by Amy Wallace, September 2001
If you are a doctor or a grocer or an airline pilot with no ties to the business that produces America’s number-one export – entertainment — you probably have never heard of Peter Bart. But if you are among the 70,000 people in Los Angeles, New York, and around the world who can’t start the day without knowing which big-name movie director just got a two-picture deal, Bart is an institution.
Over nearly four decades in Los Angeles he’s been a reporter for The New York Times, an executive at three movie studios, an independent film producer, a screenwriter, and an author of both novels and nonfiction. For the past dozen years he has been the editor of and most influential columnist at Daily Variety and Weekly Variety, the sister publications whose zippy headlines, who’s-in-who’s-out reporting, and largely anonymous sources routinely make and break reputations. In clout-conscious Hollywood, that makes Bart not just an observer but a player.
There are two keys to success in Hollywood: relationships and information. Bart traffics in both. He lunches almost every day with a studio chief, a marketing executive, a top manager or talent agency head, an entertainment lawyer or lobbyist. In the course of just a few weeks earlier this year he dined with Screenwriter William Goldman; Ron Meyer, president of Universal Studios; Lorenzo di Bonaventura, Warner Bros. president of worldwide production; Michael Ovitz, CEO of Artists Management Group; Mike De Luca, former New Line president of production (and now production chief at DreamWorks SKG); Mike Medavoy, chairman of Phoenix Pictures; Tom Sherak, partner at Revolution Studios; Rob Friedman, vice chairman at Paramount Pictures; John McLean, executive director of the Writers Guild of America; Don Marron, chairman of PaineWebber; and Skip Brittenham, a partner in the entertainment law firm Ziffren, Brittenham, Branca & Fischer.
That power derives in large part from his position at Variety, the Industry’s 96-year-old broadsheet that doesn’t just cover entertainment news but helps make it. It is Hollywood’s prime bulletin board — what one marketing consultant likens to “a high school newspaper that everyone has a tremendous need to see their names in.” It’s not just an ego thing. In a world built on illusions, being mentioned in Variety lends legitimacy. It makes you seem real. In Hollywood, seeming is believing.
Here, pecking order determines more than just who gets a table with an ocean view. The perception of who’s on top determines which projects are produced, who will work on them, and how much money they’ll make. More than any other entity, Variety reflects and informs Hollywood’s collective consciousness. Readers don’t just parse the information on its pages; they dissect what stories are where, who is quoted up high, who is relegated to beyond the jump. With its trademark “slanguage,” Variety helps its subscribers keep score — an essential service in a town obsessed with rank. Whether you’ve “ankled” (quit) or been “upped” (promoted) at a “praisery” (public relations firm), a “diskery” (record company), or a “tenpercentery” (talent agency), if the story runs on Variety’s front, it means you matter. By extension, Bart matters to you.
Not for nothing did one top executive in town famously dub Bart “the most hated man in Hollywood.” For not only does Bart control the Industry’s bible, but by virtue of his station he always gets something that everyone–in and out of Hollywood — desperately wants: the last word.
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Over nearly four decades in Los Angeles he’s been a reporter for The New York Times, an executive at three movie studios, an independent film producer, a screenwriter, and an author of both novels and nonfiction. For the past dozen years he has been the editor of and most influential columnist at Daily Variety and Weekly Variety, the sister publications whose zippy headlines, who’s-in-who’s-out reporting, and largely anonymous sources routinely make and break reputations. In clout-conscious Hollywood, that makes Bart not just an observer but a player.
There are two keys to success in Hollywood: relationships and information. Bart traffics in both. He lunches almost every day with a studio chief, a marketing executive, a top manager or talent agency head, an entertainment lawyer or lobbyist. In the course of just a few weeks earlier this year he dined with Screenwriter William Goldman; Ron Meyer, president of Universal Studios; Lorenzo di Bonaventura, Warner Bros. president of worldwide production; Michael Ovitz, CEO of Artists Management Group; Mike De Luca, former New Line president of production (and now production chief at DreamWorks SKG); Mike Medavoy, chairman of Phoenix Pictures; Tom Sherak, partner at Revolution Studios; Rob Friedman, vice chairman at Paramount Pictures; John McLean, executive director of the Writers Guild of America; Don Marron, chairman of PaineWebber; and Skip Brittenham, a partner in the entertainment law firm Ziffren, Brittenham, Branca & Fischer.
That power derives in large part from his position at Variety, the Industry’s 96-year-old broadsheet that doesn’t just cover entertainment news but helps make it. It is Hollywood’s prime bulletin board — what one marketing consultant likens to “a high school newspaper that everyone has a tremendous need to see their names in.” It’s not just an ego thing. In a world built on illusions, being mentioned in Variety lends legitimacy. It makes you seem real. In Hollywood, seeming is believing.
Here, pecking order determines more than just who gets a table with an ocean view. The perception of who’s on top determines which projects are produced, who will work on them, and how much money they’ll make. More than any other entity, Variety reflects and informs Hollywood’s collective consciousness. Readers don’t just parse the information on its pages; they dissect what stories are where, who is quoted up high, who is relegated to beyond the jump. With its trademark “slanguage,” Variety helps its subscribers keep score — an essential service in a town obsessed with rank. Whether you’ve “ankled” (quit) or been “upped” (promoted) at a “praisery” (public relations firm), a “diskery” (record company), or a “tenpercentery” (talent agency), if the story runs on Variety’s front, it means you matter. By extension, Bart matters to you.
Not for nothing did one top executive in town famously dub Bart “the most hated man in Hollywood.” For not only does Bart control the Industry’s bible, but by virtue of his station he always gets something that everyone–in and out of Hollywood — desperately wants: the last word.
Read more:
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