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James D. Stern
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James D. Stern is an American film and Broadway producer. He won a 2003 Tony Award for Hairspray, has been nominated for other awards, and was a Drama Desk Award winner for Stomp.
Key Information
Life and career
[edit]Background
[edit]Before starting Endgame Entertainment, Stern co-directed and produced the IMAX film Michael Jordan to the Max[1] and HBO's It's the Rage.[2] On stage he produced The Producers, the 12-time Tony Award-winning Mel Brooks show and the eight time Tony Award-winning Hairspray. Stern produced Stomp, The Diary of Anne Frank starring Natalie Portman, Legally Blonde; Twilight 1992, which was nominated for a Tony; and The Weir, an Olivier Award-winning play. He produced Alan Menken's Leap of Faith during the fall of 2010.
Stern founded and ran the financial investment company and hedge fund Stern Joint Venture, L.P. (SJV). He produced the thriller Self/less with his company Endgame Entertainment and FilmDistrict.[3] He directed the 2018 documentary American Chaos.[4][5] He has a B.A. degree in directing from the University of Michigan in Ann Arbor, and a M.B.A. degree in marketing and finance from Columbia University in Manhattan, New York.
Endgame Entertainment
[edit]| Company type | Independent Company |
|---|---|
| Industry | Motion Pictures |
| Founded | March 11, 2002 |
| Founder | James D. Stern |
| Headquarters | |
| Products | Films |
| Owner | James D. Stern |
On March 11, 2002, Stern founded Endgame Entertainment as an independent production company to produce, develop, and finance films and other forms of entertainment properties. Under his leadership, Endgame Entertainment has financed or cofinanced more than 25 films. Endgame filmed Seeking Justice, directed by Roger Donaldson and starring Nicolas Cage, January Jones, and Guy Pearce. They also released An Education (Sony Pictures Classics), which received three Academy Award nominations and Every Little Step (Sony Pictures Classics), which Stern co-produced and co-directed. The documentary grossed about $1.7 million and was shortlisted for an Academy Award.
Previous Endgame releases include Summit's The Brothers Bloom, Sony Pictures Classics' Easy Virtue, and the Bob Dylan biopic I'm Not There, featuring an Oscar-nominated performance by Cate Blanchett. Hotel Rwanda and Lord of War for Lionsgate, Proof for Miramax, Universal's White Noise, Hollywood Pictures' Stay Alive, and New Line's Harold & Kumar Go to White Castle are earlier releases. Stern co-directed and produced the documentaries The Year of the Yao (New Line) and ...So Goes the Nation (IFC).
Filmography
[edit]He was a producer in all films unless otherwise noted.
Film
[edit]| Year | Film | Credit |
|---|---|---|
| 1995 | Jeffrey | Associate producer |
| 1997 | 35 Miles from Normal | |
| 1999 | Let the Devil Wear Black | Co-executive producer |
| It's the Rage | ||
| 2004 | Stage Beauty | Executive producer |
| Harold & Kumar Go to White Castle | Executive producer | |
| Five Children and It | Executive producer | |
| 2005 | Rag Tale | Executive producer |
| Proof | Executive producer | |
| River Queen | Executive producer | |
| Beowulf & Grendel | Executive producer | |
| Lord of War | Executive producer | |
| The Best Man | Executive producer | |
| 2006 | The Alibi | |
| Stay Alive | ||
| Comeback Season | Executive producer | |
| 2007 | Solstice | |
| I'm Not There | ||
| 2008 | Easy Virtue | |
| The Brothers Bloom | ||
| 2009 | An Education | Executive producer |
| 2011 | A Good Old Fashioned Orgy | |
| Seeking Justice | ||
| 2012 | The Raven | Executive producer |
| Looper | ||
| 2013 | A Haunted House | Executive producer |
| Jobs | Executive producer | |
| Side Effects | Executive producer | |
| Homefront | Executive producer | |
| 2015 | Self/less | |
| Freeheld | ||
| 2016 | Snowden | Executive producer |
| Army of One | ||
| 2017 | The Discovery | |
| 2018 | Come Sunday | |
| The Old Man & the Gun | ||
| 2019 | Murder Mystery | |
| 2021 | Bliss | |
| 2023 | Murder Mystery 2 |
- As director
| Year | Film |
|---|---|
| 1999 | It's the Rage |
- Miscellaneous crew
| Year | Film | Role |
|---|---|---|
| 2007 | Hairspray | Stage producer: Broadway |
- Thanks
| Year | Film | Role |
|---|---|---|
| 2005 | The Producers | Acknowledgment: Producer of the Broadway play |
| 2016 | Gold | Thanks |
Television
[edit]| Year | Title | Credit | Notes |
|---|---|---|---|
| 2006 | Meteor and the Mighty Monster Trucks | Executive producer | |
| 2013 | Dancing on the Edge | Executive producer | |
