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Peter Benton Bart (born July 24, 1932)[1] is an American journalist and film producer, writing a column for Deadline Hollywood since 2015. He is best known for his lengthy tenure (1989–2009) as the editor in chief of Variety, an entertainment-trade magazine.

Key Information

Bart was also a co-host, with film producer Peter Guber, of the weekly television series, Shootout (formerly Sunday Morning Shootout), carried on the AMC television channel from 2003 to 2008 and subsequently seen in syndication and in 53 countries around the world.

Early life and education

[edit]

Bart was born in New York City, the son of Clara (née Ginsberg) and Max S. Bart and raised on Manhattan's Upper West Side.[2][1] His mother and likely his father were Austrian Jews who emigrated in the early twentieth century, and both worked as public school teachers.[2] His father was strictly irreligious and anti-communist.[2] Bart was educated at Friends Seminary in New York City;[3] Swarthmore College, near Philadelphia, Pennsylvania;[2] and The London School of Economics and Political Science in London, United Kingdom.

Career

[edit]

He served as a reporter and columnist for The New York Times and as a reporter for The Wall Street Journal and the Chicago Sun-Times prior to entering the film business.

Starting in 1967, Bart worked as an executive at Paramount Pictures, rising to vice president in charge of production; his relationship with Robert Evans was documented in Evans' autobiography The Kid Stays in the Picture. He played a key role in such films as Rosemary's Baby (1968), True Grit (1969), Harold and Maude (1971), The Godfather (1972) and Paper Moon (1973). After eight years at Paramount he became senior vice president for production at Metro-Goldwyn-Mayer and president of Lorimar Productions, where he was involved in such films as Being There (1979) and The Postman Always Rings Twice (1981). Bart also served as a co-producer on such films as Fun with Dick and Jane (1977) and Islands in the Stream (1977). He also wrote the screenplay for the 1971 film Making It.

He joined Variety as editor-in-chief in 1989. In 2007, Bart appointed Tim Gray to become his successor as editor with the understanding that he would stay on as columnist, blogger and consultant.[4] In April 2009, it was announced that Bart was moving to the position of "vice president and editorial director", characterized online as "Boffo No More: Bart Up and Out at Variety".[4]

In 2001, Los Angeles Magazine reported that Bart had sold the rights to an 86-page novella called Power Play, about "a power struggle between established casino owners and Indian tribes," to Paramount Pictures, where his friend and business associate Robert Evans was a producer. Bart explained he had "probably spent a weekend" adapting the novella from a 108-page script called Crossroaders. The title page of the script showed it had been authored "By Leslie Cox", Bart's wife at the time, "Based on the novel by Peter Bart. September 1996." When asked if he wrote the script himself as well, Bart said he could not remember. Variety policy prohibits staffers from selling scripts, as doing so could generate a conflict of interest given that publication's focus and influence on the Hollywood movie industry, though Bart said he has no problem with staff selling the movie rights to books they have written.[2]

He served as executive producer and screenwriter of the documentary film, Boffo! Tinseltown's Bombs and Blockbusters (2006) shown on the HBO television channel.

Through the years Bart has published eight books, including five non-fiction and three fiction.

He serves on the board of advisors for Penske Media Company.

Personal life

[edit]

In 1961, he married Dorothy Callman; they had two daughters, Colby Bart Centrella (born 1962) and Dilys Bart Shelton (born 1966).[2] His second wife was Leslie Cox.[5] In 2008, Bart married for a third time, to the former Phyllis Fredette. His nephew is actor Roger Bart.[6]

Filmography

[edit]

He was a producer in all films unless otherwise noted.

