Lee Gabler, a talent agent and former co-chairman and managing partner at Creative Artists Agency, died June 3 in Los Angeles after suffering a brain injury. He was 84.
After earning his stripes in the 1960s at the mailroom of Ashley Steiner Famous Artists in New York, Gabler was soon promoted to talent agency under the mentorship of agency founder, Ted Ashley. The agency eventually evolved into International Creative Management, and by 1970, Gabler was promoted to executive vice president. He then transferred to the Los Angeles office and became head of the worldwide Television Department. He represented clients such as Weinberger-Daniels-Brooks, Mtm and Bruce Paltrow.
In 1982, CAA recruited Gabler to bolster its television arm, and by 1989 he was head of the division. He was made co-chairman and managing partner in 1996. Gabler and his division represented Aaron Spelling, for whom he negotiated deals for “Beverly Hills 90210” and “Melrose Place;” Paul Junger Witt,...
After earning his stripes in the 1960s at the mailroom of Ashley Steiner Famous Artists in New York, Gabler was soon promoted to talent agency under the mentorship of agency founder, Ted Ashley. The agency eventually evolved into International Creative Management, and by 1970, Gabler was promoted to executive vice president. He then transferred to the Los Angeles office and became head of the worldwide Television Department. He represented clients such as Weinberger-Daniels-Brooks, Mtm and Bruce Paltrow.
In 1982, CAA recruited Gabler to bolster its television arm, and by 1989 he was head of the division. He was made co-chairman and managing partner in 1996. Gabler and his division represented Aaron Spelling, for whom he negotiated deals for “Beverly Hills 90210” and “Melrose Place;” Paul Junger Witt,...
- 6/6/2024
- by Jack Dunn
- Variety Film + TV
Lee Gabler, the talent agent and former co-chairman and managing partner at Creative Artists Agency who orchestrated pioneering television deals, died June 3 in Los Angeles of a brain injury. He was 84 years old.
His death was announced by a Sony Pictures rep. See some reactions from clients and friends below.
Gabler’s began his career in the early 1960s in the mailroom at Ashley Steiner Famous Artists in New York, and soon after was promoted to talent agent under the mentorship of agency founder Ted Ashley. One of Gabler’s first assignments in the Variety Show department was covering The Ed Sullivan Show.
The agency eventually evolved into ICM (International Creative Management) and by 1970 Gabler had risen through the ranks to executive vice president. He transferred to the Los Angeles office and became head of the worldwide Television Department, representing clients such as Weinberger-Daniels-Brooks, Mtm, and Bruce Paltrow. He helped...
His death was announced by a Sony Pictures rep. See some reactions from clients and friends below.
Gabler’s began his career in the early 1960s in the mailroom at Ashley Steiner Famous Artists in New York, and soon after was promoted to talent agent under the mentorship of agency founder Ted Ashley. One of Gabler’s first assignments in the Variety Show department was covering The Ed Sullivan Show.
The agency eventually evolved into ICM (International Creative Management) and by 1970 Gabler had risen through the ranks to executive vice president. He transferred to the Los Angeles office and became head of the worldwide Television Department, representing clients such as Weinberger-Daniels-Brooks, Mtm, and Bruce Paltrow. He helped...
- 6/6/2024
- by Greg Evans
- Deadline Film + TV
Lee Gabler, the powerful Hollywood agent who orchestrated landmark television deals during a four-decade career that included 25 years as a stalwart at CAA and a long relationship with David Letterman, has died. He was 84.
Gabler died Monday in Los Angeles from a brain injury, his wife of 35 years, Elizabeth Gabler, president of 3000 Pictures at Sony Pictures Entertainment, told The Hollywood Reporter.
Gabler, who started out at the Ashley Steiner Famous Artists agency in New York before coming to prominence at ICM, negotiated agreements for some of the most popular shows in TV history.
They included The West Wing, The Mary Tyler Moore Show, Taxi, ER, Mad Men, Everybody Loves Raymond, The Amazing Race, Moonlighting, American Idol, House, Beverly Hills, 90210, Northern Exposure, 24, Sex and the City, CSI: Crime Scene Investigation, Melrose Place, The White Shadow, Sabrina the Teenage Witch, Band of Brothers, Tales From the Crypt and Alf.
