Bridget Johnson

Executive, Producer, Story analyst
Before moving into the film world Bridget Johnson edited the Journal of the Los Angeles Institute of Contemporary Art and then became editor of publications for the then-fledgling Museum of Contemporary Art (MOCA). She ... Read more »

Filmography

Producer (5)

Smart People 2008 (Movie)

(Producer)

Ice Princess 2005 (Movie)

(Producer)

Joy Ride 2001 (Movie)

(Executive Producer)

Riding in Cars With Boys 2001 (Movie)

(Executive Producer)

As Good As It Gets 1997 (Movie)

(Producer)
Executive (1)

Jerry Maguire 1996 (Movie)

(for Gracie Films) (Executive)

Biography

Before moving into the film world Bridget Johnson edited the Journal of the Los Angeles Institute of Contemporary Art and then became editor of publications for the then-fledgling Museum of Contemporary Art (MOCA). She joined TriStar Pictures in 1983 as a story analyst, eventually rising to the position of vice president of production. In 1989, Johnson moved to the Touchstone Pictures division of Walt Disney Studios where she eventually rose to the post of senior vice president of production. During her tenures at TriStar and Disney, she worked on the development and production of the comedies "Blind Date" (1987), "Look Who's Talking" (1989), "Father of the Bride" (1991) and its sequel "Father of the Bride, Part II" (1995). Johnson then accepted the post of president, motion pictures, at James L Brooks' Gracie Films, earning a credit on the Oscar-nominated "Jerry Maguire" (1996, as executive for Gracie Films) before teaming with Kristi Zea and Brooks on the latter's critically-praised "As Good As It Gets" (1997), a comedy-drama that teamed Jack Nicholson and Helen Hunt.

Milestones

1997

With Brooks and Kristi Zea, served as producer of the Brooks-directed "As Good As It Gets"

1996

Received first feature credit as "executive for Gracie Films" on "Jerry Maguire"

1995

Moved to Gracie Films, the production company formed by James L Brooks; appointed president, motion pictures

1993

Promoted to senior vice president of production, Touchstone Pictures in March

1989

Moved to Disney where she served as vice president of production, Touchstone Pictures

1983

Joined TriStar Pictures as a story analyst, eventually rising to vice president of production

Edited the Journal of the Los Angeles Institute of Contemporary Art

Became editor of publications for the then-fledgling Museum of Contemporary Art (MOCA)

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