Film

[edit]
Year Film Credit
1977 Fun with Dick and Jane
Islands in the Stream
1984 Revenge of the Nerds Executive producer
1986 Youngblood
1987 Revenge of the Nerds II: Nerds in Paradise
2005 Fun with Dick and Jane Executive producer
As writer
Year Film
1971 Making It
Miscellaneous crew
Year Film Role
1981 Reborn Creative consultant
TBA
 Francis and the Godfather
As an actor
Year Film Role
1997 An Alan Smithee Film: Burn Hollywood Burn Himself
Thanks
Year Film Role
2019 The Planters Extra special thanks

Television

[edit]
Year Title Credit
2006 Square Off Executive producer
2009−11 In the House with Peter Bart & Peter Guber Executive producer
2012 Movie Talk with Peter Bart Executive producer

See also

[edit]

References

[edit]

Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Peter Bart

View on Grokipedia
from Grokipedia
Peter Bart (born July 24, 1932) is an American , , and former studio executive renowned for his decades-long influence on Hollywood through reporting, production oversight, and editorial leadership in . Raised in by Austrian immigrant parents who were public school teachers, Bart attended and graduated from with a B.A. in in 1954, followed by a fellowship at the London School of Economics. He launched his career in journalism in 1956 as a reporter for The Wall Street Journal, later moving to The New York Times where he covered advertising and media beats, including a stint as national correspondent in Los Angeles starting in 1964. Transitioning to the film industry in 1967, Bart served as Vice President of Production at until 1974, greenlighting and overseeing landmark films such as (1972), (1968), Love Story (1970), and (1971). He subsequently held senior executive roles, including Senior Vice President of Production at in the early and President of Lorimar Productions in the , where he developed projects like (1982). In 1989, Bart joined Variety as Editor-in-Chief, a role he maintained until 2009, during which he revitalized the trade publication by merging its daily and weekly editions, expanding digital presence, and introducing irreverent, insider coverage that transformed its industry standing. After stepping down as , he remained at Variety as Vice President and Editorial Director until 2016, then transitioned to as Editor-at-Large, where he has continued writing weekly columns analyzing Hollywood trends, box office dynamics, and executive shifts as of 2025. Bart has also produced films independently, including Fun with Dick and Jane (1977), and authored nine books on the entertainment business, such as the bestseller Fade Out: The Calamitous Final Days of (1990) and Infamous Players: A Tale of , the Mob, (and ) (2017), drawing from his insider experiences. Married twice, with two daughters from his first marriage to Dorothy Callman, Bart resides in and remains a board advisor for , the parent company of Deadline and Variety.

Early life and education

Early life

Peter Bart was born on July 24, 1932, in to Clara (née Ginsberg) and Max Bart, Austrian Jewish immigrants who had arrived in the United States in the early twentieth century. His mother emigrated via in 1914, with her passenger record noting her ethnicity as "Austria (Hebrew)." The family's , supported by the parents' roles as public-school teachers, allowed for a comfortable urban life that included modest luxuries such as a and summer vacations at a home in , though rooted in the immigrant experience of building anew in America. Raised on Manhattan's , Bart grew up in a vibrant, intellectually stimulating environment shaped by the city's cultural diversity and his Jewish heritage, though his family was fiercely irreligious and avoided overt religious practices. He had one older brother, six years his senior. This upbringing instilled a sense of pressure to perform academically and socially, with Bart later describing his childhood as "annoyingly happy" amid a household influenced by his parents' anticommunist views and unconventional habits, such as serving only Chinese food at home. The urban pulse of the , with its mix of immigrant communities and emerging media culture, provided early exposure to storytelling and public discourse that resonated with his family's emphasis on and achievement. From a young age, Bart harbored aspirations to become a . This early passion aligned with the intellectual currents of his surroundings, leading him to attend , a Quaker institution that marked his transition to formal .

Education

Peter Bart attended , a Quaker institution in , for his secondary . For his undergraduate studies, Bart enrolled at , where he majored in politics and graduated with a degree in 1954. During his time there, he served as editor of the college newspaper, honing his journalistic skills in a Quaker-influenced environment that emphasized service and analytical thinking. Following graduation, Bart pursued postgraduate work at the London School of Economics and Political Science from 1955 to 1956 as part of a fellowship program.