Gabler died Monday in Los Angeles from a brain injury, his wife of 35 years, Elizabeth Gabler, president of 3000 Pictures at Sony Pictures Entertainment, told The Hollywood Reporter.
Gabler, who started out at the Ashley Steiner Famous Artists agency in New York before coming to prominence at ICM, negotiated agreements for some of the most popular shows in TV history.
They included The West Wing, The Mary Tyler Moore Show, Taxi, ER, Mad Men, Everybody Loves Raymond, The Amazing Race, Moonlighting, American Idol, House, Beverly Hills, 90210, Northern Exposure, 24, Sex and the City, CSI: Crime Scene Investigation, Melrose Place, The White Shadow, Sabrina the Teenage Witch, Band of Brothers, Tales From the Crypt and Alf.
- 6/6/2024
- by Mike Barnes
- The Hollywood Reporter - Movie News
The Academy Museum of Motion Pictures has officially announced its first permanent exhibit, one dedicated to the Jewish history of the film industry.
The museum presents “Hollywoodland: Jewish Founders and the Making of a Movie Capital,” which will be on view beginning May 19, 2024. Presented in English and Spanish, the exhibit tells the origin story of filmmaking in early 20th-century Los Angeles, spotlighting the impact of the predominately Jewish filmmakers whose establishment of the American film studio system transformed Los Angeles into a global epicenter of cinema.
“The American film industry began developing amid an influx of immigration to the United States by Jewish émigrés escaping European pogroms and poverty,” curator Dara Jaffe said in a press statement. “Most of Hollywood’s founders were among this wave of Jewish immigrants and recognized that the infant movie business presented an opportunity to raise their marginalized status in an industry that didn’t...
The museum presents “Hollywoodland: Jewish Founders and the Making of a Movie Capital,” which will be on view beginning May 19, 2024. Presented in English and Spanish, the exhibit tells the origin story of filmmaking in early 20th-century Los Angeles, spotlighting the impact of the predominately Jewish filmmakers whose establishment of the American film studio system transformed Los Angeles into a global epicenter of cinema.
“The American film industry began developing amid an influx of immigration to the United States by Jewish émigrés escaping European pogroms and poverty,” curator Dara Jaffe said in a press statement. “Most of Hollywood’s founders were among this wave of Jewish immigrants and recognized that the infant movie business presented an opportunity to raise their marginalized status in an industry that didn’t...
- 4/11/2024
- by Samantha Bergeson
- Indiewire
(Welcome to Tales from the Box Office, our column that examines box office miracles, disasters, and everything in between, as well as what we can learn from them.)
"I love horror movies because people who make horror movies are still ostracized a bit in Hollywood. Like, we're thought of as lesser." This was said by ridiculously successful filmmaker Jason Blum, the head of Blumhouse Productions, earlier this year to IGN. The man, largely through low-budget horror movies, has amassed mega-franchises and more than $5 billion at the box office, including the Oscar-winning "Get Out." Yet, in the year 2023, even he feels that horror is still viewed as inferior in the business. Just imagine how it looked 50 years ago. That's what director William Friedkin was facing when he made "The Exorcist."
Friedkin, who passed away earlier this week at 87, was at the helm of what remains arguably the most beloved and --...
"I love horror movies because people who make horror movies are still ostracized a bit in Hollywood. Like, we're thought of as lesser." This was said by ridiculously successful filmmaker Jason Blum, the head of Blumhouse Productions, earlier this year to IGN. The man, largely through low-budget horror movies, has amassed mega-franchises and more than $5 billion at the box office, including the Oscar-winning "Get Out." Yet, in the year 2023, even he feels that horror is still viewed as inferior in the business. Just imagine how it looked 50 years ago. That's what director William Friedkin was facing when he made "The Exorcist."
Friedkin, who passed away earlier this week at 87, was at the helm of what remains arguably the most beloved and --...
- 8/13/2023
- by Ryan Scott
- Slash Film
Ah, 1978. It was the year that Slashfilm writer Lee Adams entered the world, and two movies changed the course of comedy forever (those landmarks are unrelated; I'm not trying to claim any credit). Those movies were "National Lampoon's Animal House" and Cheech and Chong's "Up in Smoke" — two lowbrow hits whose influences are still felt to this day.
