NOT TOO HOT TO HANDLE

TWO of the most prolific producers in Hollywood, Michael Shamberg and Stacey Sher, oversaw the acclaimed Oliver Stone film “World Trade Center,” brought to their attention by their friend, the late producer Debra Hill.

Released through Paramount Pictures, the movie chronicles the real-life struggle of two policemen fighting to survive beneath the collapsed World Trade Center towers on Sept. 11, 2001.

Shamberg and Sher also produced “Erin Brockovich,” which was nominated in 2001 for best picture and earned Julia Roberts her best actress Oscar. They were executive producers on “Pulp Fiction,” nominated in 1995 for best picture. Shamberg also produced “The Big Chill,” nominated for best picture in 1984.

What drew you to this script?

Shamberg: We like movies about the times we live in. We like stories that, while true, also have a positive message. That’s part of the lifeblood of Hollywood. It was not a slam-dunk to do a movie about the World Trade Center. We’ve grossed over $150 million worldwide.

It’s unusual that there are two 9/11 movies potentially in awards contention.

Sher: The year we made “Erin Brockovich,” “A Civil Action” had just come out. People are interested in similar subject matters when big events affect people.

Do awards matter that much?

Shamberg: From a business point of view, movies that are opened in the awards season are counting on that to sell their films, which is a good thing. A lot of good films get made for that reason. It probably adds value in DVD. For a filmmaker, it’s just gratifying to have your work recognized.

Some said people weren’t ready for “World Trade Center.”

Sher: The story is extraordinary and moving. For us, telling a small, personal story was the only way to look at it. We weren’t trying to tell a story about everything that happened that day.

Shamberg: The movie industry wasn’t clamoring for a movie about 9/11.

Sher: So we developed it out of our own discretionary fund.

Why didn’t the film show the planes flying into the buildings?

Sher: Michael, Debra and I made a decision early on that the movie would be completely subjective of what the guys saw. You would only see what they saw.

Shamberg: Had you done that, you would have said you’re just showing people something they’ve seen before. We wanted to show people something they hadn’t seen before.

Did Oliver Stone surprise people, especially those who weren’t fans?

Sher: Oliver said this great thing -- that in times of darkness in the world we don’t have the luxury of making political films because they divide us.

Shamberg: On 9/11 nobody’s thoughts were anger or of conspiracy. Everyone’s hearts went out to those people.

How do you as producers get involved in the awards process?

Shamberg: You get involved in advising on the campaign because you don’t want to do anything tasteless.

What’s the next theme that will strike a nerve with people?

Shamberg: Is there a trend? Not necessarily. We have a film coming out in January about a self-effacing but heroic teacher in Long Beach [“Freedom Writers,” starring Hilary Swank].

Sher: It’s in the great tradition of “Blackboard Jungle” and “To Sir, With Love.”

Shamberg: I had the head of production at one of the major studios say to me the other day, “We’re not doing dramas anymore. They’re too risky.”

Why is that?

Sher: Because they have to be good.

Shamberg: You have a comedy, and if you don’t like that joke, wait and you’ll like the next joke. If you have an action film and you don’t like that chase scene, wait for the next explosion. If you have a character film, it has to hit a very narrow bull’s-eye. That’s harder to pull off.

What did you say to the executive?

Shamberg: I said, “Can you give me the drama we have with you back?” They said yes. What else was I going to say?

james.bates@latimes.com

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