Career

Early journalism

After graduating from in 1954 and briefly attending the London School of Economics, Peter Bart began his journalism career with an entry-level position at the . In the late 1950s, Bart joined as a reporter, where he covered and financial topics, honing his skills in economic reporting during a period of postwar industrial growth. His work there provided foundational experience in analyzing corporate dynamics, which later informed his insights into the entertainment industry's financial structures. Bart transitioned to The New York Times in 1957, remaining there until 1967 as a staff reporter focused primarily on entertainment and business beats. Based initially in New York and later in , he reported on the burgeoning Hollywood ecosystem, including studio finances, production trends, and key industry figures. Notable among his contributions was a 1966 profile of aspiring producer , which highlighted Evans's potential and caught the attention of executives. Other articles, such as his December 1966 piece on Hollywood's "new riches" amid rising studio affluence and a May 1966 story on the celebrity status of hair stylist , exemplified his coverage of the intersection between glamour, business, and cultural shifts in the film world. These reports built Bart's reputation for blending financial acumen with , paving the way for his move into the film industry.

Studio executive roles

Peter Bart's journalism background at The New York Times positioned him for a pivotal shift into Hollywood executive roles. In 1967, he joined Paramount Pictures as Vice President of Production under studio head Robert Evans, where he played a key role in overseeing the development and greenlighting of several landmark films during the New Hollywood era. Notable among these were Rosemary's Baby (1968), True Grit (1969), and The Godfather (1972), the latter of which Bart endorsed alongside Evans despite internal studio resistance, contributing to Paramount's creative resurgence in the early 1970s. He departed Paramount in 1975 after eight years, having helped navigate the studio through a period of artistic innovation amid financial pressures. In his 2011 memoir Infamous Players, Bart detailed the intricate studio politics at Paramount, including power struggles between executives and corporate oversight, as well as the pervasive influence of figures like , a lawyer with ties to who facilitated deals and exerted behind-the-scenes leverage. These elements underscored the chaotic transition from the studio system's rigid control to the more auteur-driven landscape, marked by bold risks on directors like and . Bart's account highlights how such dynamics enabled hits like but also sowed seeds of instability, reflecting broader industry shifts toward independent financing and talent empowerment. Following his Paramount tenure, Bart moved to Lorimar Productions in the late as president, where he managed development deals and oversaw projects including Fun with Dick and Jane (1977). In the 1980s, he transitioned to (MGM/UA) as Senior for Production, handling development during a turbulent period under owner . At MGM, Bart witnessed the studio's decline, later chronicling in his 1990 book Fade Out how Kerkorian's asset sales and erratic executive decisions, such as passing on blockbusters like Jaws, accelerated the once-mighty lot's fall. During his Lorimar stint, he also contributed to successes like (1984), exemplifying the company's focus on commercially viable comedies amid the decade's blockbuster trend.

Variety editorship

In 1989, Peter Bart was hired as of Weekly Variety, following a stint as a studio executive, and he assumed the same role for Daily Variety in 1992. His prior experience in Hollywood production informed his editorial decisions, allowing him to infuse the publication with insider perspectives on the entertainment industry. Under Bart's leadership, Variety underwent significant revitalization, transitioning from a stolid, ad-sales-driven paper to a more dynamic and readable outlet. He prohibited reporters from selling advertisements, a longstanding practice that had compromised journalistic integrity, and introduced newsier columns, special sections honoring industry figures, and enhanced coverage of movie and television developments, including executive shifts and dealmaking. To modernize content and expand its appeal, Bart launched initiatives such as the annual Power List, which ranked influential Hollywood players, and fostered in-depth analytical features akin to those in or . He also experimented with supplementary publications like eV in the early to address trends—though it folded amid the dot-com bust—and V Life from 2003 to 2006, which broadened the magazine's scope beyond traditional trades. Bart's tenure was marked by notable controversies, including accusations of softening coverage of industry scandals involving personal connections, such as his handling of stories related to . In 1992, withdrew advertising after disputing a film review, highlighting tensions between and studio pressures. A major scandal erupted in 2001 when an LA Magazine profile quoted Bart using derogatory language about , Jews, and gay individuals, leading to a three-week suspension by Variety's parent company, Reed Elsevier. His departure in 2009 came amid corporate restructuring at Reed Elsevier, which was grappling with declining print revenue and digital competition; Bart was succeeded by deputy editor Timothy M. Gray as , shifting to a and director role while retaining his column. Bart's 20-year editorship profoundly influenced trade journalism, professionalizing Variety into the entertainment industry's dominant voice and setting benchmarks for timely reporting and that shaped perceptions of commercial success. He cultivated a fiercely competitive environment that mentored emerging writers, emphasizing rigorous sourcing and industry savvy, though it also bred internal rivalries. By the end of his tenure, however, Variety faced challenges, with circulation dropping to 24,740 from 35,716 in 2001 and ad pages declining 37% in early 2009, underscoring the broader shift toward online media.

