Robert De Niro, her longtime collaborator, with whom she co-founded the Tribeca Film Festival in the days after the Sept. 11 attacks, is in awe of her work ethic.
De Niro and Rosenthal, looking at an economically and spiritually depressed downtown after 9/11, based their original concept on the frisky, celebrity-fueled Cannes Film Festival.
But running a film festival has never been a more challenging business proposition.
He went out and said, “The one thing about a film festival, it’s a great shot of vitamin B12 in a community’s arse.
Originally, we were a charity, and we had the Tribeca Film Institute, which we paused during COVID and haven’t reopened.
It’s the jackhammer versus Jane Rosenthal.
The renowned producer, wearing her trademark blue shades, is clearly shocked as she enters The Greenwich Hotel’s patio. A small army of laborers is preparing for a bridal shower later today by affixing a banner and some streamers to trees. Our lunch conversation about her glass ceiling-shattering career as the CEO of Tribeca Enterprises will be lost in the shuffle.
That won’t work! Rosenthal, one of Hollywood’s most careful producers, who has worked on films like “The Irishman,” “Meet the Parents,” “Rent,” and “About a Boy,” is accustomed to handling challenging circumstances. This isn’t her set, though, and she can’t tell the workers to get lost as she assesses the construction project. She wanders into the eatery. A table in the middle of the crowd? That won’t work either. The maître d’ abruptly shows us a hidden backroom after Rosenthal whispers something to him. We have now broken into a banquet hall decorated with additional banners for “Amanda’s Bridal Shower,” but Amanda will have to bear the wait. At the age of 68, Jane Rosenthal has a few tales to share.
“You have to be someone who doesn’t accept no,” says Rosenthal.
In the days following September, she co-founded the Tribeca Film Festival with her longtime partner, Robert De Niro. 11 attacks, is amazed by her dedication. He claims that she is politically astute, strategically astute, and up to date on everything. It’s like family with her. We simply feel extremely at ease. “.”.
Tribeca has undergone multiple changes over time. Seeing a downtown that was spiritually and economically depressed following 9/11, De Niro and Rosenthal based their initial idea on the flamboyant, celebrity-driven Cannes Film Festival. However, the business of organizing a film festival has never been more difficult. Just ask Sundance, which has announced plans to move from its renowned Utah home base to Boulder, partly enticed by a new Colorado tax credit, or the organizers of the Toronto International Film Festival, who are struggling to survive after losing their main sponsor, Bell Canada. A struggling economy has made corporate backers less inclined to pay out multimillion-dollar checks, and studios and streaming services aren’t purchasing many independent films. Not even Tribeca, which will celebrate its 24th edition in June, is exempt from the slump.
“It is difficult, and there is no doubt that some companies are paying closer attention to their financial expenditures,” sighs Rosenthal. But even in trying times, art is created. “”.
The tragedy that gave birth to Tribeca is, of course, unmatched. According to Rosenthal, “it was important to do something for our community even though we had no money or sponsorships.”. That remains our North Star. “.”.
Tribeca rescheduled from April to June 2021 after COVID closed the festival in 2020 to allow organizers more time for outdoor programming. This year’s lineup, which includes documentaries on Barbara Walters and Becky G as well as the New York premiere of Universal’s live-action “How to Train Your Dragon,” excites Rosenthal, who rose through the executive ranks at Disney in the 1980s, despite the constant uphill battle. She is rushing to ensure she is prepared while taking calls from talent in the final weeks.
“Time is of the essence,” she declares. “I just keep watching movies.”. “.”.
On top of her day job, this is all. When Rosenthal isn’t managing Tribeca, he’s working with De Niro and Ben Stiller on another “Meet the Parents” sequel and on new projects for Michael Showalter and James Gray. Prior to all of that, she will present her most spectacular production to date: Dorothy, Toto, and the Yellow Brick Road at the Sphere in Las Vegas. “The Wizard of Oz” will be reimagined by Rosenthal and her team using AI technology as an immersive experience that will take place on a massive 160,000-foot screen beginning in late August.