| Sport in America: Our Defining Stories | Executive producer | Documentary | |
| 2016−20 | Last Chance U | Executive producer | Documentary |
| 2021 | Last Chance U: Basketball | Executive producer | Documentary |
- As director
| Year | Title | Notes |
|---|---|---|
| 2013 | Sport in America: Our Defining Stories | Documentary |
| 2020 | Giving Voice | Documentary, co-director |
- Miscellaneous crew
| Year | Title | Role | Notes |
|---|---|---|---|
| 2007 | Legally Blonde: The Musical | Producer for the stage | Television film |
- Thanks
| Year | Title | Role |
|---|---|---|
| 2001 | Great Performances | Acknowledgment: In association with and produced for the Broadway stage |
References
[edit]- ^ Scott, A. O. (May 5, 2000). "´Michael Jordan to the Max´: Too Big for Even Imax to Capture". The New York Times.
- ^ Scott, A. O. (July 14, 2000). "'It's the Rage': Linked, Sooner or Later, in a Semiautomatic World". The New York Times.
- ^ Endgame Entertainment and FilmDistrict are Selfless
- ^ Jaworowski, Ken (September 13, 2018). "Review: 'American Chaos' Looks at the Election. You Know the End". The New York Times.
- ^ Alan Zilberman (September 12, 2018) [2018-09-11]. "Here's an early candidate for the worst movie about the 2016 election". The Washington Post. Washington, D.C. ISSN 0190-8286. OCLC 1330888409.[please check these dates]
- ^ "Endgame Entertainment | LinkedIn". March 16, 2022.
External links
[edit]
James D. Stern
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Early Life and Education
Upbringing and Initial Interests
James D. Stern was born in Chicago and raised in the suburb of Glencoe, Illinois.[4][5][6] His family owned a manufacturing company producing household appliances such as air purifiers and handheld massagers, and Stern worked there for 18 months in the mid-1980s following his undergraduate studies.[6] He also participated in family-managed investment activities, including a hedge fund alongside his father and two older brothers, and later became part of their ownership group for the Chicago Bulls starting in 1990.[6] During his childhood in Glencoe, Stern developed an early interest in the performing arts, engaging in various activities that sparked his creative inclinations.[6] This foundation led him to pursue formal education in theater; he earned a B.A. in directing from the University of Michigan in the early 1980s, where he produced experimental and narrative short films.[6][7] He subsequently obtained an M.B.A. in marketing and finance from Columbia University in the mid-1980s, blending artistic pursuits with business acumen that would inform his later career in production.[6]Professional Career
Entry into Theater and Broadway
Stern entered the professional theater world in New York City immediately following his college graduation, initially working in operational and creative capacities at institutions such as the Manhattan Theatre Club and in collaboration with lyricist Howard Ashman, known for his contributions to musicals like Little Shop of Horrors.[8] This early immersion provided foundational experience in theatrical production and development during the late 1980s and early 1990s, before Ashman's death in 1991.[8] Transitioning to producing, Stern's first Broadway credits emerged in 1999 as an associate producer for Conor McPherson's The Weir, which transferred from the off-Broadway Walter Kerr Theatre and ran for 163 performances, earning Drama Desk and Olivier Award recognition for its atmospheric storytelling.[9] That same year, he associated on the musical revue Swing!, a nostalgic celebration of 1930s–1940s dance music that opened at the Nederlander Theatre and garnered Tony nominations, including for Best Musical.[10] These productions marked his initial foray into commercial Broadway, building on off-Broadway and regional work to establish networks in the industry.[11] By the early 2000s, Stern had scaled up to lead producing roles on major hits, co-producing Mel Brooks's The Producers in 2001, which won 12 Tony Awards including Best Musical, and Hairspray in 2002, securing him a Tony Award for Best Musical in 2003 after 2,642 performances.[10] He followed with revivals like Little Shop of Horrors in 2003 and original works such as Ma Rainey's Black Bottom in 2003, amassing credits on over a dozen Broadway shows that blended commercial viability with artistic merit.[8] [12] His theater involvement paralleled emerging film interests, leveraging Broadway successes to fund independent cinema ventures.[13]Founding and Leadership of Endgame Entertainment
