COVER STORY : Hollywood’s Family Ways : Things haven’t changed since the days of Selznick: It helps to have an uncle--or a father, brother or aunt--in the business. Do Hollywood’s clannish ways affect the movies we see?

“The Son-in-Law Also Rises,” proclaimed a trade paper in 1932 when Louis B. Mayer lured David O. Selznick, husband of his daughter Irene, back to MGM with a lavish deal. These days, at Sony Studios, which occupies MGM’s former premises in Culver City, some of the wives rise too.

Sony Pictures Entertainment Chairman Peter Guber’s wife, Lynda, has a development and production deal at Sony-owned TriStar Pictures, as does Wendy Finerman, wife of Mark Canton, chairman of Columbia Pictures, TriStar’s sister studio. Christine Peters, ex-wife of Guber’s former co-chairman, Jon Peters, has a deal at Columbia Pictures. Of the trio, only Finerman, who originally landed her deal at Columbia while her husband was at Warner Bros., had produced a movie before signing on.

Senior Sony executives are likely to bump into other relatives on the lot. Canton’s brother Neil is producing “Geronimo” for Columbia. Guber’s niece, Elizabeth Guber, is a senior vice president of the Fried/Woods production company, which is producing “So I Married an Axe Murderer” for TriStar, and Julia Ganis, daughter of Sid Ganis, Columbia’s president for marketing and distribution, is the assistant to Laura Ziskin (“Hero”), who has a production deal at Columbia. Julia’s sister Laura worked as a production assistant on Columbia’s “Nowhere to Run.”

Bestowing a development deal--including office space, support staff and a likely six-figure salary--on one’s spouse is still a rare phenomenon in Hollywood. But affirmative action for family members is an accepted practice in a town where everyone seems to be related to everyone else even if their last names are not Fonda, Barrymore, Bridges, Carradine, Douglas or Mankiewicz.

Whether for reasons of self-protection, familial duty or genuine pride in their blood lines, people in the movie business have always given preference to their relatives or the relatives of their friends. In an industry built by Jews from Eastern Europe, many of whom started in the garment trade, this kind of favoritism has always seemed natural.

Directors may go to film school, actors to acting workshops, but no formal training exists for studio executives. A solid education and good grades are not necessarily relevant or even desirable and are considered much less valuable than the kind of insider’s knowledge acquired at the dinner table night after night.

Of the major movie studios, only MCA has an anti-nepotism policy, and favoritism toward relatives seems particularly prevalent at Paramount and MGM as well as Sony. In the movie business, the career of an ambitious woman may get a big boost from the right marriage, while in television, it is often successful women who provide work for their husbands. But it is still mainly offspring who benefit from favored treatment.

With competition fierce and tens of millions of dollars hanging in the balance, it is rare to come across the kind of blunder made by John Huston when he gave his 16-year-old daughter Anjelica a role she was widely considered unsuited for in “A Walk With Love and Death” or by Francis Ford Coppola when he miscast his daughter Sofia in “The Godfather Part III.” Few directors would go as far as Bryan Forbes did when he insisted on casting his wife, Nanette Newman, as one of the leads in “The Stepford Wives”--a role better suited for Bo Derek than a British actress in her 40s, as William Goldman, scriptwriter for the 1975 film, recalled in his book “Adventures in the Screen Trade.”

Such heavy-handedness may be unusual, and most beneficiaries of nepotism may be well qualified for their jobs. Nevertheless, some say, the practice is at least partly responsible for Hollywood’s insularity, narrow perspective and largely homogeneous work force. The industry has long been criticized for employing relatively few women, blacks and other minorities, especially in its upper ranks. More diversity among management personnel would likely lead to a more interesting mix of movies, many people argue.

Nepotism’s Roots

Nepotism in Hollywood dates back to the industry’s earliest days. Its founders, immigrant Jews from Eastern Europe, surrounded themselves with relatives as a form of self-protection. By the 1930s, Neal Gabler, author of “An Empire of Their Own: How the Jews Invented Hollywood,” points out, the Great Depression had provided movie moguls with an added incentive: They took in their family members to keep them from starving.