Speaking openly from her seat at Amanda’s banquet table, Rosenthal discusses the problems of operating a thriving—and ideally, profitable—Tribeca in the Trump era, keeping films in theaters, and the artistic boundaries she hopes to push with “The Wizard of Oz at Sphere.”.
Why did you decide to become a producer?
Despite my desire to become an actress, I disliked rejection.
In a field where men predominate, did you encounter resistance?
My first job was at CBS Sports. At the time, I was jailbait, so the men were always fine with me. Often, I was the only woman in the room. However, I truly believed my mother when she told me that I could do anything I wanted. It may sound odd, but I didn’t consider myself to be a woman. I used to be this child. I was fortunate to have a job there.
Later, when I was working on television movies for CBS, it became more difficult. I purchased the project because it was about a justified homicide, and I co-developed “The Burning Bed” [with Farrah Fawcett]. My boss at the time told me, “Jane, no one cares about a man who beats up his wife,” because it was also about domestic abuse, one of the first major television films about it. For me, that was a significant moment.
You went on to become a Disney executive. How did it feel?
It reminded me of being in the Marines. I arrived at work and returned home in the dark. Furthermore, it made no difference if it was daylight savings time. Jeffrey Katzenberg used to say, “Put on your crash helmet,” during those years. You won’t have a job on Sunday if you’re not here on Saturday. “”.
We would hold staff meetings on the weekends, and on one occasion, Michael Eisner came in on Sunday since he had left his Lakers tickets in the office. “I’m glad that’s not me,” he said as he closed the door after coming to pick them up. I gained the organizational abilities I needed to be a producer from working with Michael and Jeffrey.
How does one become a good producer?
You must conduct yourself well. You put an orchestra together by assembling all of its parts. To make them sound good, you must then get them to play together.
You started Tribeca Productions in 1989 with Robert De Niro, who would work with you for the rest of your life. Do you and De Niro have daily conversations?
It happens suddenly.
Do you text people or talk on the phone?
We send each other texts. He can text well.
Are you ever in a fight?
36 years later? Hi!
Who was among the worst coworkers you have ever had?
Morgan Creek resident James Robinson. . On “The Good Shepherd,” they were terrible to deal with. Assholing and chauvinistic remarks were frequently directed at me during that project. It was unpleasant and not professional.
How did it happen?
Like, “We have to reduce the budget for this film, so there won’t be a trailer anymore.”. Alright, I will not have a trailer. When he arrived on set, he would say, “I don’t understand why you’re using this fabric.”. And he desired to deprive Bob, the film’s director, of the film. It was just a never-ending battle. It was Bob’s passion project, though, and I’m proud of the film and the performances it features.
How long have you been working on a fourth “Meet the Parents” movie?
We had discussed it frequently. After his children grew up and had to come home to meet their parents, Ben Stiller is now the same age as Bob was when we did the first one. I am unable to reveal any additional plot details.
With this sequel, how far along are you?
Our seventh trimester is now underway.
After 25 years since you created “Meet the Parents,” how has the company changed, and were there any jokes you had to reconsider?
That would be asking me about the script, so I can’t tell you! However, one thing that has changed is that some jokes are no longer allowable due to the events that have occurred in our society. You also need to consider who will find a joke offensive at this point. The title of the second film was “Meet the Fockers.”. I’m not sure if it could be called that today.
In the US, the most recent “Bridget Jones” sequel was not released in theaters. Will “Meet the Parents” make its theatrical debut?
I’m hoping it will. There is nothing like laughing in a theater, but I haven’t met [NBCUniversal chief] Donna Langley and I’m not sure if Ben has either. A roaring laugh breaks out. In addition to not occurring at home with a few people, it also does not occur on an airplane. That type of laughter is something I truly miss.
Let’s discuss the project you are producing, “The Wizard of Oz at Sphere.”. How were you initially involved?
[Rosenthal starts singing] “We’re going to see the Wizard, the amazing Wizard of Oz. I have been a consultant for Sphere for a few years, and I produced the film “Postcard From Earth,” directed by Darren Aronofsky. Tribeca was once owned by MSG, the company that constructed Sphere. Jim Dolan questioned, “What do you think the next one should be?” following Darren’s movie.
