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Women in Film oral history interview, 2007 October 26 : Cathy Schulman

Author: Cathy Schulman; Ilene Kahn; Women in Film (Organization); Women in Film Foundation.
Edition/Format:   Film : Film   Visual material : English
Publication:Women in Film Foundation Legacy Series.
Database:WorldCat
Summary:
Cathy Schulman (1946-) discusses her upbringing in New Haven, Connecticut, attending private school, and her early interest in ballet and theater. She continues with the death of her father in a car accident just before her senior year in high school. She continues with her college education at Yale University as a double major in Theater Studies and History of Art and starting her career working for producer  Read more...
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Details

Genre/Form: Oral history
Interviews
Named Person: Cathy Schulman; Barbara Boyle; Jim Sheridan; Daniel Day-Lewis; Tom Rothman; Barry Diller; Michael Ovitz; Peter Guber
Material Type: Film
Document Type: Visual material
All Authors / Contributors: Cathy Schulman; Ilene Kahn; Women in Film (Organization); Women in Film Foundation.
OCLC Number: 423678733
Notes: 1.3-hour interview completed under the auspices of the Women in Film Foundation.
Materials not viewed. Length of interview and summary based on transcript.
Responsibility: interviewer, Ilene Kahn Power.

Abstract:

Cathy Schulman (1946-) discusses her upbringing in New Haven, Connecticut, attending private school, and her early interest in ballet and theater. She continues with the death of her father in a car accident just before her senior year in high school. She continues with her college education at Yale University as a double major in Theater Studies and History of Art and starting her career working for producer Michael Taylor in New York City and then Barbara Boyle, who she cites as an early mentor. She then discusses the overlap between producing and parenting and being a working mother and continues with her first project managing the Jim Sheridan and Daniel Day-Lewis feature film, MY LEFT FOOT (1989), Academy Award winner for Best Picture. She then mentions the slew of successful films she was involved in while at Sovereign Pictures: REVERSAL OF FORTUNE (1990), THE COMMITMENTS (1991), IMPROMPTU (1991), CINEMA PARADISO (1990), and THE BEAR (1989). She continues with her position as Associate Director of Programming for the Sundance Film Festival from 1989-1991, and how the experience provided a means for learning about film by seeing film. She continues with meeting producer Tom Rothman (1954-) while at Sundance who encouraged her to work for him at the Samuel Goldwyn Company where she stayed for five years. She continues with the movies she worked on while at the Goldwyn Company that she is most proud--MUCH ADO ABOUT NOTHING (1993) and THE MADNESS OF KING GEORGE (1994)--before moving on to the now-defunct Savoy Pictures sold to media mogul Barry Diller (1942-) in 1995. She continues with working for Diller selling movies that they had developed to other studios, her thoughts about the advantages of attending film school versus entering the motion picture business as an assistant to an executive, and teaching in UCLA's film program. She continues with meeting Michael Ovitz (1946-) and working with him to run the movie division of the management production company he had big plans to build, Artists Management Group. She continues with the problems she had with Ovitz and the eventual collapse of the company, her firing, and the lawsuit she filed against Ovitz. She then discusses her marriage and her husband's support during the Ovitz arbitration. She continues with producing CRASH (2004), the Academy Award winning film that was shot in thirty-six days, her daughter's birth corresponding to the beginning of the lawsuit against Ovitz, and the founding of her production company, Bullseye, with producer Tom Nunan (1963-). She continues with the production of CRASH (2004) and the Producer's Guild arbitrations over credits and payment. She continues with her decision to work for Peter Guber (1942-) at Mandalay Pictures and rebuilding the company, and the challenges of being a woman producer in Hollywood. She then mentions finishing production on DARFUR NOW (2007), and her interest in growing her documentary business alongside her feature film business. She concludes with her advice to young women producers starting out and noting her two favorite films: KRAMER VS. KRAMER (1979) and THE SWEET HEREAFTER (1997).

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Linked Data


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