James D. Stern founded Endgame Entertainment in 2002 as an independent film company dedicated to the development, production, and financing of motion pictures.[1] The company was established to support innovative projects in the entertainment industry, emphasizing original content and collaborations with emerging and established filmmakers.[14] Stern has served as Chairman and Chief Executive Officer of Endgame since its inception, overseeing its strategic direction and operational activities.[1] Under his leadership, Endgame has expanded beyond film to include television and live stage productions, prioritizing thought-provoking narratives and high-quality executions across genres.[14] The firm facilitates partnerships with major studios, agencies, and international sales entities to bring projects to fruition while preserving creative intentions.[14]Feature Film Productions
James D. Stern founded Endgame Entertainment in 2002 as an independent company focused on developing, producing, and financing feature films across genres such as comedy, drama, thriller, and science fiction.[1] Under his leadership, the company has financed or co-financed more than two dozen narrative features, often partnering with major studios or streaming platforms like Netflix, emphasizing mid-budget projects with commercial potential.[15] Early productions included the stoner comedy Harold & Kumar Go to White Castle (2004), directed by Danny Leiner, which Endgame co-produced and which earned $18.2 million at the North American box office despite a $12 million budget. This was followed by the drama Proof (2005), starring Gwyneth Paltrow and Anthony Hopkins, co-produced with Miramax and adapted from the Pulitzer Prize-winning play by David Auburn. In 2006, Endgame handled production on the romantic comedy-thriller The Alibi (also released as Lies & Alibis), directed by Matt Checkowski and Kurt Mattila, featuring Steve Coogan and Rebecca Romijn.[8] Stern's involvement extended to I'm Not There (2007), a biographical drama directed by Todd Haynes portraying Bob Dylan through multiple actors, including Cate Blanchett and Heath Ledger, which premiered at the Cannes Film Festival and received Academy Award nominations for Best Supporting Actress and Best Adapted Screenplay. A notable science fiction entry was Looper (2012), directed by Rian Johnson and starring Joseph Gordon-Levitt and Bruce Willis, where Endgame served as a producer; the film grossed $176.5 million worldwide on a $30 million budget. In the 2010s, Endgame diversified into thrillers like Side Effects (2013), directed by Steven Soderbergh and featuring Jude Law and Rooney Mara, which explored pharmaceutical ethics and earned $32 million globally.[16] The company also backed Jobs (2013), a biopic of Apple co-founder Steve Jobs starring Ashton Kutcher, and Freeheld (2015), a drama based on the true story of a dying police officer's fight for her partner's pension rights, starring Julianne Moore and Elliot Page, which won a Gotham Award.[15] Later successes included The Old Man & the Gun (2018), David Lowery's crime comedy marking Robert Redford's purported final acting role, grossing $29.3 million worldwide. Endgame's partnership with Netflix yielded high-profile releases such as Murder Mystery (2019), a comedy starring Adam Sandler and Jennifer Aniston that became one of the streamer's most-watched originals, viewed by over 83 million households in its first month, and its sequel Murder Mystery 2 (2023), continuing the franchise with added cast members like Mark Strong.) These films exemplify Stern's strategy of leveraging streaming distribution for broad audience reach while maintaining narrative-driven independent sensibilities.[17]Television and Documentary Works
Stern co-directed The Year of the Yao (2004) with Adam Del Deo, chronicling the rookie season of Chinese NBA center Yao Ming with the Houston Rockets, emphasizing his cultural adaptation and on-court performance amid high expectations in the U.S. The documentary premiered at the Tribeca Film Festival on May 9, 2004, and was distributed by New Line Cinema, receiving a 67% approval rating on Rotten Tomatoes based on 33 reviews.[18] In 2006, Stern and Del Deo co-directed ...So Goes the Nation, focusing on the final 15 days of the 2004 U.S. presidential election in Ohio, a swing state that decided the outcome between George W. Bush and John Kerry. The film incorporates interviews with voters, campaign operatives, and experts from both parties, illustrating grassroots mobilization and media influence without endorsing a side. Distributed by IFC Films, it premiered at the Tribeca Film Festival on April 29, 2006, and earned a 91% Rotten Tomatoes score from 23 critics for its even-handed electoral analysis.