IT WAS MORE THAN 10 YEARS AGO that I first visited Steven Spielberg at his adobe-style offices, which rise up unexpectedly amid the chaotic maze of soundstages, high-rise black towers and theme park rides on the MCA lot. Spielberg had not been an MCA tenant for very long, but even then he seemed intent on creating an environment that was in sharp contrast to his corporate surroundings. His offices were sunny and relaxed, and absolutely no one wore a black suit. There was a huge popcorn machine in his screening room, a game room filled with electronic toys and every day lunch was served free of charge to employees gathered in the central quad. My mission at that time was to select a director for a forthcoming MGM/UA movie, and Spielberg, who even then had mastered the talent of seeming both intensely busy and utterly relaxed, graciously showed me some film shot by a protege of his while dispensing wise counsel about my project. Now, a decade later, I ambled over to Amblin on a quite different mission. Spielberg’s low-key, low-profile offices recently had been transmogrified into the temporary headquarters of DreamWorks, perhaps the most ambitious startup venture in showbiz history. In the year since the initial announcement, which triggered a media blitz, the three partners in DreamWorks
Spielberg, Jeffrey Katzenberg and David Geffen have been fiercely intent on building their infrastructure while avoiding the glare of public attention. While a few announcements had emanated from the company about TV deals and animation projects, DreamWorks’ movie operation in particular has maintained a stony silence. Inevitably, some denizens of the Hollywood film community have begun to express doubts. Is DreamWorks really going to become a major player in movies, or is Spielberg going to focus on his own career path as a producer-director? Based on my scouting mission to DreamWorks last week, I am persuaded that Spielberg and his colleagues are going for all the marbles. Not only does the startup plan call for nine major movies a year that could mean an investment of at least $ 400 million a year in features alone
but Spielberg himself will attempt to accomplish what no other filmmaker has ever done. That is, he intends to continue his own astonishingly successful directing career while overseeing the development and production of a major slate of movies. In addition, he’ll preside over the construction of a vast new studio facility near Playa del Rey, which he and his partners believe will provide an ideal creative environment that will prove attractive to other filmmakers. Sound ambitious? Definitely. Can he do it? If anyone can, my guess is that Steven Spielberg can. In directing as in management, Spielberg pursues his own effective but idiosyncratic style
one that is often sharply divergent from the “accepted” Hollywood way of doing things. That style already is apparent in DreamWorks’ approach to the movie business. One initial dictum at the company is that DreamWorks will be writer-friendly, with the emphasis on mobilizing important screen material. This commitment already has been translated into action. DREAMWORKS HAS STARTED negotiating several pricey term writer deals, for example, which offer not only significant gross participations rather than meaningless “net” points, but also provide a pool of gross receipts in all DreamWorks movies, which writers will tap into whether or not they contributed to a particular project. Among the writers now working on DreamWorks projects are Michael Leeson (“The War of the Roses”), Ted Elliott and Terry Rossio (“Aladdin”), Ebbe Roe Smith (“Falling Down”), Phoef Sutton (from TV’s “Cheers,””The Fan”), Scott Frank (“Get Shorty”), Michael Schiffer (“Crimson Tide”), Kevin Wade (“Junior,””Working Girl”), Michael Tolkin (“The Player”) and Bruce Robinson (“The Killing Fields”). “It starts with the writer
it’s a familiar dictum, but somehow it keeps getting forgotten along the way, ” Spielberg said. “No filmmaker, irrespective of his electronic bag of tricks, can ever afford to forget his commitment to the written word.” In building a writer-friendly company, Spielberg and his partners significantly chose to put a career writer in charge
lanky, low-key Walter Parkes, who runs the DreamWorks film company in partnership with his wife, Laurie MacDonald, a former executive at Columbia Pictures. The notion of a husband-wife team represents yet another Hollywood unorthodoxy, of course. Typically, neither Parkes nor MacDonald holds a formal title, nor do their six co-workers a very lean executive corps by Hollywood standards. Again, DreamWorks hopes to make a high percentage of the projects that it puts into development
perhaps one in four compared with the one-for-15 batting average sustained by other majors. “One of our most important opportunities, and challenges, is to build a company in which distribution serves production, not the other way around,” Parkes observed. That’s a pivotal advantage when filmmakers run their own company, he noted. Another advantage: In plotting construction of their projected new studio facility near Playa del Rey, it will be the filmmakers who will supervise the “little things” more space between stages, more rehearsal rooms, etc. Indeed, the planned facility will be more like a campus than the traditional studio, built around an 8-acre lake and embracing every electronic device a filmmaker could desire. The major challenge for the DreamWorks team at this time, however, is to make the transition from the Amblin agenda to the DreamWorks agenda. Under old commitments, Spielberg’s company still must start three Amblin productions this year. These are “Zorro,” a Mexican-set action picture to be directed by Robert Rodriguez and to star Antonio Banderas; “Men in Black,” an action comedy starring Tommy Lee Jones and Will Smith, to be directed by Barry Sonnenfeld (“Get Shorty”) at Sony; and the sequel to megapic “Jurassic Park,” which Spielberg may direct for Universal. In the future there are still further sequels to “The Flintstones” and “Casper” that will be turned out.
WHILE THIS ACTIVITY GOES ON, however, an inventory of material is being assembled for the new DreamWorks slate. Last week the company paid more than $ 1 million to make its first book acquisition a Michael Crichton-like novel called “Neanderthal,” about the discovery of a long-lost tribe of cave dwellers in a remote area of a Russian republic. At the same time, Geffen is starting to put material into development for his own small slate of films, while also pursuing his efforts at the music company. “DreamWorks will generate many of its projects from within and be closely involved in their planning and development,” said Parkes, a thoughtful, soft-spoken 44-year-old who could pass for a college dean. At the same time, the team wants to extend to filmmakers the same freedom from bureaucratic interference that Spielberg himself elicited from the studios, Parkes noted. With all its intensive planning and considerable expenditure of money, the rub is that no major studio can be created overnight.
Last week DreamWorks execs screened the first seven minutes of “Prince of Egypt” for their staff, which reacted with exuberance. Given the complex processes of animation, however, the movie will not be ready for release until 1999. The question that Hollywood is still asking about DreamWorks is simply this: Will high-energy players like Geffen, Katzenberg and Spielberg have the patience to pursue the long and tortuous processes of building a company from scratch? Anyone wandering around Spielberg’s adobe these days can sense an increase in intensity. The once-tranquil building is humming with action, visitors jam the entrance and the phones ring incessantly. What was once the game room is now the site of intense business lunches. Though everyone still operates in jeans and shirtsleeves, the frenetic work habits of Geffen and Katzenberg, who are now in residence, contrast sharply with the laid-back style of the Amblin of old. “No one around here is ‘amblin’ any more,” says one long-term Spielberg employee. “We’re flat-out running now.”