|Naked Hollywood||1992 1991 - 1992||Actor||Herself||19927|
|City of Angels||1998||Producer||n/a||3|
|For Our Children: The Concert||Executive Producer||n/a||1|
|Sister Act 2: Back in the Habit||1993||Producer||n/a||3|
|Honey, I Blew Up the Kid||1992||Producer||n/a||3|
|Hired as secretary at PENTHOUSE Magazine; worked her way up to editor and director of merchandising|
|Named vice president of production at Paramount|
|Promoted to senior vice president of production at Paramount|
|Joined Paramount Pictures as director of merchandising and licensing (1978); promoted to vice president|
|Merchandising consultant for PLAYBOY Magazine|
|Formed Steel Pictures for the Walt Disney Co. (left Disney in 1993 after two films)|
|Resigned as head of Columbia Pictures (January 8)|
|Worked as a sportswriter for MAJOR LEAGUE BASEBALL DIGEST and the NFL in New York|
|Named president of production with involvement in, and responsibility for, such films as "Flashdance" (1983), "Top Gun" (1986), and "Fatal Attraction" (1987)|
|Wrote an acount of her reign at Columbia titled "They Can Kill You, But They Can't Eat You"|
|Became head of Columbia Pictures (first woman studio head)|
|Formed Atlas Entertainment with husband Chuck Roven; signed a three-year first look deal with Turner Pictures (Turner Pictures folded in 1996)|
|Became president of Oh Dawn! Inc., a merchandising company|
|Moved to Los Angeles|
|Grew up poor in the well-to-do area of Great Neck, Long Island|
|Ronnie Rothstein||Husband||married in 1975; divorced within a year of marriage; former business partner of a mail-order company with Steel|
|Chuck Roven||Husband||second husband; married in 1985 until her death in 1997; father of Steel's daughter; formerly worked as an arbitrageur|
|Rebecca Roven||Daughter||born in March 1987; father Chuck Roven; survived her|
|Nat Steel||Father||suffered a nervous breakdown when Steel was a child; changed family name from Speilberg|
|School of Business Administration, Boston University|
|New York University|
|"As one of the few female executives to rise to the top here, Ms. Steel insists that she has no illusions about the role of women in Hollywood. Asked about women being threatened by the rivalry and success of other women, Ms. Steel repiled:
"`I must tell you, I did feel threatened by other women in those early years. I was so busy climbing up this ladder, staying above the water. If there was only room for one woman in a room I wanted to be her. I'm not proud of it. I certainly don't feel that way now. It was an absolute evolution for me.'
"She added: 'I think women's relationships with other women are very complicated and depend on their relationships with their mothers. Mine was fraught with problems. So I didn't necessarily trust women for a long time'" --From "Dawn Steel Muses From the Top of Hollywood's Heap" by Bernard Weinraub in THE NEW YORK TIMES, August 30, 1993
|". . . Ms. Steel added that she recently met a group of prominent female agents and said she was struck by a single story.
"'These women were talking about a man who was a junior agent and who was gay and who was promoted to full agent and he was immediately embraced by the gay community, by important producers and studio executives,' she said. 'There was an absolute bonding to help him. Black women--because there are so few of them here--help each other. But white women aren't getting the support from other women the way this gay man did.'" --From "Dawn Steel Muses From the Top of Hollywood's Heap" by Bernard Weinraub in THE NEW YORK TIMES, August 30, 1993.
|Steel serves on the Board of Trustees to the American Film Institute, is a contributor to the Neil Bogart Cancer Fund, is a member of the California Abortion Rights Action League, the AIDS Project, and the Academy of Motion Picture Arts & Sciences.|
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