Jane Rosenthal Reveals Hollywood’s Dark Secrets and the Future of ‘Meet the Parents 4’

It’s Jane Rosenthal versus the jackhammer.

When the renowned music producer steps onto the courtyard of The Greenwich Hotel, donning her distinctive blue sunglasses, she appears taken aback. A group of workers are busy hanging a banner and some decorations on trees in readiness for a bridal shower happening later today. Our planned discussion over lunch about her groundbreaking career as CEO of Tribeca Enterprises is likely to be overshadowed by the noise.

This won’t suffice! Jane Rosenthal, a renowned producer known for films like “The Irishman,” “Meet the Parents,” “Rent,” and “About a Boy,” is accustomed to handling complex scenarios. However, as she assesses the construction site, she realizes this isn’t her film set, and she can’t order the workers off it. Instead, she moves into the restaurant. Squeezing herself among the diners wasn’t an option either. Rosenthal subtly requests assistance from the maître d’, who then guides us to a hidden banquet hall. The room was adorned with banners for “Amanda’s Bridal Shower,” but it seems Amanda will have to postpone her celebration, as Jane Rosenthal, aged 68, has some captivating tales to share.

“You have to be somebody for whom ’No’ is not an option,” Rosenthal says.

Robert De Niro, who has worked closely with her for many years and helped establish the Tribeca Film Festival following the September 11 attacks, admires her dedication tremendously. He remarks, “She approaches matters thoughtfully, strategically, and always stays informed about everything.” He also adds, “She’s like a family member to me. We share a great sense of comfort together.

Over time, Tribeca has gone through multiple transformations. After the economic and spiritual decline of downtown following 9/11, De Niro and Rosenthal designed their initial idea inspired by the vibrant, star-studded Cannes Film Festival. However, running a film festival has become more difficult than ever before. This is evident when you consider the predicament of organizers at the Toronto International Film Festival, struggling to stay afloat after losing their main sponsor, Bell Canada; or Sundance, which plans to depart from its renowned Utah location for Boulder – partly drawn by a new Colorado tax incentive. Studios and streaming services aren’t purchasing many independent films now, and a shaky economy has made corporate investors less eager to invest large sums of money. Despite celebrating its 24th edition in June, Tribeca is not exempt from the economic downturn.

In difficult circumstances, there’s no denying the challenges, and there’s no dispute that some companies are being more cautious about their financial decisions,” Rosenthal notes, letting out a sigh. “However, art continues to be created even during tough times.

Absolutely, there’s simply no match for the event that sparked Tribeca. As Rosenthal puts it, “We didn’t have any funds or backing, but we felt strongly about helping our neighborhood.” And that guiding principle, he adds, remains unchanged: “It’s always been our compass.

Following the cancellation of the festival in 2020 due to COVID-19, Tribeca Festival shifted its initial April schedule to June 2021, providing organizers with additional flexibility for outdoor events. Despite continuously facing challenges, Rosenthal – who rose through the executive ranks at Disney during the ’80s – is enthusiastic about this year’s selection, featuring documentaries on Barbara Walters and Becky G, as well as the New York premiere of Universal’s live-action “How to Train Your Dragon.” With only a few weeks remaining, she’s been busy taking calls from talent and ensuring everything is in order for the event.

“It’s crunch time,” she says. “I’m just constantly watching films.”

Beyond her regular daytime duties, Rosenthal is juggling multiple projects. When she’s not managing Tribeca, she’s collaborating with De Niro and Ben Stiller on another “Meet the Parents” sequel, and working on films by James Gray and Michael Showalter as well. However, her most spectacular undertaking lies ahead: transporting Dorothy, Toto, and the Yellow Brick Road to Las Vegas’ Sphere. Utilizing advanced AI technology, Rosenthal and her team are reimagining “The Wizard of Oz” into an immersive spectacle that will unfold on a massive 160,000-square-foot screen starting in late August.

Seated at Amanda’s banquet table, Rosenthal discusses frankly her plans to challenge cinematic norms with “The Wizard of Oz at Sphere,” balancing the cinema industry’s theater-centric approach while addressing the challenges of maintaining a thriving and financially successful Tribeca during the Trump era.

What made you want to be a producer?

I wanted to be an actress, but I didn’t like people saying no.

Did you experience pushback in a male-dominated industry?