Later journalism and columns

After departing from his executive role at Variety in 2009, Peter Bart transitioned to freelance journalism, contributing occasional columns to on Hollywood economics and production trends, such as a 2013 analysis of escalating summertime film costs. In 2016, he joined as editor-at-large, where he began writing regular weekly columns focused on industry dynamics, drawing on his decades of insider experience. Bart's Deadline columns have addressed key Hollywood developments, including box office challenges and creative risks. In a November 2025 piece, he examined director Martin Scorsese's recent documentaries alongside broader concerns about the "future of the flop," arguing that studios' fear of financial failure stifles bold in an era of high-stakes releases. Earlier, in December 2024, Bart contrasted the success of contemporary musicals like Wicked with the sunnier, more escapist tone of Hollywood's hits from the and 1960s, noting how modern adaptations reflect darker societal themes while achieving commercial dominance. His commentary has also extended to workplace and technological shifts in the entertainment sector. A October 2025 column critiqued corporate "MOGA" (Make Offices Great Again) initiatives, highlighting employee resistance to return-to-office mandates amid AI-driven job uncertainties and post-pandemic hybrid work preferences. Throughout the , Bart has offered pointed critiques of streaming's dominance and the industry's recovery from disruptions, as in his 2020 reflection on diminished attachment to traditional theaters and the rise of home viewing, which he saw as accelerating a permanent shift away from communal cinema experiences. As a member of Penske Media Corporation's (PMC) board of advisors since 2016, Bart has maintained significant influence as a Hollywood commentator, leveraging his Variety legacy to provide authoritative insights into an evolving landscape marked by streaming economics, AI integration, and post-pandemic adaptations.

Personal life

Marriages and relationships

Peter Bart's first marriage was to Dorothy Callman, a publicist, on November 4, 1961. The couple had two daughters during their marriage, born in 1962 and 1966. Their union ended in divorce on June 4, 1981, amid Bart's rising career demands that included frequent relocations between New York and . Bart married Leslie Cox on February 23, 1982. Cox, using her maiden name professionally, collaborated with Bart on creative projects, including a 1996 film script titled Crossroaders based on one of his novels. The pair appeared together at industry events as late as December 2005. Their marriage concluded in divorce in 2005, following years of Bart's high-profile roles in Hollywood that often required coast-to-coast travel and long hours. In 2008, Bart married Phyllis Fredette, whom he had been dating for three years prior. The wedding took place on August 8 in . This third marriage has provided greater personal stability in Bart's later years, coinciding with his continued editorial work at Variety and reduced executive pressures. Bart's career mobility, including stints at and that necessitated multiple cross-country moves, strained his earlier relationships but appears to have settled with this union.

