eisner dismissed the whole experiment as a waste of time. Away from Eisner, several of the participants later conceded the issue. ‘What Michael likes is to put six pit bulls together and see which five die,’ one said.”

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Book:Disney War
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“The prison inspector and the warders, though they had never understood or gone into the meaning of these dogmas and of all that went on in church, believed that they must believe, because the higher authorities and the Tsar himself believed in it. Besides, though faintly (and themselves unable to explain why), they felt that this faith defended their cruel occupations. If this faith did not exist it would have been more difficult, perhaps impossible, for them to use all their powers to torment people, as they were now doing, with a quiet conscience. The inspector was such a kind-hearted man that he could not have lived as he was now living unsupported by his faith.”

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Book:Resurrection
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“My work in City Heat (1984) was still getting mentions in the trades, and I’d just wrapped Cobra (1986) – another project where I was principally responsible for the film’s moody and stylish palate, lots of shadows and contrast; So when I started Spaceballs (1987) Mel Brooks said to me, “Look, sonny, I don’t want any of this artistic bullshit, and I want none of that dark crap. I paid for those walls back there so I want to see those walls on the screen! Blast the light on ’em!” That’s why Spaceballs looks like a TV pilot, there’s a lot of light. In fact, I probably ­over-lit the film, but that’s the way the studios liked it at that time and it’s also the way Mel wanted it so that’s what I gave them. But if I was to do it again, I would push for something more nuanced and use some effects in there to give it a bit more character.”

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Book:Nick McLean Behind the Camera: The Life and Works of a Hollywood Cinematographer
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