Ten months ago, Jim Gianopulos was forced out as Fox chairman after 16 years. Now, in his first interview after landing atop Viacom’s struggling film arm, he lets loose on starting over, getting fired by the Murdochs, how Trump has changed his job and the strategy he hopes will bring stability (and profits) to a money-losing studio: ‘It’s surprising it got so bumpy here … because all the elements are in place’
A Hollywood studio chief is blindsided and fired after 16 years of service to a powerful family, only to rise from the proverbial ashes and take the helm of a rival family-owned studio in desperate need of rescue. In August, Jim Gianopulos was on his annual summer sojourn to the Greek isle of Antiparos, his parents’ homeland, when news broke in Los Angeles that his new bosses, James and Lachlan Murdoch, were replacing him with Stacey Snider at 20th Century Fox a year ahead of schedule.
Gianopulos, 65, suddenly found himself without a job for the first time since he delivered newspapers in his youth. Rumors immediately swirled that he would replace Brad Grey at Paramount, where a disastrous run at the box office and leadership turmoil at parent company Viacom under CEO Philippe Dauman had left the storied studio in shambles, capped by an operating loss of $445 million in fiscal 2016. After flirting with the top roles at Sony Pictures and Wanda’s Legendary Pictures, Gianopulos decided on the Paramount job once he was assured by Viacom vice chairman Shari Redstone — daughter of Viacom founder Sumner Redstone, who now guides her ailing father’s empire — and new Viacom CEO Bob Bakish and CFO Wade Davis that he would enjoy the autonomy traditionally afforded studio heads. It took some negotiation, but the Viacom board offered Gianopulos full green light authority for films with budgets up to about $100 million. In March, he closed a deal to run the studio where he once worked in business affairs (for five years starting in the late ’80s) before moving to Fox.
This story is from the June 21, 2017 edition of The Hollywood Reporter.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the June 21, 2017 edition of The Hollywood Reporter.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
Michael Ovitz, Me And The Truce That Never Was
As a new book puts the focus back on CAA’s origins, Kim Masters recalls how the agent’s fit at The Palm and her follow-up kicked off one of Hollywood’s prickliest pas de deux.
Songs Of Innocence And Experience
How 5 writers found the music to convey their films’ tragedy, injustice, patriotism and loveA Wonderful Example of ‘What the World Loves About America’
Execs Can Boycott The Press Tour — But Not The Pressing Questions
With top programmers passing on January’s TV Critics Association panels, THR poses (and answers) the five toughest quandaries of the unfolding season
Making Of Kubo And The Two Strings
Old-fashioned stop-motion meets new-fashioned 3D printing in this directorial debut by the head of Portland, Ore.-based Laika studios — and THR was on the set.
A World Of Pioneering Talents
Along with best picture contender Elle these 13 films may have the momentum to make the Oscar shortlist (still to be announced as this issue went to press)
Iain Canning & Emile Sherman
The Brit-Aussie team behind Lion talk winning an Oscar for The King’s Speech, working with Harvey Weinstein and the upcoming biblical epic Mary Magdalene
Producer Of The Year Charles Roven
He reveals what really happened between George Clooney and David O. Russell, witnessed Richard Pryor behave (very) badly in church and fired an actor for repeatedly shouting ‘cut’ on a set. All in a day’s work for a Hollywood slugger with $2B in 2016 box office.
No Happy Endings Required
The death of satire, when to kill a scene and how to write a Trump movie (‘Let’s hope it’s not a tragedy’).
Don't Stop, Won't Stop Believing
Hulu’s The Path centers on a fringe religious movement, Meyerism, with Emmy winner Aaron Paul as a disruptive doubter — but during a visit from THR, cast, crew and showrunners all seem in perfect harmony.
Ryan Murphy: American Success Story
The prolific producer opens up about the future of American Horror Story, his plans for more Broadway and the real reason an American Crime Story season centered on Hurricane Katrina won’t be quite as depressing as it sounds.
