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Toby Emmerich
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Toby Emmerich (born February 8, 1963), is an American producer,[1] film executive, and screenwriter. He formerly served as the chairman of the Warner Bros. Pictures Group.
Key Information
Early life and education
[edit]Emmerich was born to Constance (née Marantz) and André Emmerich (1924–2007), a Frankfurt-born gallery owner and art dealer. His parents lived in New York City at the time of his birth. He is Jewish.[2] He is the brother of Noah Emmerich, an actor, and Adam Emmerich, a mergers and acquisitions lawyer at the firm of Wachtell, Lipton, Rosen & Katz in New York. He attended The Calhoun School in New York City and then graduated from Wesleyan University.[citation needed]
Career
[edit]Emmerich has been producer or executive producer of over 50 films. He also wrote the screenplays to the films Frequency and The Last Mimzy, among other screenplays. He was also the executive music producer of the films Menace II Society and Above The Rim and is given thanks in the credits of Wayne Kramer's 2006 thriller film Running Scared.[3][4]
After serving as president of production at New Line Cinema, Emmerich became president and chief operating officer of New Line on March 18, 2008. In 2017, he became President and Chief Content Officer of the Warner Bros. Pictures Group, and later in 2018 its chairman.[5][6] As chairman, he "has oversight of the Studio’s global theatrical production, marketing and distribution operations and also oversees the marketing and distribution activities of Warner Bros. Home Entertainment". In October 2019, he extended his contract as chairman of Warner Bros. Pictures Group and elevated top lieutenant Carolyn Blackwood to the newly created position of chief operating officer.[7]
On June 1, 2022, Emmerich announced his resignation from his position with Warner Bros, with Michael De Luca and Pamela Abdy set to replace him after their contracts with Amazon-owned Metro-Goldwyn-Mayer expire.[8] Emmerich remained at his post for a "transitional period" before starting his own production company, signing a five-year funding and distribution deal with Warner Bros.[9] De Luca and Abdy took over in July 2022.[10]
Filmography
[edit]References
[edit]- ^ "Toby Emmerich on Warners Bros.' 'Crazy Rich' Year: "We All Feel Like We've Turned a Corner Now" | Hollywood Reporter". www.hollywoodreporter.com. 18 January 2019. Retrieved 2020-10-06.
- ^ Miller, Gerri (2019-05-28). "Noah Emmerich Enters 'The Hot Zone'". Jewish Journal. Retrieved 2019-06-22.
- ^ "Running Scared". 24 February 2006 – via IMDb.
- ^ "Press Releases - Time Warner Inc".
- ^ Lang, Brent (9 January 2018). "Warner Bros. Shake-Up: Toby Emmerich Named Film Chairman, Sue Kroll Out". Variety. Retrieved 24 September 2018.
- ^ "Toby Emmerich". Warner Bros. Retrieved 24 September 2018.
- ^ Lang, Brent (2019-10-30). "Toby Emmerich Extends Contract as Warner Bros. Chairman, Carolyn Blackwood Named COO". Variety. Retrieved 2020-02-21.
- ^ Donnelly, Matt (2022-06-01). "Toby Emmerich Steps Down as Warner Bros. Picture Group Chairman, Mike De Luca and Pam Abdy Taking Over Studio". Variety. Retrieved 2022-06-01.
- ^ D'Alessandro, Anthony (2022-06-01). "David Zaslav "Thrilled" Toby Emmerich Remaining Part Of Warner Bros Discovery Family, Outlines New Structure; De Luca & Abdy Made Official". Deadline. Retrieved 2022-06-03.
- ^ Kim Masters (July 28, 2022). "Alan Horn on Rejoining Warner Bros.: "I See Myself as a Consigliere"". The Hollywood Reporter. Retrieved July 29, 2022.
