|Intimate Portrait: Sharon Gless||Actor||Interviewee||7|
|AFI Life Achievement Award: A Tribute to Warren Beatty||2008 2007 - 2008||Actor||Attendee||20087|
|With Stacey Snider, Chairman of Universal Pictures, ranked # 1 on Entertainment Weekly's annual list of the 101 most powerful people in entertainment|
|Joined the William Morris Agency (WMA) as an agent in the TV department; met Michael Ovitz|
|When Vivendi acquired Seagram Co. in June (forming Vivendi Universal), invited to remain with company|
|Raised in Southern California|
|Served as president of CAA|
|Had dinner meeting with Ovitz and agents William Haber, Rowland Perkins, and Michael Rosenfeld at which they decided to strike out and form their own company|
|Began career working as a messenger at the Paul Kohner Agency (date approximate)|
|Apointed as head of entertainment division of Seagram's with responsibilities for films. theme parks and international TV; assumed control of Universal Pictures after resignation of Casey Silver in November 1998|
|Left the William Morris along with Ovitz, Haber, Perkins and Rosenfeld and together the five founded Creative Artists Agency (CAA)|
|Left CAA to become president and COO of Universal Studios, then owned by Seagram's|
|At age 17, enlisted in the U.S. Marine Corps; served two-year tour|
Born on Sept. 25, 1944 in Los Angeles, Meyer was the son of German Jews who fled the Nazis in 1939 and came to America; his father became a travelling salesman who sold ladies' ready-to-wear clothing and his mother, Edith, stayed at home. A troublemaker and poor student who went through three different junior high schools, Meyer dropped out of high school at 15 years old. He occasionally hit the road with his father, but often preferred to hang around pool halls. When he was 17, Meyer joined the U.S. Marines and managed to straighten himself out, setting his sights on becoming a talent agent after reading the pulp novel The Flesh Peddlers (1963). After a two-year stint with the Marines, Meyer pounded the pavement of Los Angeles in search of employment at one of the talent agencies and his persistence paid off when he landed a messenger job at the Paul Kohner Agency in 1964.
Having learned German from his parents, Meyer was able to listen and understand many of the key business conversations, since they were conducted in the language. Over a five-year span, Meyer gradually moved up the ladder from messenger to file clerk to mailroom attendant to Kohner's driver. When he decided to leave the Kohner agency, Meyer was able to land a spot as an agent in the TV department at the William Morris Agency (WMA), an almost unheard of accomplishment as WMA had a policy of promoting from within. Ensconced in the television department, he met and began to work closely with another agent, Michael Ovitz. When the duo's mentor, Phil Weltman, was forced into early retirement, they had a dinner meeting with three other agents - Bill Haber, Rowland Perkins and Mike Rosenfeld - and floated the idea of starting their own agency. Setting up a six-month plan, they proceeded without problems until management at William Morris got wind of their defection and let them go before they were able to secure financing.
Undaunted, Meyer and his fellow agents forged ahead with a $35,000 line of credit and a $21,000 bank loan to form Creative Artists Agency (CAA). From a small rented office in Century City furnished with only card tables and folding chairs, the five agents worked hard - along with their wives, who rotated turns as the firm's receptionist - to build what became the powerhouse agency of the 1980s. With Ovitz assuming a de facto leadership role, CAA redefined agenting in Hollywood by selling packages - projects with talent attached - and attracted the biggest names in the business to its vast client list. Meanwhile, Meyer and Ovitz wielded considerable clout, and represented a mix of writers, directors, actors and producers, as well as production companies, motion picture studios and television networks. As the stature of the agency increased, the company gained leverage that enabled the agents to demand larger salaries for their clients, which in turn made representation by CAA even more appealing to clients from other agencies. Meyer served as president of the firm, but kept his hand in by overseeing packages involving clients as diverse as Cher, Goldie Hawn and Michael Douglas.
By the mid-1990s, however, there was widespread speculation that Ovitz, CAA's notorious chairman, was looking to move into management at a film studio. Although there was tons of ink spilled that he would join MCA/Universal as president following the sale of the company to Seagram Co., that failed to materialize and Ovitz instead accepted an ill-fated position at Disney. Edgar Bronfman, the head of Seagram's, surprised many when he instead tapped Meyer for the position at MCA in August 1995. As one of his first completed deals at MCA, which owned Universal, Meyer signed former client Sylvester Stallone to a three-picture deal estimated to be worth $60 million dollars, though ultimately nothing became of it. Meanwhile, he went on to make deals with other filmmakers including Penny Marshall, Demi Moore, John Singleton and Danny DeVito. In his favor, Meyer built a strong management team that included Universal Chairman Stacey Snider and implemented an aggressive, long-term strategy to maximize the potential of each of the company's divisions.
Under Meyer, the film division enjoyed strong market shares with such franchise hits as "The Lost World: Jurassic Park" (1997) and "Jurassic Park III" (2001), "The Mummy" (1999) and "The Mummy Returns" (2001), "American Pie" (1999) and "American Pie 2" (2001). With every misfire like the shot-for-shot color remake of "Psycho" (1998) and "Isn't She Great" (2000), there were critical success like "Out of Sight" (1998) and commercial ones like "The Fast and the Furious" (2001) and "K-PAX" (2001). After the resignation of the company's previous chairman and CEO, Casey Silver, in 1998, Meyer assumed full control of Universal Pictures, while its recreation group enjoyed growth in its theme parks and luxury hotels worldwide. Even the sale of Universal to French media conglomerate Vivendi in 2001 failed to dampen Meyer's tenure. Well-liked in the industry as a tough but fair negotiator, he was invited to remain on with the new owners, a tribute to his popularity and his skills. He managed to hold onto his post as President and Chief Operating Officer when General Electric purchased 80 percent of Universal from Vivendi in 2004. In 2011, Comcast took control with a 51 percent stake in the company to GE's percent, as Meyer again stayed put.
By Shawn Dwyer
|Edith Meyer||Mother||German Jewish immigrant; fled the Nazis and arrived in the U.S. in 1939|
|Ali MacGraw||Companion||Involved c. 1987|
|Carson Meyer||Daughter||Born Nov. 18, 1993; mother, Kelly Chapman|
|Jennifer Meyer||Daughter||Born in April 1977; mother, Ellen Meyer; Married actor Tobey Maguire on Sept. 3, 2007|
|Eli Meyer||Son||Born July 17, 1997; mother, Kelly Chapman|
|Sarah Meyer||Daughter||Born in July 1980; mother, Ellen Meyer|
|Ellen Meyer||Wife||Met when she was working at William Morris Agency; Married in 1975; Divorced in 1987|
|Cybill Shepherd||Companion||Briefly dated|
|"Negotiations are battles. But you should aim for peace, not war. It's not that I'm Gandhi-ish. But if it's war...I'm sorry, but you are forced to win. I don't believe in killing anyone. Because if you kill them, they should stay dead. If you knock them down, you have to keep them on the floor. Otherwise, they might get up and hurt you." - Meyer quoted in Vanity Fair, December 1990|
|Asked for a reason why CAA became so successful, Meyer told Bernard Weinraub of The New York Times (April 18, 1995): "Fear of failure made us very strong."|
|On his appointment as president and COO of MCA, Inc., Meyer was quoted as saying: "I'm Cinderella here. I was a poor boy. I'm sure - every day - that it's all going to be taken away from me." - from Vanity Fair, October 1995|
|" ...he has the most people skills of any man I ever met." - Michael Ovitz on Meyer to Premiere, May 1996|
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