So you came up with it?
I mentioned “The Wizard of Oz,” though I’m sure many people have considered it. We talked to Warner Bros. because Jim thought it was a good idea. David Zaslav, CEO of Discovery, and Mike De Luca and Pam Abdy, the film chiefs of the studio, concurred.
How are you organizing this?
The picture’s original frame, which is small, will be upgraded to fit on the Sphere, one of the biggest screens in the industry. We are using AI for a lot of that. A super resolution must be made. We went to retrieve the cameraman’s original shot list. We reviewed every production designer drawing. All of the Warner Bros. props were examined. archives as well as those of the Academy.
When you take something this large [she pinches her fingers together] and look at it like this [she spreads her arms], you’re seeing something much larger than what the original lens could capture. Now, you can see the entire landscape and the location of the house when you see Dorothy sprinting down the road as she heads toward Gale’s farm in the opening shot. We’re speculating about what the filmmaker might have accomplished with a broader lens. Additionally, there are immersive elements in this because the Sphere is immersive.
Like?
I’m unable to tell.
How do you handle the shoes?
This movie features ruby slippers.
Was there any footage you used that wasn’t in the first movie?
Nothing in this was absent from the original.
Does it have the same length as the original?
It’s shorter, but because there had to be commercial breaks, it was also shorter on TV. Keep in mind that “The Wizard of Oz” was a box office failure when it first came out and only gained popularity after it began to air on television.
When you improved the film’s images, what kinds of difficulties did you encounter?
Looking at this film in high definition reveals some fascinating details. They lacked the continuity control that we currently have. You can see how the Lion’s mane was glued on as well as how the makeup was applied. Do you alter that or do you leave it alone?
And the response is…
We’re still having disagreements. In a few shots, you’re left wondering whether to fix it or leave it as “The Wizard of Oz” is, a charming film. I never imagined that I would be paying such close attention to the witch’s nose or Dorothy’s dress pattern.
How do you feel about the use of AI in movies?
We’ve opened Pandora’s box. You have to use it, it seems.
Should the usage of AI be revealed in a movie’s credits when discussing the establishment of ethical guidelines for it?
Yes, definitely. The fact that you use it shouldn’t be a secret.
There are concerns that AI will cause job losses.
Individuals will lose their jobs. But here’s the thing: this will also lead to the creation of many jobs. We use a minimum of twelve visual effects houses on “Wizard of Oz” alone. It is our collective responsibility as guilds, studios, and tech companies to prepare people for the new roles that will become available.
Which kinds of movies are most suitable for the Sphere?
Something that engages an audience in all four quadrants. Working with a new camera is thrilling, especially when you consider how well the company is doing. However, isn’t it wonderful that Ryan Coogler’s “Sinners”—this entirely original film—is so popular? It’s taking my 30-year-old daughter to the movies. I don’t appear to be old enough to have a daughter who is thirty years old. Perhaps I do. She witnessed it three times. People want to see something that is different from the norm, and that is the power of movies.
Billy Joel and Metallica documentaries are part of this year’s Tribeca. Movies about Clive Davis and Jennifer Lopez have been featured in previous editions. When did you realize that music played such a significant role in this festival?
I insisted during our first year that we needed comedies because you needed to laugh after 9/11. On the other hand, independent comedies are scarce. Music was a means of showcasing something that wasn’t depressing, so the question became, how can you make the neighborhood happier?
Tribeca will have Miley Cyrus. Do you know her?
I don’t. . This is the visual album she is working on. Taylor Swift was present.
Have you got any stories about Taylor Swift?
She’s very kind. She had a short film here. I included lyrics from her songs in my introduction. Swifties were in the audience, and they were yelling nonstop! Her music has influenced our culture so much that I’ve been interested in it. In addition, my two daughters are currently experiencing the Swiftie phase.
Politics has always been Tribeca’s thing.
Although it’s a strange time for everyone, the voices of artists are more crucial than ever.
Do you find it surprising that more Hollywood celebrities aren’t opposing Trump?
It’s still early.
How do you interpret the media companies’ reaction? Businesses appear to be more apprehensive than they were in 2016.