There was lowbrow stuff before 1978, of course. Slapstick — the age-old art of falling over, breaking things, and hitting people — was still doing the rounds in the increasingly weary adventures of Inspector Clouseau. But the class of '78 was different: wild, irreverent, raucous, bawdy, subversive, counterculture comedy that delighted the kids and antagonized the squares.
The two films had their roots in the '60s. Cheech Marin and Tommy Chong developed their stand-up act in the latter part of the decade before making their break on the big screen with the granddaddy of stoner movies,...
There was lowbrow stuff before 1978, of course. Slapstick — the age-old art of falling over, breaking things, and hitting people — was still doing the rounds in the increasingly weary adventures of Inspector Clouseau. But the class of '78 was different: wild, irreverent, raucous, bawdy, subversive, counterculture comedy that delighted the kids and antagonized the squares.
The two films had their roots in the '60s. Cheech Marin and Tommy Chong developed their stand-up act in the latter part of the decade before making their break on the big screen with the granddaddy of stoner movies,...
- 3/26/2023
- by Lee Adams
- Slash Film
Bill Robinson, a talent agent and manager who represented stars like Carol Burnett, Robert Duvall, Maggie Smith, and Audrey Hepburn, has died. He was 92.
His family shared he died on August 6 in his Malibu home after a long illness.
Hollywood & Media Deaths In 2022: Photo Gallery
“I knew Bill for many, many years…since 1959. We met while I was doing the Gary Moore Show. Later on, he became my manager when I was doing my show. But not just my manager. He was one of my closest friends in the world. I loved him very much… and I will miss him,” Burnett said in a statement.
Throughout his career, Robinson also represented the likes of Judith Anderson, Alan Arkin, Tony Bill, Peter Falk, James Garner, Glenda Jackson, Waylon Jennings and Jayne Mansfield, among many more.
It was Robinson that gave Mike Medavoy his first job as an agent and the...
His family shared he died on August 6 in his Malibu home after a long illness.
Hollywood & Media Deaths In 2022: Photo Gallery
“I knew Bill for many, many years…since 1959. We met while I was doing the Gary Moore Show. Later on, he became my manager when I was doing my show. But not just my manager. He was one of my closest friends in the world. I loved him very much… and I will miss him,” Burnett said in a statement.
Throughout his career, Robinson also represented the likes of Judith Anderson, Alan Arkin, Tony Bill, Peter Falk, James Garner, Glenda Jackson, Waylon Jennings and Jayne Mansfield, among many more.
It was Robinson that gave Mike Medavoy his first job as an agent and the...
- 8/15/2022
- by Armando Tinoco
- Deadline Film + TV
Click here to read the full article.
Bill Robinson, the well-liked talent agent and manager who represented the likes of Audrey Hepburn, Alan Arkin, Carol Burnett, James Garner and Robert Duvall during his long career, has died. He was 92.
Robinson died Aug. 6 at his home in Malibu after a long illness, his family announced.
Robinson’s clients also included Judith Anderson, Tony Bill, Glenda Jackson, Waylon Jennings, Jayne Mansfield and Maggie Smith, and he gave Mike Medavoy (real first name: Morris) his first job as an agent.
“‘You’re gonna have a hard time in this business as a Morris,’ Bill Robinson told me when he hired me … at his agency,” Medavoy, the producer and studio executive, wrote in his 2002 book, You’re Only as Good as Your Next One: 100 Great Films, 100 Good Films, and 100 for Which I Should Be Shot.
“‘You got a middle name?’ ‘Mike,’ I told him.
Bill Robinson, the well-liked talent agent and manager who represented the likes of Audrey Hepburn, Alan Arkin, Carol Burnett, James Garner and Robert Duvall during his long career, has died. He was 92.
Robinson died Aug. 6 at his home in Malibu after a long illness, his family announced.
Robinson’s clients also included Judith Anderson, Tony Bill, Glenda Jackson, Waylon Jennings, Jayne Mansfield and Maggie Smith, and he gave Mike Medavoy (real first name: Morris) his first job as an agent.