Initially, I began my career at CBS Sports. The male colleagues were consistently respectful towards me, as I was still underage during my tenure. I was often the lone female in the room. However, my mother instilled in me a strong sense of self-belief, and I genuinely embraced her words. It might seem peculiar, but I didn’t perceive myself primarily as a woman. Instead, I saw myself as just another kid, fortunate to be part of such an esteemed organization.

The task became more challenging when I joined CBS and started working on TV films. I co-created “The Burning Bed” alongside Farrah Fawcett, which I acquired because it revolved around a justifiable homicide. However, it also tackled the issue of domestic abuse – one of the initial significant television productions to do so. My superior at the time expressed skepticism, saying, “Jane, no one is interested in a man who abuses his wife.” This was a pivotal moment for me.

After that, you became an executive at Disney. What was that like?

Working during those years felt like being in the Marines. Regardless of whether it was daylight savings or not, I often started and finished my work in the dark. Jeffrey Katzenberg would frequently say, “Fasten your safety helmet, if you’re absent on Saturday, your job won’t exist by Sunday.

On weekends, we’d gather for staff meetings, and once, Michael Eisner unexpectedly showed up on a Sunday. He had left his Lakers tickets in the office and came to retrieve them. Upon seeing this, he commented, “I’m thankful it’s not me,” before leaving. The disciplined work habits I developed as a producer were honed while working with Jeffrey and Michael.

What makes a good producer?

As a conductor, it’s your responsibility to harmonize the various instruments within an orchestra, ensuring each piece fits seamlessly with the others, ultimately creating beautiful music.

In 1989, you launched Robert De Niro’s production company Tribeca Productions, and he became your lifelong collaborator. Do you talk to De Niro every day?

It goes in spurts.

Do you talk on the phone or text?

We text. He’s a good texter.

Do you ever fight?

After 36 years? Hello!

Who was one of the worst people you ever worked with?

James Robinson from Morgan Creek was difficult to work with during the production of “The Good Shepherd.” There was a great deal of rude and sexist behavior displayed towards me throughout the project. It was unacceptable in terms of professionalism and conduct.

What happened?

The production team has to reduce the budget for this film, which means we won’t be able to create a trailer anymore. So, there won’t be a trailer. He also questioned our choice of fabric on set, and even attempted to take the movie away from Bob, who was directing it. It was an ongoing disagreement. However, the movie was Bob’s pet project, and I’m proud of the film and the strong performances within it.

How long have you been planning a fourth “Meet the Parents” film?

We’ve often discussed this topic. Ben Stiller is now at the same age as Bob was when we initially made it, and his children have grown up enough to return home and encounter their grandparents, or in other words, meet their parents. Unfortunately, I can’t reveal any more details about the storyline.

How far along are you with this sequel?

We’re in our seventh trimester.

How has the business changed in the 25 years since you made “Meet the Parents”? Were there jokes you needed to rethink?

Indeed, your question pertains to the script, and as I’m unable to disclose specific details, let me share an insight instead. Modern societal shifts have led to certain jokes becoming inappropriate or insensitive. It’s crucial now to consider potential sensitivities when crafting humor. The title of the second movie you mentioned was “Meet the Fockers,” and whether it could be used today is a topic for discussion, as cultural contexts evolve over time.

The latest “Bridget Jones” sequel wasn’t given a theatrical release in the United States. Will the new “Meet the Parents” debut in theaters?

As a movie enthusiast, I can’t help but express my fervent hope that we’ll get to experience the joy of communal laughter again soon. To be honest, I haven’t had the chance to discuss this matter with Donna Langley, NBCUniversal’s chief, nor do I know if Ben has, but there’s something truly special about the sound of a theater filled with hearty laughter. It transforms into a thunderous roar that you just can’t replicate on an airplane or at home with only a few people present. Honestly, I deeply miss those shared moments of unbridled laughter.

Let’s talk about “The Wizard of Oz at Sphere,” which is something you’re producing. How did you first get involved?

In a melodious tone, Rosenthal bursts into song: “We’re off to see the wizard, the great and powerful Oz.” I have been collaborating with Sphere for a couple of years now, contributing significantly to the production of Darren Aronofsky’s movie, “Postcard From Earth”. Sphere, where my work was done, is a subsidiary that MSG, who once owned a part of Tribeca, established. Following the release of Darren’s film, Jim Dolan posed a question: “What do you believe our next project should be?

So it was your idea?