External links
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Toby Emmerich
View on Grokipediafrom Grokipedia
Early life and education
Early life
Toby Emmerich was born on February 8, 1963, in New York City.[13] He is the son of André Emmerich (1924–2007), a German-born art dealer and gallery owner originally from Frankfurt, and Constance Marantz, a concert pianist.[14][15][16] Emmerich grew up in a family of Jewish heritage, with cultural influences shaped by his parents' deep involvement in the arts and music, amid New York City's vibrant creative environment.[17][18] He has two brothers: an older brother, Adam Emmerich, a corporate lawyer specializing in mergers and acquisitions, and a younger brother, Noah Emmerich, an actor known for roles in television series like The Americans and films such as The Truman Show, providing a familial connection to the entertainment industry.[19][14]Education
Emmerich attended The Calhoun School in New York City for his primary and secondary education.[2] His family's artistic background, with his mother as a concert pianist and his father as an influential art dealer, likely influenced his choice of educational environments emphasizing creative development.[1] Emmerich graduated from Wesleyan University in 1985 with a Bachelor of Arts degree, earning honors in English and graduating Phi Beta Kappa, with concentrations in Classics and Film.[2][20] This liberal arts foundation, particularly the focus on English and humanities, provided a strong basis for his later pursuits in creative writing and storytelling within the entertainment industry. During his time at Wesleyan, Emmerich took film classes that ignited his interest in cinema, alongside notable contemporaries such as Joss Whedon and Michael Bay.[1] These academic engagements in film studies contributed to his early exposure to narrative techniques and visual arts, shaping his trajectory toward screenwriting and production.Professional career
New Line Cinema
Toby Emmerich joined New Line Cinema in 1992 as a dual development and music executive, where he served as president of music and oversaw the creation of soundtracks for notable films including Seven (1995), Boogie Nights (1997), and Friday After Next (2002).[21][22] In this role, Emmerich managed the licensing and production of music assets that enhanced the studio's mid-budget films, contributing to their commercial appeal through curated compilations that often charted on Billboard.[21] By the late 1990s, Emmerich transitioned into production oversight, playing a key role in the development of major franchises such as the Austin Powers series, which began with Austin Powers: International Man of Mystery (1997), and the Lord of the Rings trilogy (2001–2003), directed by Peter Jackson.[6] His involvement in these projects helped establish New Line's reputation for innovative, high-grossing adaptations, with the Lord of the Rings films alone generating nearly $3 billion worldwide at the box office and earning 17 Academy Awards.[23] In January 2001, Emmerich was promoted to president of production, a position in which he supervised the studio's slate and greenlit romantic dramas like The Notebook (2004) and comedies such as Wedding Crashers (2005).[6][24][25] Emmerich's leadership expanded New Line's genre diversity, including the prequel Hobbit trilogy (2012–2014), co-produced with MGM and grossing over $2.9 billion globally.[26] In the horror genre, he oversaw the Final Destination series, starting with the 2000 original and spanning multiple sequels that became a cornerstone of New Line's low-budget, high-return strategy, as well as the 2017 adaptation of Stephen King's It, which became the highest-grossing horror film of all time with $701 million worldwide.[27][28] In March 2008, following New Line's integration as a Warner Bros. subsidiary, Emmerich was elevated to president and chief operating officer, streamlining operations while maintaining creative autonomy.[29] Under Emmerich's 25-year tenure at New Line, the studio achieved cumulative box office successes exceeding $10 billion, driven by franchise expansions and cultural phenomena like the Lord of the Rings, which not only revitalized epic fantasy cinema but also positioned New Line as a leader in genre filmmaking.[5] During this period, Emmerich also developed his screenplay for Frequency (2000), which the studio produced as a thriller blending science fiction and family drama.[22]Warner Bros. Pictures Group
