Power Brokers Showing Real Sincerity in Land of Make-Believe

Like many Americans trying to get back to business as usual in these extraordinary times, those who work in the entertainment industry are finding themselves operating in an altered state.

However fleeting, Hollywood’s trademark ruthless practices and myopic, egocentric nature have given way to much more civil business dealings, even between some of the industry’s most competitive power brokers.

Dozens of top executives, agents, attorneys, publicists and producers interviewed since the terrorist attacks described their recent business interactions--by phone, e-mail or in face-to-face meetings--as much more personal and deferential in tone than usual.

Many also say the tragedy has helped give them perspective on what they do for a living--a stunning acknowledgment from an industry that normally tends to be so self-important.

New Line Cinema Production President Toby Emmerich readily acknowledged, “It’s hard to even pretend what we’re doing is important in any way. Giving notes on a comedy you’re making for 2003, makes it all seem kind of trivial when you’re struggling with wanting to do something really important.”

New York-based producer Scott Rudin agreed: “It makes it all seem so utterly unimportant.” One of Hollywood’s most prolific and demanding producers, Rudin said that even though he has three films poised to open, “I’m not calling anybody to say, ‘Where’s the one-sheet, where’s the trailer?’ The desire to bang is gone--at least temporarily.”

The tragedy has elicited unusual behavior throughout the entertainment industry. Witness the cooperation of the highly competitive four broadcast networks and cable outlets behind Friday night’s successful two-hour telethon--”America: A Tribute to Heroes”--which raised more than $150 million to aid victims of the attacks.

Network news divisions similarly agreed to pool footage in the first days after the terrorist attacks and share their plans on when to resume commercials.

Immediately after the attacks, studio and network executives across Hollywood moved swiftly to jettison movie releases and TV programs with sensitive subject matter and now are trying to figure out what audiences might want to see.

On a smaller scale, throughout Hollywood’s executive suites even some of the industry’s toughest deal makers said they are experiencing a marked difference in their business dealings.

‘Feeling of Free Fall’

“I’ve noticed a great change in attitudes,” said high-powered litigator Bertram Fields. In negotiating a deal with a top studio executive whom he described as “a very tough, brusque guy,” Fields said, “His voice and attitude were totally changed. We commiserated and talked about our families. . . . I’m not saying he gave up a deal point, but his manner and style were totally different.”

Entertainment lawyer David Colden said, “This is not the Hollywood I’ve known for the last 23 years. . . . There’s a sense of humanity among businesspeople that often doesn’t exist.”

Artisan Entertainment chief Amir Malin, whose company is blocks from the World Trade Center site, said he was struck by the outpouring of calls and e-mails he received from business associates he barely knows.

“I am seeing a sincerity that can be categorized as atypical,” Malin said.

Others observed it is refreshing not to hear business rivals trashing each other--a common practice in Hollywood.

“You don’t hear people talking about grosses and gleaming over other people’s misfortunes and failures,” said comedy screenwriter Barry Blaustein.

Top executives have noticed that the frenetic pace at which they usually operate and often make creative decisions has slowed.

“All of us are consumed by the adrenaline of these jobs,” said John Goldwyn, president of Paramount Pictures Motion Picture Group. “There’s the constant pressure of the script you have to read, the actor you have to get and the deal you have to close. No one feels that right now. . . . There’s almost a feeling of free fall because you don’t know what’s going to happen next.”

As in all executive suites across America, Goldwyn and his counterparts at other studios remarked how difficult it has been to focus on work amid all the uncertainty in the world.

“There’s a sobriety setting in,” Goldwyn said. “You can be talking about a script or a scene and someone throws [the tragedy] into the conversation. It’s a leveler.”

Imagine Entertainment President Michael Rosenberg said it’s as if the entire industry is “moving in slow motion.”

Dick Cook, chairman of Walt Disney Motion Picture Group, said, “There’s no question that everyone is still off balance and no one can quite find their equilibrium.”

‘A Difficult Transition’

That queasy feeling was exacerbated last week when the FBI issued a warning to the major studios of a potential terrorist attack.

“There’s a feeling of psychic unease,” said Jim Gianopulos, co-chief of Fox Filmed Entertainment.

News Corp.-owned Fox, like other studios, not only dramatically beefed up security on its lot, it has hired professional counselors to help employees deal with the crisis.

“The key is keeping that balance between acknowledging people’s feelings and encouraging them to get back to work,” Gianopulos said. “It’s a difficult transition.”

Agent Marty Adelstein, a partner at Endeavor Agency, said he too has noticed a pronounced difference in his business dealings.

“People are being nicer to each other. . . . Nobody really has a taste for the usual, ‘I’ve got to win at all costs,’ ” said Adelstein. He said he observed this in discussions with the competitive television networks when negotiating a new series deal for his director client McG (“Charlie’s Angels”).

Whether Hollywood’s raised consciousness and unusually warm and fuzzy business dealings are transitory or lasting is anyone’s guess at this point.

“I think we’re all in mourning, and whether it lasts a week, a month or years, we’re all walking around like we’re in someone else’s movie, hoping that eventually someone will yell ‘Cut,’ ” said Imagine’s Rosenberg.