Carl Laemmle, the founder of Universal Studios, brought so many kinsmen over from Europe to work for him that he inspired the Ogden Nash line “Uncle Carl Laemmle had a very big family.” MGM’s initials “were said to stand for ‘Mayer’s-Ganz-Mispochen’ (Yiddish for ‘Mayer’s whole family’) because Louis B. Mayer loaded the payroll with so many of his relatives,” write Stephen Farber and Marc Green in their book “Hollywood Dynasties.”

If Hollywood is a family business, nowhere is that more apparent than in the so-called crafts unions.

Since 1917, for example, when George Westmore founded the first movie makeup department, members of his family have dominated the craft. At one time or another, nearly all of the studios had a Westmore running their makeup departments. Today, Montague Westmore, George’s grandson, serves as secretary-treasurer of Local 706 of the International Alliance of Theatrical Stage Employes, Makeup Artists and Hair Stylists; his brother Marvin is a former president, and four other relatives are union members. A fourth generation of Westmores is carrying on the family tradition.

In an industry rife with mistrust and paranoia, it is hardly surprising that executives hire the children, siblings and spouses of their friends, people likely to speak the peculiar language of show business and understand its demands and rules. “Executives are hired not on the basis of the experience they have, or on the basis of great intelligence or their (academic) credentials,” Gabler said. “The coin of the realm is contacts, and those contacts begin very, very early.”

Or as an entertainment lawyer puts it, “What this town is all about is getting your phone calls returned.”

The first generation of moguls hoped in vain that their sons would enter more respectable professions such as law and medicine, but the movie business proved too tantalizing, and very few in the next generation escaped it. Today, few would even think of trying.

By now moviegoers expect to see movie stars passing the torch to succeeding generations. Less visible to the public are the web of family relationships connecting the people who make movies and television shows.

At Paramount Pictures, for example, Bob Jaffe, vice president of production, is the son of Stanley Jaffe, president of parent Paramount Communications. In the 1970s, Stanley served as production chief at Columbia while his father, Leo, was the company’s chairman. One of Stanley’s brothers, Howard, is a producer; they worked together on “Taps.” Another brother, Ira, was recently named president of Famous Music, Paramount’s publishing arm. Their sister Andrea is a veteran publicist who currently serves as president of domestic marketing at 20th Century Fox.

The Jaffe relationship has a precedent at Paramount. In the 1980s, Paul Bluhdorn was senior vice president of acquisitions for Paramount Pictures while his father, Charles, was chairman and chief executive officer of the parent Gulf & Western Corp.

Today, Bob Jaffe reports to motion picture production president John Goldwyn, himself the scion of a famous family. John’s brother is actor Tony Goldwyn, who recently appeared in “Traces of Red,” a movie produced by his father’s Samuel Goldwyn Co., founded, of course, by John and Tony’s legendary grandfather.

Until he moved his offices to Beverly Hills in November, independent producer Frank Mancuso Jr. (“Cool World,” “Internal Affairs”), the son of the studio’s former chairman, was based at Paramount; other studio executives shielded Frank Sr. from decisions affecting his son’s movies “so somebody wouldn’t raise questions later on,” the younger Mancuso said.

Nepotism also seems to be an accepted practice at MGM, where chief executive Alan Ladd Jr., the son of a famous actor, has provided work for his half brother David (the studio’s production chief) and daughter Kelliann (the recipient of a three-picture development deal). The tradition is not unknown at Fox, where John A. Davis was a production executive in the 1980s, while his father, Marvin, owned the studio.

More common than nepotism, however, is favoritism of a different kind--not to one’s own relatives but to the relatives of one’s friends. Ladd gave John Goldwyn his start in the movie business and also employs Sydney Pollack’s daughter Becky as vice president of production.

“I will always see the children of friends of mine in this business,” said producer Mace Neufeld (“Patriot Games,” “The Hunt for Red October”). “The foot in the door is extremely important, and I’m thrilled to give it to any of the people I know.”