[19][20] Stern and Del Deo co-directed Every Little Step (2008), which documents the 2006 open auditions for the Broadway revival of A Chorus Line, blending contemporary footage of over 3,000 dancers with archival tapes from Michael Bennett's original 1975 casting sessions. The film highlights the performers' vulnerabilities and the production's rigorous selection of 26 principals from thousands, premiering at the Tribeca Film Festival on April 23, 2008, before a limited theatrical release on April 24, 2009, via Sony Pictures Classics. It grossed $1.8 million domestically and was shortlisted for the 82nd Academy Awards in Documentary Feature.[21] For television, Stern directed and executive produced the HBO Sports documentary Sport in America: Our Defining Stories (2013), a 90-minute special narrated by figures including Jack Nicholson and Billy Bob Thornton, segmented into historical vignettes on events like the 1936 Berlin Olympics and Muhammad Ali's career to examine sports' societal role. Produced in partnership with Sports Illustrated, it aired on November 28, 2013.[22] Under Endgame Entertainment, Stern executive produced the Netflix docuseries Last Chance U (2016–2021), tracking junior college athletes in football programs at institutions like East Mississippi Community College, with five seasons emphasizing personal struggles, coaching pressures, and pathways to Division I scholarships. A basketball spin-off, Last Chance U: Basketball, followed in 2019, shifting focus to programs at Hutchison Community College; the series garnered Emmy nominations for its unfiltered depiction of athletic ambition and failure.[23] Stern co-directed Giving Voice (2020) with Fernando Villena, following six high school participants in the 2018 August Wilson Monologue Competition, where students perform works by the playwright to win college scholarships and theater opportunities. Released on Netflix on March 12, 2020, the film intersperses competition footage with explorations of Wilson's life and influence on Black American storytelling, premiering at the Tribeca Film Festival in 2020.[24]Political Engagement Through Filmmaking
American Chaos and Voter Perspectives
"American Chaos" is a 2018 documentary directed by James D. Stern, filmed over the six months leading to the November 8, 2016, U.S. presidential election, in which Stern interviews Donald Trump supporters across states including Pennsylvania, West Virginia, and Nevada to explore the drivers of Trump's appeal.[25][26] Stern, raised in Chicago and approaching the subject from a liberal perspective, initiated the project amid growing indications of Trump's momentum, aiming to capture unmediated voter sentiments amid national polarization.[27][28] The film eschews traditional campaign footage in favor of grassroots conversations, presenting a timeline of evolving frustrations as the election neared.[27] Voters featured articulate motivations rooted in economic displacement, particularly the loss of manufacturing jobs due to globalization and trade policies, which they attribute to elite indifference.[29][30] Many express deep distrust of political institutions and figures like Hillary Clinton, viewing her as emblematic of a corrupt establishment that prioritizes global interests over domestic workers.[31] Concerns about immigration, border security, and cultural shifts emerge repeatedly, with interviewees fearing erosion of American identity and sovereignty.[32][33] These perspectives emphasize emotional alignment with Trump's outsider persona and promises of disruption, often valuing perceived authenticity and passion over detailed policy scrutiny.[33][34] Stern's interactions highlight a perceived failure by Democratic strategies to address these grievances, as voters recount feeling dismissed or patronized by coastal elites.[30] In West Virginia, for instance, a miner discusses Clinton's potential policies as extensions of prior betrayals, while Nevada caucus attendees underscore anti-establishment fervor.[32] The documentary conveys a snapshot of alienation driving turnout, with supporters framing their choice as resistance to systemic neglect rather than mere personality endorsement.[29][34] Reception of the film's portrayal varies, with some praising its direct access to raw voter voices amid the cultural divide, while others critique omissions of racial animus or Stern's intermittent editorializing that undermines neutrality.[32][35] Nonetheless, it documents empirically observable sentiments—such as economic resentment and institutional skepticism—that correlated with Trump's electoral success in Rust Belt states, offering evidence of causal factors in voter behavior beyond media narratives.[34][26]Other Political or Social Documentaries