In January 2017, Toby Emmerich was promoted to President and Chief Content Officer of the Warner Bros. Pictures Group, expanding his oversight following the integration of New Line Cinema into the broader Warner Bros. structure. This role built on his prior leadership at New Line, where he had honed expertise in genre films and production.[30] Emmerich's responsibilities grew further in January 2018 when he was elevated to Chairman of the Warner Bros. Pictures Group, a position that encompassed creative and operational control over Warner Bros. Pictures, New Line Cinema, and Warner Animation Group. Under his tenure, the group achieved record-breaking performance, including a global box office of $5.57 billion in 2018, driven by major releases such as Aquaman, which grossed $1.15 billion worldwide.[31][10] Key films during Emmerich's leadership highlighted the group's focus on high-profile franchises and original content, including Joker in 2019, which became the highest-grossing R-rated film ever at $1.08 billion globally; Dune in 2021, earning $402 million in theaters alongside strong streaming performance on HBO Max; and The Batman in 2022, which amassed $772 million worldwide. The DC Extended Universe also advanced with releases like Wonder Woman 1984 in 2020, though its $169 million haul was curtailed by pandemic disruptions. These successes underscored Emmerich's strategy of balancing tentpole blockbusters with diverse storytelling.[32][33][34][35] Amid the COVID-19 crisis, Emmerich spearheaded adaptive distribution models, notably the 2021 day-and-date rollout of Warner Bros.' entire slate on HBO Max concurrent with theatrical releases to sustain audience access while supporting cinemas. Post-pandemic, he shifted toward prioritizing exclusive theatrical windows of at least 45 days, fostering recovery for exhibition partners and emphasizing premium big-screen experiences. This approach extended to a varied production slate, including Barbie in 2023, which had been greenlit under his regime and later grossed $1.45 billion worldwide.[36][37][38] Emmerich's departure was announced on June 1, 2022, effective immediately, as part of restructuring following the April 2022 merger forming Warner Bros. Discovery; the exit was described as amicable, allowing him to launch an independent production venture with studio support.[10]Independent production
In June 2022, Toby Emmerich stepped down as chairman of the Warner Bros. Pictures Group to launch his own independent production company, securing a multi-year first-look deal with Warner Bros. Discovery that provides financing for films, television, and streaming content.[10][39] The agreement, described as an exclusive five-year partnership, allows Emmerich's venture to develop and produce projects with priority access to the studio's distribution resources.[40] As of 2025, no public name has been announced for the company.[9] Emmerich's independent efforts emphasize narrative-driven projects that balance commercial viability with creative risks, drawing from his prior executive oversight of diverse genres at Warner Bros.[41] A key post-2022 involvement includes serving as executive producer on Final Destination: Bloodlines, a 2025 horror film from New Line Cinema that continues the franchise's legacy of suspenseful, death-defying storytelling, and as producer on Mortal Kombat 2, scheduled for release in 2026.[11][42][43] This project underscores his ongoing ties to genre filmmaking, with production handled under the Warner Bros. Discovery umbrella.[44] Beyond theatrical releases, Emmerich's company is developing unannounced television and streaming series, prioritizing diverse narratives to expand audience reach in a post-executive landscape.[5] This shift to producing enables greater hands-on creative involvement, contrasting his previous administrative responsibilities and fostering innovation in content creation.[45]Screenwriting
Frequency