Power Couples

Despite nepotism’s pervasiveness in the movie business, until recently few women have profited from it. Not surprisingly, daughters of the original moguls were not encouraged to enter the business. Irene Mayer Selznick found professional success not in Hollywood but as a Broadway producer. Dore Schary, who served as production chief at RKO and later MGM in the 1940s, encouraged his daughter, Jill Schary Robinson, to become a novelist, not a screenwriter.

(Today, Robinson’s son, Jeremy Zimmer, is one of the industry’s most powerful young agents; his firm, United Talent Agency, represents Brian De Palma, Lawrence Kasdan, Bridget Fonda and Ice-T. He is married to Romi Straussman, senior vice president of development at Scott Rudin Productions.)

Unless they were actresses, most wives of studio executives were relegated to the role of hostess or unofficial adviser. One exception was Frances Goldwyn, who had an office down the hall from husband Sam’s and wielded considerable power over his business. But even she was never awarded a company title or independent salary.

These days, by contrast, Hollywood is filled with power couples who met and married after each had attained a level of success. Among these are Stacey and Tom Lassally--she is president for production at TriStar and he is vice president for production at Warner Bros. In-house marriages are common at the agencies. One such union brought together Rick Nicita, co-head of the motion picture department at Creative Artists Agency, and his then-colleague at CAA Paula Wagner, now Tom Cruise’s production partner.

Hollywood’s powerhouses still tend to be male, but today many have ambitious wives, who are not content to remain in the shadows. Most notable is Lili Fini Zanuck, whose husband, Richard (the only son of the late 20th Century Fox chief Darryl F. Zanuck and perhaps the only movie brat ever to have been fired by his own father), gave her the opportunity to direct “Rush” after they co-produced the Academy Award-winning “Driving Miss Daisy.”

Donna Roth, wife of former Fox Film Corp. Chairman Joe Roth, is co-producing the upcoming movie “Benny and Joon” for MGM. Her partner is Susan Arnold, wife of Tom Jacobson, president of worldwide production at Fox. Neither woman has ever produced a movie before--Roth’s sole credit lists her as a logger for the televised 1988 Summer Olympics, while Arnold had acting roles in several movies and worked in casting on a few others--but both are children of the industry. Roth’s father is B-picture producer Sam Arkoff (“I Was a Teenage Werewolf”); Arnold’s father, Jack Arnold, directed such pictures as “The Incredible Shrinking Man.” Roth and Arnold just landed a production deal at MGM.

At a time when Sony has said it is trying to hold down costs, the company’s largess toward family members has raised more than a few eyebrows, although some people praise Peter Guber for putting his feminist values into practice.

Though active in civic causes--she is a co-founder of the advocacy group Education First!--Lynda Guber did not exactly have a track record when Columbia signed her up. Her only credit was as a special assistant on the 1977 movie “The Deep.” She recently acquired the rights to the book “Dinotopia” for Columbia.

Christine Peters had no credits before she got her deal, but she is co-producing “Girls Club,” a Columbia project now in development. Jon Peters, who catapulted from hairdresser to movie mogul as a result of his relationship with Barbra Streisand, has been similarly generous with subsequent women in his life; onetime girlfriend Darris Hatch, an International Creative Management agent, served as a Columbia vice president during Peters’ brief tenure as Sony co-chairman.

Wendy Finerman, whose deal was transferred to TriStar to avoid a conflict of interest with her husband, had worked for independent television producer Steve Tisch (who happens to be the nephew of CBS Chairman Laurence A. Tisch) for four years and served as co-producer of “Hot to Trot,” a 1988 movie about a talking horse. A former financial planner for the Movie Channel, she worked in business affairs for Universal Television.

Her move to the creative side occurred while she was dating Canton, whose friendship with Tisch goes back 20 years. “Did Mark ask me to meet his girlfriend? Yes,” Tisch recalls. “Did I feel pressure? No. . . . Jon (Avnet, then Tisch’s partner) and I hired Wendy because we thought she was going to be a sensational addition to the company. Her involvement was a totally wonderful experience.”