Stern co-directed ...So Goes the Nation (2006) with Adam Del Deo, a documentary examining the 2004 U.S. presidential election through the lens of Ohio as a pivotal swing state, featuring interviews with voters, politicians, and media figures to illustrate the electoral process and regional influences on national outcomes.[36][20] The film highlights grassroots perspectives on issues like the economy and foreign policy, released by IFC Films and receiving a 91% approval rating on Rotten Tomatoes based on 23 reviews.[20] In 2020, Stern co-directed Giving Voice with Fernando Villena, a Netflix documentary tracking the 2018 August Wilson Monologue Competition, where high school students perform excerpts from Wilson's plays addressing African American experiences, urban poverty, and racial dynamics in 20th-century America.[37][24] The film interweaves competition footage with insights into Wilson's Pittsburgh Cycle, premiering at the Sundance Film Festival and earning a 100% Rotten Tomatoes score from 16 critics for its portrayal of emerging Black talent and theatrical legacy.[38][39] Stern directed The Kids Are Not Alright, a feature documentary in development exploring Generation Z's voting patterns, particularly gender divides in political leanings—with young men trending conservative and women liberal—and underlying frustrations over economic pressures, cultural shifts, and future prospects.[40] Produced under Endgame Entertainment, it aims to analyze these dynamics' implications for American democracy through direct interviews with young voters.[40] Among social-themed works, Stern co-directed Every Little Step (2008) with Adam Del Deo, chronicling the grueling audition process for the 2006 Broadway revival of A Chorus Line, capturing performers' personal struggles, rejections, and aspirations in the competitive world of musical theater.[41] The film, which grossed over $500,000 in limited release, emphasizes themes of perseverance and the human cost of artistic pursuit, earning praise for its intimate access to over 3,000 auditions.[21] Stern also co-directed Sport in America: Our Defining Stories (2013) with Adam Del Deo for HBO, a documentary probing sports' cultural role in shaping American identity, community, and personal narratives via interviews with athletes like Jack Nicholson-narrated segments and fans reflecting on events from the Super Bowl to Olympic triumphs.[42][43] Airing as a special, it underscores sports as a unifying social force amid national divisions, drawing on archival footage and expert commentary to trace historical influences from baseball's integration to modern spectacles.[44]Reception and Legacy
Awards and Achievements
Stern earned significant recognition in theater production, including two Tony Awards for Best Musical as a co-producer. For The Producers by Mel Brooks, which premiered on Broadway in 2001, he shared the award with partners including Douglas L. Meyer, contributing to the show's record of 12 Tony wins overall.[1][45] He received the same honor in 2003 for Hairspray, again partnering with Meyer and others such as Margo Lion, amid the musical's eight Tony victories.[46] These achievements highlight his role in backing commercially and critically successful revivals and originals that dominated Broadway seasons. Earlier in his career, Stern won a Drama Desk Award in 1994 for Outstanding Unique Theatrical Experience for Stomp, a percussion-based production he helped bring to prominence.[8] He has also garnered Tony nominations for subsequent works, including Best Musical for Leap of Faith in 2012 and Best Special Theatrical Event for You're Welcome America! A Final Night with George W. Bush in 2009, though these did not result in wins.[45] In film and documentary production under Endgame Entertainment, Stern's accolades are more modest but include directing wins for his 1999 debut All the Rage, securing Best Film and Best Director at the 2000 Milano International Film Festival Awards.[47] His 2009 documentary Every Little Step, chronicling auditions for the A Chorus Line revival, earned a Cinema Eye Honors nomination for Outstanding Achievement in Nonfiction Directing and was shortlisted for Academy Award consideration, though it did not advance to nomination.[1] These honors underscore his contributions to independent cinema amid a career focused on development and financing rather than frequent festival dominance.Criticisms and Industry Controversies