That we’re not speaking up more is really unsettling. After all, a judge was just taken into custody. I’m not at a large studio, though. I have no shareholders to report to. Instead of approaching things from the viewpoint of Wall Street, I approach them creatively.
De Niro has been vocal in her criticism of Trump. Has anyone reacted negatively?
No, Netflix just had a big show with us.
Was Tribeca ever visited by Trump?
No. Many people have not visited Tribeca. Tribeca was visited by Mandela.
Can you recall anything about that?
We had never attended a film festival before. With 9/11, no one was visiting downtown. On Canal Street, you had tanks. After making the festival public, we carried out the event within 120 days. Mike Bloomberg allowed us to hold an event on the back steps of City Hall, and President Clinton and Hugh Grant, the lead actor in the film “About a Boy,” which we produced and screened, arrived. Mandela described how, during movie nights at Robben Island, the inmates and the guards would laugh and cry over the same things. It brought to mind their common humanity. Hugh felt very angry. He thought, “I can’t do this.”. I am light in weight. In front of Clinton and Mandela, I cannot be. But he was fantastic. He declared, “The one thing about a film festival is that it’s a great way to get vitamin B12 into a community’s system.”. We decided to take a trip to the movies.
Tribeca is a festival that is for profit. Sundance and other festivals run as nonprofits. What made you select this particular model?
Because we are for-profit, we are able to work with larger sponsors and do a variety of sponsorships. Putting on a festival is difficult. We do not receive federal funding. In actuality, we receive no city funding. When we were a charity, we had the Tribeca Film Institute, which we put on hold during COVID and haven’t reopened.
Do you intend to reopen it?
I want to. We simply haven’t had the time.
It was during COVID that you moved Tribeca from April to June. Will it ever be moved back to April?
The weather is more pleasant. We also had to be outside during COVID. We debate moving back and forth. We discuss it and decide to make a choice, but it’s too late to make a change.
Tribeca is well-known for its selection of documentaries. How is business doing there?
I’m concerned about that area. Hard-hitting documentaries are becoming less popular. You’ll find a good deal somewhere if it’s about true crime. More sports and celebrity stories are what the larger platforms, like Netflix and Amazon, want to see. However, finding a home for political stories is more difficult.
In 2012, “The Avengers” made its Tribeca premiere. Has the movie industry been supplanted by comic book movies?
Yes, they have. However, there is nothing wrong with the fact that people enjoy this genre of pictures.
Lupa, owned by James Murdoch, became a majority stakeholder in 2019. What level of involvement does he have in Tribeca?
He is a very helpful member of the board. He enjoys both music and movies.
Have you discussed “Succession” with him before?
He did sit next to Jeremy Strong at one of our dinners, though.
In what way did that occur?
When Jeremy was unable to get arrested, he worked for my friend Wendy Wasserstein. He once appeared in a play and remarked, “You must come see it.”. Because he was portraying a military man, he had been practicing daily at boot camp. I ended up attending this play. I am awaiting Jeremy. Just as the first act is about to end, the man onstage yells, “Come in!” and Jeremy, dressed in army boots, enters and exits the stage. It was that. He did not participate in the second half.
Harvey Weinstein’s trial has resumed. He and you both had offices in the same building. How did that feel?
I would simply say, “We’ll shut off his phone,” when he wasn’t paying his bill. But then there were cellphones.
You’ve become known for your signature blue sunglasses. What is the background to them?
They contribute to the reduction of screen glare. I became aware of my need for Zooms during COVID because I was on so many of them. The second benefit is that I feel cool when I put on my glasses first thing in the morning and have an early staff meeting with my entire team, the majority of whom are in their 20s.
Styling: Christy Rilling; Makeup: MinMin Ma; Look 1 (street, cover): Guild of Hands blouse; The Row leather pants; Saint Laurent boots; Sidney Garber jewelry; Look 2 (theater): Guild of Hands blouse and pants; Sidney Garber jewelry; Jill Saunder shoes; Look 3 (hallway with posters): Guild of Hands suit and shirt; Sidney Garber jewelry.