Although Finerman operates out of TriStar (perhaps not incidentally, production chief Lassally is a pal from University of Pennsylvania days), she has two deals at Warner Bros. (“The Postman,” to star Tom Hanks, and “In the Land of Nod,” to be directed by Avnet) and two more at Paramount (“Forrest Gump,” to be directed by Barry Sonnenfeld, and “Soul Survivors,” starring Glenn Close and Woody Harrelson).

TriStar Chairman Mike Medavoy’s wife, Patricia Duff Medavoy, is a political activist--she formed an organization called Show Coalition--who has co-produced one low-budget movie (the 1989 “Limit Up,” distributed by Management Company Entertainment Group) and is widely believed to have further aspirations. But they are not likely to be fulfilled at her husband’s company. Mike Medavoy said he opposes making business decisions purely on the basis of family relationships and believes such instances of nepotism are rare.

“It’s folly to think that one would do anything that would cause a company to lose money just because somebody’s wife, brother or sister was involved,” he said.

TV’s Family Ties

Perhaps even more than movies, television production is a family affair. In contrast to the movie industry, though, it is not uncommon for the female half of a television couple to have a higher profile than her spouse, as is the case, for example, with Diane English and Joel Shukovsky, creators of “Murphy Brown.”

Health-and-fitness expert Tony Cacciotti met his future wife, actress Valerie Harper, when he was hired to help her lose weight for a movie role. Later he became her business manager and the executive producer of her series “Valerie.” When Lorimar Television fired the couple from the show, they won a lawsuit against the company, but afterward Cacciotti complained that his reputation was damaged by testimony suggesting that he lacked the qualifications to executive-produce the show and owed his job simply to his relationship with Harper.

The series “thirtysomething” was another family enterprise, with the show’s creators, Ed Zwick and Marshall Herskovitz, bringing in their wives, Liberty Godshall and Susan Shilliday, as writers and story editors. Steven Bochco has also been accused of nepotism for frequently casting his wife, Barbara Bosson, in such series as “Hill Street Blues,” “Cop Rock” and “Hooperman.”

But television’s nepotism champion may well be the now-bankrupt Fries Entertainment, which in its heyday was responsible for such made-for-television movies as “The Case of the Hillside Strangler” and “Leona Helmsley: The Queen of Mean.” Run more like a family business than a publicly traded company, the company was known for its huge salaries and perks and for providing executive-level jobs for three sons of its profligate chairman, Charles W. (Chuck) Fries, with the eldest, Charles M. (Butch) Fries, earning a salary that eventually rose to $359,000, Times staff writer John Lippman reported in 1991.

Fries pere also made $192,000 worth of development deals with second wife Ava Ostern Fries’ Avanti Productions. His first wife, Carol Fries, charged in a lawsuit that Fries Entertainment owned a Haagen-Dazs ice cream franchise in Westlake Village for no other reason than to employ their son and daughter-in-law.

Life With Father

Fries Entertainment may have been over the top, but everywhere in Hollywood, it pays to choose the right father, a truism mocked in the recent movie “Mistress.” The struggling screenwriter portrayed by Robert Wuhl asks his producer, played by Martin Landau, why an officious and very green young man named Stuart Stratland (Jace Alexander) sits in on all their meetings and feels free to meddle. Stuart’s father, it turns out, is an Oscar-winning screenwriter.

“I know his father. He wrote a picture for me years ago,” the producer tells the screenwriter. “He loves his kid. If we get into problems with the script, he’ll help us. You know how much that guy gets? Five hundred thousand, easy. The kid’s on spec, so it’s like getting his father for free.”

Last year, Eastman Kodak ran an advertisement in trade magazines showing three generations of the Koch family--Howard W. Sr., (producer of “Airplane!” and “Ghost”), Howard Jr. (executive producer of “Wayne’s World” and the forthcoming “The Temp”) and William, a recent college graduate and aspiring screenwriter. Depicting the trio in profile, lined up side by side Mt. Rushmore style, the portrait speaks volumes about the value of lineage.