It’s quite possible that many have pondered “The Wizard of Oz,” but it was indeed my idea. Jim found it a sound suggestion, so we approached David Zaslav, the CEO of Warner Bros. Discovery, as well as Pam Abdy and Mike De Luca, the studio’s film executives. They all found our proposal agreeable.

How are you putting this together?

We’ll be enlarging the initial image from the photograph to match the vast Sphere, one of the world’s largest screens. This process involves advanced technology, primarily AI. The goal is to achieve an ultra-high resolution. We’ve retrieved the original shot list that the cameraman used and meticulously examined all the production designer sketches. Additionally, we’ve looked through various prop collections at Warner Bros. and Academy archives.

To put it simply, using the sphere expands your viewpoint dramatically, just as if you were going from pinching your fingers together to stretching out your arms wide apart. This perspective shift allows us to see more than our original lens could capture, such as Dorothy running towards Gale’s farm and the full landscape around her, including where the house is situated. Essentially, we are imagining what the filmmaker would have done if they had a wider lens available. Furthermore, the sphere offers an immersive experience, as it includes various immersive elements within its use.

Such as?

I can’t tell you.

Do you do anything with the shoes?

There are ruby slippers in this film.

Did you include footage that wasn’t used in the original film?

There’s nothing in this that wasn’t in the original.

Is it the same length as the original?

The movie version was abridged due to the necessity for advertising intervals. Recall that when initially released, “The Wizard of Oz” was not well-received; however, its popularity soared only after it began being aired on television.

What kind of challenges did you face when you enhanced the images in the film?

Observing this film in high definition reveals intriguing details, as they didn’t possess the same level of continuity control we have today. Additionally, the way makeup was applied is noticeable – for example, how they attached the Lion’s mane. Should these aspects be corrected or left untouched during a restoration?

And the answer is …?

We’re still in discussion. There are some scenes where it’s unclear whether to touch them up or keep them with a charming, “Wizard of Oz” aesthetic. I never imagined I’d scrutinize the witch’s nose so intently or pay close attention to the pattern on Dorothy’s dress.

What is your stance on using AI in filmmaking?

Pandora is out of the box. It’s like, you’ve got to use it.

When you talk about putting ethical parameters around AI, should its use be disclosed in the credits of a film?

Absolutely. It should not be a secret that you’re using it.

There are fears people will lose jobs because of AI.

Jobs will undeniably be lost in some sectors, but here’s an interesting fact: there will also be a significant number of jobs created due to these changes. For instance, on the production of “The Wizard of Oz” alone, we’re working with at least 12 Visual Effects studios. It falls upon us – the guilds, the studios, and the tech companies – to prepare individuals for the new roles that are emerging.

What types of films work best for the Sphere?

This project is incredibly engaging, appealing to a wide range of viewers. It’s invigorating to collaborate with a fresh camera setup, especially considering the industry’s current momentum. Isn’t it delightful that Ryan Coogler’s “Sinners,” an entirely original film, has been such a massive success? It’s even drawing my 30-year-old daughter to the cinema. Admittedly, I may appear old enough to have a daughter of that age. But then again, perhaps not. She’s watched it three times already. That’s the magic of movies: They attract audiences when they offer something distinctive and captivating.

This year’s Tribeca includes documentaries on Billy Joel and Metallica. Past editions have included films on Jennifer Lopez and Clive Davis. When did you realize music was so important to this festival?

During our inaugural year, I repeatedly emphasized the importance of having comedies, understanding that laughter was crucial following the 9/11 tragedy. However, there weren’t many independent comedy productions available. This led us to ponder, “How can we bring joy to our community?” Music proved to be an excellent medium for presenting something uplifting and not melancholic.

Miley Cyrus will be at Tribeca. Do you know her?

I don’t. She’s doing this visual album here. We had Taylor Swift here.

Do you have any Taylor Swift stories?

She’s incredibly kind. She attended for her short film screening. In my opening remarks, I incorporated lyrics from her popular songs. Everyone present was a dedicated fan, and they cheered loudly! She has left an indelible impact on our society, which sparked my curiosity about her music. Moreover, both of my daughters are currently immersed in the Swiftie fandom.

Tribeca has never shied away from politics.

It’s a strange time for all of us, but artists’ voices are more important than ever.

Are you surprised more people in Hollywood aren’t speaking out against Trump?

It’s early days.

What do you make of how the media companies are responding? Corporations seem to be more fearful than they were in 2016.