“‘You’re gonna have a hard time in this business as a Morris,’ Bill Robinson told me when he hired me … at his agency,” Medavoy, the producer and studio executive, wrote in his 2002 book, You’re Only as Good as Your Next One: 100 Great Films, 100 Good Films, and 100 for Which I Should Be Shot.
“‘You got a middle name?’ ‘Mike,’ I told him.
- 8/15/2022
- by Mike Barnes
- The Hollywood Reporter - Movie News
Marvin Josephson, who helped grow a small management company that could not afford a secretary into an international entertainment agency with multiple offices, died May 17 in New York. He was 95.
Josephson was born March 6, 1927 in Atlantic City, N.J. to immigrant parents. Upon graduation from Atlantic City High School, he entered the US Navy just before the end of World War II. After the Navy, he attended Cornell University, where he received a B.A. degree.
He went on to night law school at New York University School of Law and received his law degree in 1952. That same year, Josephson got a job in the CBS legal department. He left CBS to start his own company and was the only employee, since he could not afford a secretary.
The new company started April 1, 1955 as a personal management company. The first important client was Bob Keeshan, who produced and starred in “Captain Kangaroo,...
Josephson was born March 6, 1927 in Atlantic City, N.J. to immigrant parents. Upon graduation from Atlantic City High School, he entered the US Navy just before the end of World War II. After the Navy, he attended Cornell University, where he received a B.A. degree.
He went on to night law school at New York University School of Law and received his law degree in 1952. That same year, Josephson got a job in the CBS legal department. He left CBS to start his own company and was the only employee, since he could not afford a secretary.
The new company started April 1, 1955 as a personal management company. The first important client was Bob Keeshan, who produced and starred in “Captain Kangaroo,...
- 5/19/2022
- by Bruce Haring
- Deadline Film + TV
Exclusive: Gimme Shelter, directed by Albert and David Maysles and Charlotte Zwein, is widely considered one of the greatest music documentaries of all time.
The film, which chronicled the Rolling Stones’ U.S. tour in 1969, culminating in the Altamont Free Concert in San Francisco, premiered 50 years ago this week and comes 51 years after the controversial show, where Meredith Hunter died at the hands of the Hells Angels.
Gimme Shelter captures onscreen both how the concert was put together and the moment that Hunter was stabbed by the bikers, who were providing security at the event.
The film explores a fascinating moment in time — the end of the 1960s and the peace and love explosion, coming months after Woodstock — and showcases the uglier side of America, fresh from riots. It also captures one of the most iconic rock ‘n’ roll bands in their prime both in the studio and live.
Porter Bibb produced the film,...
The film, which chronicled the Rolling Stones’ U.S. tour in 1969, culminating in the Altamont Free Concert in San Francisco, premiered 50 years ago this week and comes 51 years after the controversial show, where Meredith Hunter died at the hands of the Hells Angels.
Gimme Shelter captures onscreen both how the concert was put together and the moment that Hunter was stabbed by the bikers, who were providing security at the event.
The film explores a fascinating moment in time — the end of the 1960s and the peace and love explosion, coming months after Woodstock — and showcases the uglier side of America, fresh from riots. It also captures one of the most iconic rock ‘n’ roll bands in their prime both in the studio and live.
Porter Bibb produced the film,...
- 12/8/2020
- by Peter White
- Deadline Film + TV
Bruce Lee’s battle against the producers of his 1973 martial arts classic “Enter the Dragon” has been well documented, but the true story gets a personal re-telling from the perspective of Bruce’s daughter, Shannon Lee, in her new book “Be Water, My Friend: The Teachings of Bruce Lee.” Variety has published an excerpt from the book that finds Shannon Lee recounting how her father fought hard to rewrite the original “Enter the Dragon” script in order to achieve his goal of “showing the Western world the glory of Chinese gung fu” and “expressing himself fully in a true, on-screen representation of a Chinese man.”
While Warner Bros. told Bruce Lee it would listen to his request to let go of the original screenwriter, the studio ended up lying by keeping the writer in Hong Kong to make “small tweaks” to the new pages of the script that Lee turned in.