Howard W. Koch Jr. visited a movie set for the first time when he was 4, traveling to Durango, Colo., where his father served as assistant director on “Across the Wide Missouri.” It was a heady experience for a toddler. The film’s star, Clark Gable, gave him his first horseback ride, and Ricardo Montalban, who played an Indian, “sat me on his knee and told me Indian stories,” he recalled. From then on, he said, he was hooked.

His father was already a well-known producer (“The Manchurian Candidate” and “The Odd Couple”) when Howard Jr. got his start working as an assistant director on such films as “Rosemary’s Baby” and “Chinatown.”

He acknowledges that his background gives him a special rapport with executives such as Stanley Jaffe, whose studio, Paramount, recently signed him to an exclusive three-year contract. “I understand where Stanley comes from because his father was Leo, and he understands where I’m coming from because my father is Howard Sr.,” Howard Jr. said before the deal was announced.

Before he joined Castle Rock Entertainment last year, Fraser Heston produced, wrote or directed six television movies, with his father, Charlton Heston, starring in all of them. Having Charlton tied to the projects his son was to direct “was useful for him and useful for me,” the father said, explaining that he often finds himself dealing with overly deferential young directors. Fraser, on the other hand, is not afraid to be blunt. “He knows I want to be told what I can do better,” the father said. “I trust him, and I know he will tell me the truth.”

For Charles Winkler, who directs low-budget erotic thrillers--the latest is called “Die Watching”--being the son of producer (and now director) Irwin Winkler (“Rocky,” “GoodFellas”) meant that “from a very early age, my father put me to work. I never went to summer camp after I was 13.” Instead, he served as a production assistant on movies such as “New York, New York” and “Comes a Horseman.”

At UCLA he got together with “a bunch of other scions,” as he calls them--Chris Bergen (brother of Candice and son of Edgar), David Yorkin (son of television producer Bud) and Brad Wyman (son of the late Eugene, co-founder of one of the town’s premiere entertainment law firms)--and began making short films.

When the younger Winkler set out to direct his first feature film (“You Talkin’ to Me?”) he took advantage of his father’s name, he said, to “hasten our loan application,” for example.

“Having an Academy-Award-winning producer for a father and not using him for everything we could . . . would be like having the world’s best encyclopedia on your shelf; you’d be a fool not to use it,” Charles Winkler said. “Having Irwin behind us gave us an incredible amount of credibility.”

Jonathan Sheinberg, whose father, Sidney, is president of MCA, always knew that Universal Studios was off-limits because of the company’s anti-nepotism policy. (This policy, however, did not stop his mother, Lorraine Gary, from appearing in three of Universal’s “Jaws” movies; the $242,000 in compensation she received for “Jaws II” drew criticism at an MCA stockholders meeting.) The younger Sheinberg said he had to “make it on my own” in the entertainment business.

Well, not quite. “I was able to pick up the telephone. I could call Frank Price (former Columbia Pictures chairman) and he knew who I was,” Sheinberg acknowledged. But he quickly added: “It’s either sink or swim after that.” After a variety of production jobs, including executive-producing credit on the recent “Passenger 57” and “Innocent Blood,” Sheinberg last year became a literary agent with Triad Artists Inc. (now merged with the William Morris Agency), seeking scripts and books that can be turned into movies.

“He came in without any clients,” Arnold Rifkin, head of Triad’s motion picture department (and now in the same capacity at William Morris), told the Washington Post last year. “I wanted Jon because of his overall knowledge.” (Sheinberg’s brother, Bill, is also in the entertainment industry; he was recently promoted to senior vice president of programming at MTM TV.)

The Price of Name

Enviable as it may seem to outsiders, family ties can sometimes bring burdens as well as blessings. “I don’t want people to say (about me), ‘He’s good, but his father was better,’ ” the 21-year-old Sam Goldwyn Jr. wrote his father while he was trying to establish his independence by living in Europe, according to a letter quoted in A. Scott Berg’s “Goldwyn: A Biography.” “I want to be better than you and I hope someday to have a son who’ll be even better than I hope to be.”

