COVER STORY : AT THE CENTER OF THE DOLE FIRESTORM

Senate Majority Leader Bob Dole (R-Kan.) got plenty of attention when he scolded Hollywood about sex and violence in movies, TV and pop music. But, as The Times reports today (see Page A1), Dole’s comments aren’t changing the face of show business. Yet. The creative and business powerbrokers will tell you they’ve always been thoughful about what they produce. Here, then, are some snapshots of life on the front lines:

PETER CHERNIN

Chairman/Chief Executive Officer, Fox Films Entertainment

When Peter Chernin took over the reins of 20th Century Fox’s movie division in the fall of 1992, the father of three vowed to make family pictures an important part of the mix.

True to his word, he has released “Far From Home: The Adventures of Yellow Dog,” “Miracle on 34th Street” and “Mighty Morphin Power Rangers: The Movie” in addition to such gritty fare as “Die Hard With a Vengeance” and “Kiss of Death.” And in April, 1994, Chernin set up Fox Family Films.

“Violence in movies is nowhere near the top of problems facing this society,” says Chernin, 44. “We have to be very careful of any knee-jerk reaction. Fox financed more than half of ‘Braveheart,’ which we’re proud of on every level. The story was handled with great responsibility, and the violence was appropriate to the period.”

“Basic Instinct” notwithstanding, Chernin believes that big-screen sex has decreased significantly during the last decade. “We’re all slaves to the marketplace,” he says, “and people seem to be less interested in watching overt sexuality.”

Although Dole has staked out Hollywood as a campaign issue, Chernin says, individual responsibility is the key.

“I don’t think Congress--or the public--favors direct government censorship. In any case, it would be declared unconstitutional.”

Of greater concern, Chernin says, is the rising cost of talent and marketing:

“The continual erosion of profit margins encourages a blockbuster mentality and reliance on movies we think are easy enough to market to ensure big opening weekends. We’re reluctant to take a chance on new directors and writers, because at the end of the day, we’re running a business.”