Toby Emmerich wrote the original screenplay for Frequency in the late 1990s while working as an executive at New Line Cinema, drawing on the "what if" fantasy of communicating across time with a deceased loved one to explore themes of personal loss and family reconciliation.[46] The script incorporates amateur radio as a central plot device, reflecting an interest in the technology's potential for bridging temporal gaps, and was greenlit by New Line as one of its key projects under Emmerich's influence.[26] The story centers on John Sullivan, a New York City police detective in 1999, who discovers his late father Frank's old ham radio and unexpectedly contacts him in 1969, six days before Frank's death in a warehouse fire during a solar storm.[47] Through their cross-time conversations, John warns Frank about the fire and a serial killer targeting nurses, allowing father and son to alter events and strengthen their bond, though each change ripples into unforeseen consequences for John's present-day life. Directed by Gregory Hoblit and starring Dennis Quaid as Frank and Jim Caviezel as John, the film blends science fiction, thriller, and family drama.[46] Emmerich also served as a producer on the project, which was released by New Line Cinema on April 28, 2000, with a budget of $31 million and earning $68 million worldwide.[48] The narrative delves into themes of grief, redemption, and the profound father-son relationship, using the ham radio as a metaphor for unresolved emotional connections and the perils of tampering with fate. Critics appreciated the film's emotional depth and inventive time-bending premise, earning a 70% approval rating on Rotten Tomatoes based on 125 reviews, though some noted the serial killer subplot felt conventional amid the sentimental tone.[49] For his screenplay, Emmerich received a Saturn Award nomination for Best Writing in 2001 from the Academy of Science Fiction, Fantasy & Horror Films.[50] The film also earned a Hugo Award nomination for Best Dramatic Presentation at the 2001 World Science Fiction Convention, recognizing its impactful blend of speculative elements and human drama.[51]The Last Mimzy
Toby Emmerich co-wrote the screenplay for the 2007 science fiction family film The Last Mimzy alongside Bruce Joel Rubin, the Academy Award-winning screenwriter of Ghost. The story adapts the 1943 short story "Mimsy Were the Borogoves" by Lewis Padgett, the joint pseudonym of authors Henry Kuttner and C. L. Moore, which explores children's encounters with futuristic toys that expand their perceptions.[52][53] In Emmerich and Rubin's version, the narrative centers on young siblings Noah (Chris O'Neil) and Emma Wilder (Rhiannon Leigh Wryn), who discover a box washed up on a Washington beach containing a small stuffed rabbit called Mimzy and other enigmatic toys from the 21st century. These artifacts, sent back in time to gather uncorrupted human DNA amid future ecological collapse, awaken the children's latent abilities in telekinesis, quantum physics, and pattern recognition, drawing in their parents (Timothy Hutton and Joely Richardson) and sparking government intervention. Directed by New Line Cinema co-founder Robert Shaye in his feature directorial debut, the film blends wonder and mild peril to appeal to young audiences.[54] The adaptation by Emmerich and Rubin shifts focus to child protagonists as beacons of hope, amplifying environmental themes of humanity's self-inflicted future ruin through pollution and genetic decay, while updating the original story's abstract concepts for a modern family audience. Development began with a screen story by James V. Hart and Carol Skilken, evolving through multiple drafts to emphasize emotional bonds and scientific curiosity over horror elements present in the source material. Produced under New Line Cinema—where Emmerich served as president of production—the project marked a personal endeavor for him as a family-oriented tale inspired by his own experiences with children. Released theatrically on March 23, 2007, the film carried a production budget of $35.5 million and earned $21.5 million at the domestic box office, with worldwide totals reaching $27.5 million.[55][56][57] Critics delivered mixed reviews, with the film holding a 55% approval rating on Rotten Tomatoes based on 126 reviews, praising its imaginative visuals and effects that evoke a sense of childlike magic but critiquing its uneven pacing and occasional narrative lulls. Reviewers noted the strong performances from the young leads and the film's positive message on empathy and environmental stewardship, though some found the blend of whimsy and thriller elements disjointed. For Emmerich, The Last Mimzy represented a shift toward collaborative, inspirational storytelling following his solo success with Frequency, highlighting his versatility beyond executive roles.[58][59][60]Filmography and producing credits