Stern's 2018 documentary American Chaos, which featured interviews with supporters of Donald Trump conducted prior to the 2016 presidential election, drew significant backlash from critics and audiences who perceived it as overly sympathetic to its subjects or insufficiently condemnatory of their views.[48] The film was accused by some of exploiting working-class voters for narrative purposes without adequate contextual critique, contributing to polarized reception amid heightened political tensions.[48] Stern responded to the criticism by highlighting the intensity of reactions, stating, “I’ve been surprised by the vitriol… People are so dug in, they don’t want to hear anything that challenges their worldview,” and describing the era as a “pernicious time” marked by resistance to cross-ideological dialogue.[48] Reviewers echoed concerns about the film's approach, with Roger Ebert's site awarding it 2 out of 4 stars and faulting it for relying on “the same imagery, locations and political reportage cliches” common in election coverage, which undermined its originality and depth.[34] Despite achieving a 65% approval rating on Rotten Tomatoes from 37 reviews, the documentary's focus on unfiltered voter perspectives—rather than overt partisan analysis—amplified debates over media responsibility in portraying populist sentiments, particularly from outlets aligned with progressive viewpoints.[25] No major personal or financial scandals have been publicly associated with Stern, though his political filmmaking has occasionally intersected with broader industry discussions on producer credits and financing transparency, as Endgame Entertainment was named in a 2013 breach-of-contract suit alongside distributors like Columbia Pictures, though details and outcomes remain limited in public records.[49]Broader Impact on Independent Cinema
James D. Stern's establishment of Endgame Entertainment in 2002 marked a significant contribution to independent cinema by creating a dedicated entity for developing, producing, and financing mid-budget films that often elude major studio support. Drawing from his Broadway experience, where he earned a Tony Award for Hairspray in 2003, Stern applied disciplined financial strategies, such as pre-selling international rights to mitigate risks—for instance, securing $18 million in foreign sales to cover most of a $20 million budget for An Education (2009).[1][50] This approach enabled Endgame to amass a portfolio of over 20 films by 2010, focusing on commercially viable projects with targeted appeal rather than high-risk spectacles.[7] Stern advocated for "smarter" independent filmmaking, emphasizing audience-specific design from inception, early marketing integration, and fiscal respect to avoid the entitlement-driven losses plaguing the sector. In a 2009 address, he outlined principles like aligning creative and financial stakeholders on a clear "endgame"—a film's built-in distinctive draw—and planning distribution strategies pre-production, as demonstrated in the viral campaign for Every Little Step (2008), which targeted A Chorus Line enthusiasts.[13] Endgame's 2011 launch of a $150 million prints-and-advertising fund further extended this influence, committing to support releases on at least 1,800 screens for four to six films annually, thereby bolstering indie visibility in wider markets.[51] Through these practices, Stern fostered a model of sustainability in independent cinema, bridging theatrical precision with film production to prioritize story-driven, niche-profitable works amid industry contractions. His efforts helped produce crossover successes like An Education, which garnered three Oscar nominations, demonstrating how conservative financing and market foresight could elevate indie projects without compromising artistic intent, influencing producers to adopt hybrid business models for long-term viability.[50][13]Filmography
Films
| Year | Title | Role |
|---|---|---|
| 1999 | All the Rage | Director, producer[52] |
| 2000 | Michael Jordan to the Max | Director[53] |
| 2004 | Harold & Kumar Go to White Castle | Producer (Endgame Entertainment)[2] |
| 2005 | Proof | Executive producer[2] |
| 2007 | I'm Not There | Producer[52] |
| 2009 | Every Little Step | Director, producer[52] |
| 2011 | Seeking Justice | Producer[54] |
| 2012 | Looper | Producer[52][55] |
| 2012 | The Raven | Executive producer[54] |
| 2017 | The Discovery | Producer[56] |
| 2018 | The Old Man & the Gun | Producer[55] |
| 2018 | Come Sunday | Producer[56] |
| 2018 | American Chaos | Director, producer[57] |
| 2019 | Murder Mystery | Producer[55] |
| 2020 | Giving Voice | Director[2] |
| 2023 | Murder Mystery 2 | Producer[55][2] |