Family

Peter Bart has two daughters from his first marriage. The elder, Colby Bart Centrella (born 1962), has worked as a Hollywood and . She has a daughter, Madeleine Centrella. His younger daughter, Dilys Bart Shelton (born 1966), is an ophthalmologist based in ; she collaborated with her father on a treatment for the 1984 film , which helped fund her undergraduate education at . She is married to Tyler Shelton and they have a daughter, Elizabeth. Bart's nephew, Roger Bart, is an accomplished actor and singer known for his Broadway performances, including winning a Tony Award for portraying Snoopy in the 1999 revival of You're a Good Man, Charlie Brown and originating the role of Leo Bloom in The Producers (2001). He has also appeared in films such as American Gangster (2007) and on television in series like Desperate Housewives. Bart's family reflects his Jewish heritage through his parents: his mother, Clara Ginsberg, was an Austrian Jew who immigrated to the via in 1914, and his father was also of Jewish descent from . No other siblings or notable extended family ties beyond his nephew are publicly documented. The family's relocation to in 1964 supported Bart's career shift to on the West Coast.

Works

Film production

Peter Bart's film production career spanned the 1970s and 1980s, during which he held and credits on several notable features, often leveraging his studio executive experience to projects with commercial potential. As an independent initially backed by industrialist , and later as president of Lorimar Productions, Bart focused on comedies and dramas that reflected social undercurrents, contributing to the era's shift toward character-driven narratives amid Hollywood's transition from the period. One of Bart's early producing efforts was the 1977 comedy Fun with Dick and Jane, a satirical take on economic desperation starring and , for which he served as producer alongside . The film, directed by and adapted from the novel by Gerald Gaiser, followed an affluent couple turning to crime after job loss, grossing over $30 million domestically on a $5 million budget and influencing later recession-themed comedies. Bart personally recruited Segal for the lead role, valuing his understated everyman quality, and navigated on-set tensions by mediating Fonda's intense political fervor with Segal's calm demeanor, ensuring smooth production despite the stars' contrasting styles. In the same year, Bart produced Islands in the Stream, an adaptation of Ernest Hemingway's novel directed by , starring as a reclusive artist confronting personal loss. The project, shot on location in , emphasized Hemingway's themes of isolation and redemption, with Bart overseeing a $7 million budget that included elaborate seafaring sequences, though it underperformed at the with $8 million in earnings. His involvement highlighted a brief foray into literary adaptations before shifting toward lighter fare. As president of Lorimar Productions starting in 1977, Bart financed and oversaw (1979), a satirical drama directed by and starring as the naive Chauncey Gardiner, whose simplistic observations propel him to political influence. Lorimar provided the $4.5 million budget, but Bart faced distribution hurdles, pitching the film unsuccessfully to Paramount, , and others before acquired it; the movie earned $30 million and received Oscar nominations, including for Sellers, underscoring Bart's role in championing unconventional scripts during a risk-averse studio era. Production debates centered on the ambiguous ending, with Bart advocating for its retention to preserve Jerzy Kosinski's novel's irony, despite concerns it might confuse audiences. Bart's executive producing credit on (1984), a directed by , marked his return to broad humor, depicting underdog college misfits challenging jocks through ingenuity. He originated the project after writers Tim Metcalfe and Miguel Tejada-Flores pitched the concept during a casual meeting, greenlighting development on a $6 million budget that yielded $41 million worldwide and spawned sequels, TV series, and a cultural trope of " empowerment" in 1980s comedies. Casting unknowns like and emphasized relatable archetypes, with Bart's oversight ensuring the film's and talent show scenes balanced raunchy gags with triumphant underdog arcs, influencing later teen films like PCU.