Key producing roles at New Line Cinema
During his tenure at New Line Cinema, where he rose to President of Production in 2001 and President and Chief Operating Officer in 2008, Toby Emmerich held producing roles on numerous films, overseeing development, budgeting, and creative execution for a diverse slate that spanned genres and drove significant box office success.[6][61] Emmerich contributed to the Austin Powers series through his early oversight of music and soundtracks, serving as executive in charge of music for Austin Powers: International Man of Mystery (1997) and The Spy Who Shagged Me (1999), and as executive producer for Austin Powers in Goldmember (2002), helping establish the satirical spy comedy as a cultural phenomenon with over $670 million in worldwide earnings.[62][63][64][65] As studio executive, Emmerich oversaw the adaptation of J.R.R. Tolkien's works, including the Lord of the Rings trilogy (2001–2003), which collectively grossed nearly $2.9 billion worldwide and won 17 Academy Awards. He served as executive producer on the Hobbit trilogy (2012–2014), supervising the prequel adaptations in collaboration with MGM and director Peter Jackson, which amassed approximately $2.9 billion globally for a combined Tolkien franchise total exceeding $5.8 billion.[66][67] In romantic dramas, Emmerich served as executive producer on The Notebook (2004), contributing to its marketing as a timeless love story that earned $116 million worldwide.[68] For comedies, he executive produced Wedding Crashers (2005), influencing its broad appeal through strategic development and promotion, resulting in $288 million in global box office and revitalizing R-rated ensemble humor at the studio.[69][70] Emmerich's horror contributions included executive producing Final Destination 2 (2003) and Final Destination 3 (2006), leading the franchise expansion with innovative premonition-based narratives across these installments that contributed to over $320 million combined for the early series. He oversaw the original Final Destination (2000) as studio executive. He capped his New Line era as executive producer on It (2017), overseeing the adaptation of Stephen King's novel that became the highest-grossing horror film ever at $701 million worldwide, thanks to focused casting of young talent and genre-elevating direction.[71][72]| Year | Film | Role | Key Contribution | Worldwide Box Office |
|---|---|---|---|---|
| 1997 | Austin Powers: International Man of Mystery | Executive in Charge of Music | Franchise launch and soundtrack development | $67 million |
| 1999 | Austin Powers: The Spy Who Shagged Me | Executive in Charge of Music | Expanded comedy scope | $312 million |
| 2002 | Austin Powers in Goldmember | Executive Producer | Culminated trilogy success | $296 million |
| 2001 | The Lord of the Rings: The Fellowship of the Ring | Studio Oversight (Music) | Epic adaptation oversight | $895 million |
| 2002 | The Lord of the Rings: The Two Towers | Studio Oversight (Music) | Production management | $949 million |
| 2003 | The Lord of the Rings: The Return of the King | Studio Oversight (Music) | Awards-season strategy | $1.14 billion |
| 2004 | The Notebook | Executive Producer | Casting and marketing | $116 million |
| 2005 | Wedding Crashers | Executive Producer | Genre revival | $288 million |
| 2000 | Final Destination | Studio Oversight | Genre innovation | $112 million |
| 2003 | Final Destination 2 | Executive Producer | Franchise expansion | $90 million |
| 2006 | Final Destination 3 | Executive Producer | Effects budgeting | $118 million |
| 2012 | The Hobbit: An Unexpected Journey | Executive Producer | Prequel collaboration | $1.02 billion |
| 2013 | The Hobbit: The Desolation of Smaug | Executive Producer | Visual effects oversight | $958 million |
| 2014 | The Hobbit: The Battle of the Five Armies | Executive Producer | Trilogy conclusion | $962 million |
| 2017 | It | Executive Producer | Horror blockbuster | $701 million |
| 2003 | Elf | Executive Producer | Holiday comedy hit | $231 million |
| 2007 | Hairspray | Executive Producer | Musical adaptation | $203 million |
Key producing roles at Warner Bros.