It’s deeply troubling that we aren’t voicing our concerns more, given the recent arrest of a judge. However, unlike some who work in big studios and must cater to shareholders, I operate from a creative standpoint instead of viewing things through Wall Street’s lens.

De Niro has been an outspoken Trump critic. Has there been any blowback?

No, we just did a big show with Netflix.

Did Trump ever come to Tribeca?

Nope. A lot of people haven’t come to Tribeca. Mandela came to Tribeca.

What do you remember about that?

For the very first time, we hosted our film festival. After the 9/11 tragedy, there were no crowds downtown past 9 PM, and the streets were guarded by tanks on Canal Street. Despite these challenges, we decided to go ahead with the festival in just 120 days. Mayor Mike Bloomberg allowed us to use the back steps of City Hall for an event, and both President Clinton and Hugh Grant, star of our film “About a Boy,” attended. Mandela shared a heartwarming story about how prisoners and guards at Robben Island would have movie nights, finding common ground in laughter and tears. Hugh was initially nervous, feeling insignificant next to Mandela and Clinton. However, he bravely stepped up and exclaimed, “A film festival is like a boost of vitamin B12 for a community! Let’s all go to the movies!” And that’s exactly what we did.

Tribeca is a for-profit festival. Other festivals like Sundance operate as nonprofits. Why did you choose this model?

As a for-profit entity, we have the flexibility to engage in various forms of sponsorships with larger partners. Running a festival can be challenging, though, as we do not receive funding from the federal government or city resources. In fact, our origins were as a charity, and we were associated with the Tribeca Film Institute; however, due to COVID-19, we had to put it on hold and have yet to restart operations.

Will you reopen it?

It’s my desire to. We just haven’t had time.

You moved Tribeca from April to June during COVID. Are you ever going to move it back to April?

The improved weather has made us ponder the idea of returning, considering the outdoor necessity brought on by the pandemic. However, discussions about relocating have often led to indecision, with us promising to make a choice, only for the moment to slip away before any changes could be made.

Tribeca is known for its documentary program. How is that business going?

I’m concerned about the future of hard-hitting documentaries as fewer outlets seem interested in them. If they are true crime documentaries, you might be able to find a good deal somewhere. However, larger platforms like Netflix and Amazon tend to prioritize celebrity stories and sports narratives. Finding a suitable platform for political documentaries can be challenging.

“The Avengers” had a Tribeca premiere in 2012. Have comic book films eaten the movie business?

Absolutely, they have done so. However, it’s a type of visual art that many appreciate, and there’s no harm in that.

Of course, they did it. It just happens to be a style of photography that people adore, and that’s perfectly fine.

In 2019, James Murdoch’s Lupa came on as a majority investor. How involved has he been in Tribeca?

He’s on the board, and he’s really supportive. He likes movies; he likes music.

Have you ever talked to him about “Succession”?

Well, he once sat next to Jeremy Strong at a dinner we had.

How did that come about?

Jeremy once worked for my friend Wendy Wasserstein when he had no other employment opportunities. One day, he invited me to a play he was featured in. Since he was portraying a military character, he spent every day at boot camp rehearsing. I attended the performance as requested. As I waited for Jeremy during the first act, he suddenly entered the stage, knocking on the table. The character onstage responded, “Come in!” and Jeremy appeared wearing army boots, only to exit immediately after. Unfortunately, Jeremy was not present for the second half of the play.

Harvey Weinstein is back on trial. You shared office space with him in your building. What was that like?

Back then, if he neglected to pay his phone bill, I’d casually mention, “We might need to cut off his service.” However, with the advent of mobile phones, that phrase became less applicable.

Your blue sunglasses have become a signature. What’s the story behind them?

These items reduce screen glare, which became evident to me during the COVID-19 pandemic as I found myself participating in numerous Zoom meetings. An added advantage is that when I wear them early in the morning for an early team meeting with most members being in their twenties, it gives me a sense of staying trendy and relatable.

Styling: Christy Rilling; Makeup: MinMin Ma; Look 1 (cover, on street): Blouse: Guild of Hands; Leather trousers: The Row: Boots: Saint Laurent; Jewelry : Sidney Garber; Look 2 (in theater): Blouse and trousers : Guild of Hands; Jewelry: Sidney Garber; Shoes: Jill Saunder; Look 3 (hallway with posters): Suit and shirt: Guild of Hands; Jewelry: Sidney Garber

2025-05-28 18:25