Still Risky, Still Fun

During a highly successful career that has already spanned about a quarter-century, Los Angeles-based film and television producer Steve Tisch, also known for his philanthropic efforts, has delivered over 20 theatrical features, in addition to many small-screen programs. While the quantity of films is impressive, it is the sheer diversity of product and stunning successes like Risky Business, Tom Cruise's breakthrough, and Oscar-winner Forrest Gump that merit special attention. And, in a recent shift from business as usual, The Steve Tisch Company, founded in 1986, is embracing smaller, edgier features that will hopefully cross over to mass audiences.

Mostly as producer but sometimes as executive producer, Tisch has also put his energy behind such diverse works as the 1976 Peter Fonda-starrer Outlaw Blues, Chevy Chase's Deal of the Century, Bad Influence, Wild America and New Line Cinema's Ed Norton-starrer American History X, one of several new low-budget Tisch projects.

Also in the can are Lock, Stock and Two Smoking Barrels, a gangster comedy starring Sting, which Gramercy Pictures has scheduled for next February, and Looking for an Echo, a music-themed indie that is being screened for prospective distributors this fall.

Tisch's recent foray into the low-budget arena marks an interesting digression for a producer who has also smarted from big-budget disappointments like The Long Kiss Goodnight and The Postman. But "smarting" may have also led to more smarts for the man who began his professional life in film in the thick of exhibition as booker for his family's Loews theatre circuit.

But could any amount of smarts prepare a producer for the strangely protracted and highly visible fight Tisch's American History X first-time director Tony Kaye waged with New Line-often in the form of pricey crossfire letters in the trades? Tisch, who had brought the script to New Line twice several years ago, only to be rejected both times, executive produced the estimated $9.3 million film.

Film Journal International: So who got final cut on American History X? Kaye, New Line, Edward Norton?

Steve Tisch: That [squabble] was all about nothing. The release cut of the film is a cut that Tony did with input from Norton. Tony was open to Edward's input.

FJI: I noticed the trailer was both in color and black-and-white.

ST: Yes. The black-and-white segments are the flashbacks.

FJI: How did this project come together?

ST: I read David McKenna's script about three, four years ago and loved it. I met with him, then submitted it a couple of times to New Line. John Morrissey [a producer of the film] was also given a copy of the script