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“There are two verbs which describe what we had to deal with on this script,” says Lynda Obst, one of the producers of “The Fisher King.” “ ‘To Disney-fy” and “to Gilliamize.’ ”

That’s what Obst and her producing partner, Debra Hill, faced in turning “The Fisher King”--the story of a radio shock jock (Jeff Bridges) who finds redemption through a homeless person (Robin Williams)--from what was initially perceived as a small independent feature into one of TriStar Pictures’ major fall releases.

The “Disney-fication” phase took place during the six-month period in 1988-89 when the project was at Disney, where Hill has a production deal.

“Disney wanted a less dark version of the film in which the finding of the Holy Grail would be turned into a ‘Topkapi’-like thriller set-piece at the end,” Obst recalls. “The studio wanted to knock out the quirks and we fought for every one like it was the family jewels.”

Though Disney Chairman Jeffrey Katzenberg gave the script, written by Richard LaGravenese, to directors Steven Spielberg and Jim Brooks for their consideration, he admitted he had doubts about the film’s more mythological aspects. “Jeffrey was very respectful of the message but upfront about the fact that it didn’t galvanize him,” Obst says. “ ‘I have no spirituality,’ he said. ‘I don’t live here. My eyes glaze over when you mention reincarnation. I’m rooted to the earth.’ ”

To his credit, note Hill and Obst, Katzenberg gave them back the project when he decided against moving ahead. “That, in itself, was an act of grace,” Hill says.

After the script was bought by TriStar, the next order of business was lining up a director. A meeting at Creative Artists Agency offered up Ron Howard, Rob Reiner and Sydney Pollack as possibilities. The name that struck a chord, however, was Terry Gilliam, of “Brazil” and “The Adventures of Baron Munchausen” fame.

The outspoken, irreverent Gilliam, who locked horns with the studios in his two previous Hollywood outings, was seen as an inspired, if dicey, choice. He had gone way over budget on “Munchausen” for Columbia, and now they were asking the sister studio to bankroll him again.

“It was possibly our ballsiest move yet,” Obst says.

“Gilliamizing” the film, the producers admit, wasn’t without its challenges. In one quintessential Gilliam scene, more than 1,000 extras were brought into Manhattan’s Grand Central Station where they were instructed to break into a waltz. But the director--intent on redeeming himself in the eyes of Hollywood--brought the film in on budget (under $25 million) and on schedule nevertheless.

One minor point of dissension: the casting of Robin William’ love interest--ultimately played by Amanda Plummer. Gilliam visualized a more rarefied, ethereal, “medieval princess” while Hill and Obst fought for a Plain Jane. “We felt she should stand for all the plain girls who aren’t viewed as objects of beauty,” says Obst. “In the end, after all, love anoints.”

When it came to casting the leads, though, Gilliam’s instincts prevailed. “Terry wanted someone playing opposite Robin who would ground them both,” says Obst, “an actor’s actor instead of a comedian. Robin is intuitive and magical. Jeff is an English-style actor with remarkable control, almost robotic at times.”

“The Fisher King,” as Hill and Obst see it, is one Hollywood story with a happy ending. “We were very lucky,” Obst concludes, “taking the movie from a place that was ambivalent about and frightened of making the movie to a place that was fervent about making it.”