While Warner Bros. told Bruce Lee it would listen to his request to let go of the original screenwriter, the studio ended up lying by keeping the writer in Hong Kong to make “small tweaks” to the new pages of the script that Lee turned in.
- 10/5/2020
- by Zack Sharf
- Indiewire
While working on his seminal 1973 film “Enter the Dragon,” Bruce Lee wrote a letter to Ted Ashley, then-head of Warner Bros., explaining his passion for making the movie and what Lee regarded as his chance to make a lasting impression on Hollywood: “You see, my obsession is to make, pardon the expression, the f—ingest action motion picture that has ever been made,” Lee wrote. The film, a massive hit that grossed more than $350 million worldwide, would go on to cement him as a martial arts superstar, but Lee himself would not live to enjoy its success; he died one month before its release. It was the last movie he would complete before his death.
Lee’s struggles on the “Enter the Dragon” set and his battles with the systemic xenophobia he faced in Hollywood are interwoven with his own philosophical writings in a new book “Be Water, My Friend: The Teachings of Bruce Lee,...
Lee’s struggles on the “Enter the Dragon” set and his battles with the systemic xenophobia he faced in Hollywood are interwoven with his own philosophical writings in a new book “Be Water, My Friend: The Teachings of Bruce Lee,...
- 10/5/2020
- by Audrey Cleo Yap
- Variety Film + TV
Producer Alan Elliott has been nothing if not dogged in his pursuit of finishing and releasing Sydney Pollack’s 1972 documentary “Amazing Grace.” But until now he has not told the whole story about some of the wrangling that went on behind the scenes in order to get the movie made.
Back in 1972, a year after their massive hit “Woodstock,” Warner Bros. exec Ted Ashley set out to produce another music documentary with the help of Pink Floyd producer Joe Boyd, director of music services at Warner Bros. So Boyd set out to find someone to shoot the Aretha Franklin concert movie in Watts, which required someone who understood how to shoot multiple cameras with sync sound.
Boyd wanted to hire James Signorelli as his director of photography, who shot “Super Fly” and went on to shoot the first 35 years of commercials for “Saturday Night Live,” until Ashley talked up the...
Back in 1972, a year after their massive hit “Woodstock,” Warner Bros. exec Ted Ashley set out to produce another music documentary with the help of Pink Floyd producer Joe Boyd, director of music services at Warner Bros. So Boyd set out to find someone to shoot the Aretha Franklin concert movie in Watts, which required someone who understood how to shoot multiple cameras with sync sound.
Boyd wanted to hire James Signorelli as his director of photography, who shot “Super Fly” and went on to shoot the first 35 years of commercials for “Saturday Night Live,” until Ashley talked up the...
- 12/11/2018
- by Anne Thompson
- Thompson on Hollywood
Producer Alan Elliott has been nothing if not dogged in his pursuit of finishing and releasing Sydney Pollack’s 1972 documentary “Amazing Grace.” But until now he has not told the whole story about some of the wrangling that went on behind the scenes in order to get the movie made.
Back in 1972, a year after their massive hit “Woodstock,” Warner Bros. exec Ted Ashley set out to produce another music documentary with the help of Pink Floyd producer Joe Boyd, director of music services at Warner Bros. So Boyd set out to find someone to shoot the Aretha Franklin concert movie in Watts, which required someone who understood how to shoot multiple cameras with sync sound.
Boyd wanted to hire James Signorelli as his director of photography, who shot “Super Fly” and went on to shoot the first 35 years of commercials for “Saturday Night Live,” until Ashley talked up the...
Back in 1972, a year after their massive hit “Woodstock,” Warner Bros. exec Ted Ashley set out to produce another music documentary with the help of Pink Floyd producer Joe Boyd, director of music services at Warner Bros. So Boyd set out to find someone to shoot the Aretha Franklin concert movie in Watts, which required someone who understood how to shoot multiple cameras with sync sound.
Boyd wanted to hire James Signorelli as his director of photography, who shot “Super Fly” and went on to shoot the first 35 years of commercials for “Saturday Night Live,” until Ashley talked up the...
- 12/11/2018
- by Anne Thompson
- Indiewire
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