Actress Carolyn Nelson has only appeared in television movies directed by her husband, Joseph Sargent (“The Taking of Pelham One Two Three”). Her husband contends that his colleagues are unable to appreciate his wife as a professional in her own right, rather than as his appendage. “The wife of the director tends to be off-limits for other directors and producers,” he said.

The wife of a powerful studio executive cited another problem a relative might encounter. “If I take a chance on you, and it doesn’t work out, I’m in an awkward position,” she said she was told during an unsuccessful job hunt.

Like other offspring of Hollywood’s high and mighty, Jonathan Sheinberg believes he pays a price for his famous name. “I think I would have been much more acclaimed if I wasn’t given the same name as a well-known executive,” he said. “Everyone is gunning for you to fail.”

Even in the absence of a specific ban on nepotism, not everyone can expect to profit from proximity to the powerful. Mark Ovitz, younger brother of superagent Michael Ovitz, is an independent television producer, who entered the business in 1974 by answering an ad for a clerk in the advertising deparment of Avco Embassy Pictures. Mark Ovitz said he has no direct professional contact with his famous brother, whose client list includes Kevin Costner, Tom Cruise and Steven Spielberg. “I’m not in a position to be talking with Michael about some of the bigger clients he represents because I’m not in that world,” he said.

Being an Ovitz does have its advantages, however. “I’ve certainly benefited in terms of getting into restaurants,” Mark Ovitz joked.

Obviously, whatever their complaints, most people potentially able to benefit from nepotism would scarcely want to change places with those who aren’t. Nicolas Cage, Francis Coppola’s nephew, changed his name at age 17 to avoid the distractions of constant queries about his famous relative; but his second film role (shortly after his debut in “Valley Girl”) was in his uncle’s 1983 movie “Rumble Fish.”

Both Mike Ovitz and Francis Coppola are among the numerous Hollywood figures who made it without family connections, but clearly, nepotism works to the disadvantage of those from the outside. And some say that has consequences for moviegoers, as well as moviemakers.

“The movies pay a price for having a relatively limited view of American society,” said author Neal Gabler, noting the scarcity of blacks, women and other minorities in the studios’ higher echelons. “That’s clearly to the detriment of American movies.”

And, perhaps, to people’s general sense of what is fair. But is fairness an appropriate standard?

Not to producer Steve Tisch. “I never use the word fair in terms of describing the television and movie business,” he said. “It’s not fair. It’s a town built on relationships, on quid pro quo. You’ve got to know that.”

How It Works

In an industry built on relationships, here are a handful of the ties that bind: FATHERS AND SONS

* Sidney J. Sheinberg, President of MCA

Jonathan Sheinberg, agent

Bill Sheinberg, senior vice president of programming, MTM TV

*

* Irwin Winkler, producer (“Rocky”)

Charles Winkler, direstor (“Die Watching”)

*

* Norman Brokaw, chairman, William Morris Agency

David, Sandy and Joel Brokaw, run a public relations and personal management agency

*

* Charlton Heston, actor

Fraser Heston, director (“Needful Things”)

*

* Walter Matthau, actor

Charles Matthau, director (“Doin’ Time on Planet Earth”)

David Matthau, former actor; reporter, television news

*

* Dick Berg, television producer

Jeff Berg, chairman, International Creative Management

A. Scott Berg, writer

Rick Berg, agent MOTHERS AND SONS

* Judith Krantz, novelist (“Scruples”)

Tony Krantz, agent

Nick Krantz, television producer

*

* Judy Polone, television producer

Gavin Polone, agent COUPLES

* Richard Zanuck / Lili Fini Zanuck, producers (“Driving Miss Daisy”)

*

* Rick Nicita, co-head of motion picture department, Creative Artists Agency

Paula Wagner, Tom Cruise’s partner in CW Productions

*

* Tom Lassally, Warner Bros. vice president of production

Stacey Lassally, TriStar president of production

*

* Mark Canton, chairman, Columbia Pictures

Wendy Finerman, producer based at TriStar

*

* John Landis, director

Deborah Nadoolman, costume designer

*

* Paul Schrader, director

Mary Beth Hurt, actress

*

* Richard Donner, director-producer

Lauren Shuler Donner, producer (they are co-producers of “Radio Flyer”)