Television production

In his later career, Peter Bart transitioned from and to , serving as and co-host of several series focused on Hollywood discourse. His most prominent television credit was (originally titled Sunday Morning Shootout), a weekly half-hour that premiered on AMC on October 12, 2003, and ran through 2008. Bart co-hosted Shootout with producer Peter Guber, drawing on their combined industry expertise to debate current entertainment flashpoints in a candid, insider format. Produced by Scott Sternberg Productions in collaboration with Variety's editorial team, the series featured segments where the hosts analyzed Hollywood trends, often joined by high-profile guests such as Sylvester Stallone, Mel Gibson, Clint Eastwood, and Charlize Theron. The show was loosely based on Bart and Guber's 2002 book Shoot Out: Surviving Fame and (Mis)Fortune in Hollywood, which provided the foundation for its unfiltered discussions on the movie business. AMC renewed the series for an extended 39-episode order in 2004, highlighting its appeal for offering authentic, topical content that attracted top talent and contributed to broader industry conversations. Bart and Guber extended their partnership into additional television projects, including co-hosting and executive producing specials and series. In 2009, they hosted AMC StoryMakers, a series of recurring primetime specials on AMC produced by @radical.media, featuring roundtable discussions with A-list actors on topics like Oscars contenders and the craft of acting. The first special aired on February 13, 2009, with plans for further installments tied to major events, building directly on the Shootout format to deliver expert insights into entertainment. Later that year, they launched In the House with Peter Bart & Peter Guber on Encore, a showbiz news and chat series that debuted in December 2009 and was renewed in 2010 for awards-season coverage. These collaborations emphasized Bart's influence in shaping television content that bridged his journalistic background with on-screen analysis, fostering informed dialogue among Hollywood insiders.

Books

Peter Bart has authored nine books, drawing extensively from his decades-long career in and studio executive roles to offer insider perspectives on Hollywood's inner workings. His works span analyses of the film industry, personal memoirs, and novels, often critiquing mismanagement, blockbuster phenomena, and the personal toll of Tinseltown ambition. These books reflect Bart's unique vantage point as a former vice president at and , where he witnessed pivotal events that shaped his writing. Among his earliest efforts is the 1979 novel Destinies, co-written with Denne Bart Petitclerc, a fictional exploration of family dynamics amid cultural upheaval, marking Bart's initial foray into narrative storytelling influenced by his journalistic background. He followed with the Thy Kingdom Come (1981). Transitioning to , Fade Out: The Calamitous Final Days of (1990) provides a detailed account of the studio's decline under Kirk Kerkorian's ownership, highlighting disastrous decisions like the failed sequel and internal power struggles that led to financial ruin. The book became a and drew criticism from industry figures such as for its portrayals, yet it solidified Bart's reputation as a sharp industry chronicler. In the late , Bart published two complementary volumes critiquing Hollywood's evolving . The Gross: The Hits, the Flops—The Summer That Ate Hollywood (1999) dissects the 1998 box-office season, analyzing how marketing hype and star power propelled successes like while flops such as The Avengers exposed risks in event filmmaking. Similarly, Who Killed Hollywood? And Put the Tarnish on Tinseltown? (1999) compiles essays from his Variety columns, lambasting corporate interference and creative complacency as culprits in the industry's stagnation. Both books emphasize themes of financial excess and strategic missteps, using representative examples to illustrate broader trends without exhaustive data. Later works expand on blockbuster culture and personal anecdotes. Shoot Out: Surviving Fame and (Mis)Fortune in Hollywood (2002), co-authored with , draws from their experiences in the industry. Dangerous Company: Dark Tales from Tinseltown (2003) collects insider stories of Hollywood's underbelly. Boffo!: How I Learned to Love the Blockbuster and Fear the Bomb (2006) surveys a century of entertainment hits and misses across film, theater, and television, praising innovative successes like Star Wars while decrying predictable formulas that doom projects. lauded its contextual depth in placing cultural phenomena within historical pop-culture shifts. Infamous Players: A Tale of Movies, the Mob, and (2011), a of Bart's Paramount tenure from 1967 to 1975, reveals mob influences under and Gulf+Western, including anecdotes about 's production and studio scandals. The book received mixed reviews, with noting its reliance on familiar territory but appreciating its vivid recounting of era-defining chaos. Bart's oeuvre consistently themes the tension between artistic vision and commercial pressures, informed by his executive experiences, though none of his books saw new editions or reprints in the 2020s as of 2025. His writings have influenced industry discourse, cited in academic analyses of Hollywood economics and frequently referenced for their unvarnished critiques.

References

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  61. https://www.nytimes.com/2011/06/05/books/review/book-review-infamous-players-by-peter-bart.html
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