During his tenure as Chairman of the Warner Bros. Pictures Group from 2017 to 2022, Toby Emmerich served in producing roles on select high-profile films, while overseeing budgets, creative development, and release strategies for the broader slate, contributing to Warner Bros.' portfolio of hits amid industry shifts like the COVID-19 pandemic and streaming integration. His credited roles reflect focus on IP-driven content, with many films achieving significant commercial success.[73] Emmerich oversaw the DC Extended Universe as chairman, including productions like Aquaman (2018, $1.15 billion worldwide), Joker (2019, $1.07 billion worldwide, the highest-grossing R-rated film), Shazam! (2019, $366 million), The Batman (2022, $772 million), Black Adam (2022, $393 million), and The Flash (2023, $271 million), prioritizing family-friendly tones and character reboots.[74][10][34] In sci-fi and epic genres, Emmerich oversaw the adaptation of Frank Herbert's Dune (2021) as chairman, partnering with director Denis Villeneuve on a hybrid theatrical-streaming release amid the pandemic, resulting in $402 million worldwide; he championed the project before greenlighting the sequel, Dune: Part Two (2024, $714 million). This exemplified commitment to ambitious spectacles.[75][33] Emmerich served as executive producer on standout releases like Barbie (2023, $1.45 billion worldwide), Greta Gerwig's satirical blockbuster that became Warner Bros.' highest-grossing film, driven by innovative marketing. He was also executive producer on Elvis (2022, $289 million), Baz Luhrmann's musical biopic. Under a multi-year production deal signed upon leaving the chairmanship, Emmerich served as executive producer on Final Destination Bloodlines (2025, $316 million worldwide), a horror revival from New Line Cinema.[76][77][78][79] Emmerich supported Warner Animation Group's output, serving as executive producer on The Lego Movie 2: The Second Part (2019, $200 million). He was executive producer on The Lord of the Rings: The War of the Rohirrim (2024, $21 million worldwide), an anime-style prequel. Key producing credits from 2017 onward include a selective list showcasing genre-spanning successes:| Title | Year | Role | Worldwide Gross | Production Notes |
|---|---|---|---|---|
| It | 2017 | Executive Producer | $701 million | New Line/Warner Bros. horror adaptation; budget $35 million; record-breaking R-rated opening. |
| The House | 2017 | Executive Producer | $25 million | Comedy on limited release; focused on ensemble cast and satirical edge. |
| Going in Style | 2017 | Executive Producer | $87 million | Remake with Michael Caine; $25 million budget emphasizing character-driven heist. |
| Fist Fight | 2017 | Executive Producer | $41 million | Buddy comedy; $30 million budget with release strategy targeting mid-budget laughs. |
| The Disaster Artist | 2017 | Executive Producer | $34 million | Biopic on The Room; A24 co-production with awards buzz. |
| Rampage | 2018 | Executive Producer | $428 million | Video game adaptation; $120 million budget with Dwayne Johnson lead and global VFX push. |
| Life of the Party | 2018 | Executive Producer | $67 million | Comedy; $35 million budget prioritizing Melissa McCarthy's star power. |
| Game Night | 2018 | Producer | $117 million | Thriller-comedy; $37 million budget with innovative marketing for ensemble twist. |
| Shazam! | 2019 | Studio Oversight | $366 million | DC family superhero; $100 million budget with lighthearted tone. |
| Barbie | 2023 | Executive Producer | $1.45 billion | Mattel adaptation; $100 million budget; viral pink-themed campaign.[80] |
| Elvis | 2022 | Executive Producer | $289 million | Biopic; $85 million budget with Baz Luhrmann's stylistic flair.[77] |
| Black Adam | 2022 | Studio Oversight | $393 million | DC antihero; $190 million budget emphasizing Dwayne Johnson reboot. |
| The Flash | 2023 | Studio Oversight | $271 million | DC multiverse entry; $220 million budget with multiverse cameos. |
| The Lord of the Rings: The War of the Rohirrim | 2024 | Executive Producer | $21 million | Anime prequel; focus on animation innovation and Tolkien lore.[81] |
| Final Destination Bloodlines | 2025 | Executive Producer | $316 million | Horror sequel; New Line revival with practical death sequences under multi-year deal.[78][79] |
| The Nun II | 2023 | Executive Producer | $269 million | Conjuring spin-off; $25 million budget leveraging franchise synergy. |