*

* Jerry Isenberg, chief executive, Hearst Entertainment

Carole Isenberg, producer (“This Is My Life”)

*

* Robert Cort / Rosalie Swedlin, producers, (co-producing “The Air Up There”)

*

* Peter Benedek, partner, United Talent Agency

Barbara Benedek, screenwriter

*

* Charles Roven, producer “Heart Like a Wheel”

Dawn Steel, producer “Honey, I Blew Up the Kid” DADS AND DAUGHTERS

* Sidney Lumet, director

Jenny Lumet, actress

*

* Sydney Pollack, director

Becky Pollack, vice president of production, MGM

*

* Sid Ganis, president for marketing and distribution, Columbia Pictures

Julia Ganis, assistant to producer Laura Ziskin

Laura Ganis, former production assistant; now an assistant editor at MTV

*

* Mace Neufeld, producer (“Patriot Games”)

Nancy Neufeld, screenwriter and former development executive at Fox

*

* Frank Rosenfelt, former chairman of United Artists

Karen Rosenfelt, seniro vice president of production, Paramount Pictures

*

* Bo Goldman, screenwriter (“Scent of a Woman”

Diana Rathburn, vice president of production, Warner Bros.

*

* Aaron Spelling, chairman, Spelling Productions

Tori Spelling, actress (“Beverly Hills, 90210”)

*

* Marvin Josephson, founder, International Creative Management

Nancy Josephson, head of ICM TV literary department

*

* Guy McElwaine, ICM agent

Dawn McElwaine, vice president, publicity, Warner Bros.

Alex McElwaine, student and part-time employee at Rogers & Cowan MOTHERS AND DAUGHTERS

* Hannah Weinstein, late producer (“Robin Hood” television series)

Paula Weinstein, producer (“The Fabulous Baker Boys”)

Lisa Weinstein, producer (“Ghost”)

*

* Joan Rivers, comedian

Melissa Rivers, MTV gossip columnist

*

* Raquel Welch, actress

Tahnee Welch, actress

*

* Rita Gam, actress

Kate Guinzberg, Pfeiffer/Guinzberg Productions

*

* Joan Micklin Silver, director (“Hester Street”)

Marissa Silver, director (“He Said, She Said”)

*

* Lee Grant, actress-director

Dinah Manoff, actress

*

* Elaine May, director

Jeannie Berlin, actress BROTHERS AND SISTERS

* David Mamet, writer and director

Lynn Mamet Weisberg, screenwriter

*

* Brian Henson, chairman, Jim Henson Productions

Lisa Henson, Henson executive vice president for theatrical productions

*

* David Picker, producer and former studio chief

Jean Firstenberg, director, American Film Institute

*

* Steven Spielberg, director

Anne Spielberg, screenwriter (“Big”)

*

* Todd Fisher, producer (“Twogether”)

Carrie Fisher, screenwriter and novelist (“Postcards from the Edge”)

*

* Warren Beatty, actor

Shirley Maclaine, actress

*

* Jack Rapke, co-head of motion picture department, Creative Artists Agency

Eileen Rapke, entertainment lawyer BROTHERS

* Ridley Scott and Tony Scott, directors

*

* Lawrence Gordon, chairman, Largo Entertainment

Charles Gordon, producer (“Unlawful Entry”)

*

* Roger Birnbaum, producer, Caravan Films

Stuart Birnbaum, screenwriter and television producer

*

* Michael Ovitz, chairman, Creative Artists Agency

Mark Ovitz, television producer

*

* David Hoberman, president of Walt Disney and Touchstone Pictures

Thomas H. Hoberman, entertainment lawyer

*

* Arnold Rifkin, head of television department at William Morris Agency

Ron Rifkin, actor SISTERS

* Paula Weinstein, producer (“The Fabulous Baker Boys”)

Lisa Weinstein, producer (“Ghost”)

*

* Nora Ephron, director (“Sleepless in Seattle”)

Della Ephron, screenwriter (“This is my Life”)

Amy Ephron, novelist and screenwriter