EXCLUSIVE: I’m told that so far Double Feature Films, Scott Aversano and Kevin Misher won’t have their production deals renewed at Paramount because of the draconian cost-cutting there. “The studio will no longer be providing overhead on a continuing basis on these,” an insider tells me. Michael Shamberg and Stacey Sher started Double Feature when they left DeVito’s Jersey Films at Universal. So these were the people that made Erin Brockovich, Pulp Fiction, Get Shorty.
For Paramount, they did Freedom Writers and World Trade Center. (“They have amazing taste. They deserve protection,” one of my sources noted.) Double Feature had been exploring equity financing for movies that the studios don’t want to make or fund fully, yet Shamberg recently acknowledged that “a strong studio relationship just makes life easier for movies we like to do. [But] nobody can survive just using a studio deal these days.”
Scott Aversano made an overall producing deal with Paramount after exiting as president of the Nickelodeon and MTV Films labels. (Where he decided not to purchase Twilight when no studio picked it up after Brad Weston put it in turnaround in January 2006. Aversano was Paramount’s one last shot at it in mid-2007 when the rights were going to expire… But I think both guys weren’t wrong: this was a 1 1/2 quadrant pic about a tired subject based on a popular book series that’s still no guarantee of a hit movie. Whereas a start-up mini-major would roll the dice.) Aversano has had a long relationship with Paramount since before that he worked for Scott Rudin on the lot for seven years including as president of production at Scott Rudin Prods.
Kevin Misher made his 3-year, first-look producing deal in 2005 just four months after Brad Grey took over as Paramount’s chairman so it was about to expire. ”I am tremendously excited about working with Paramount’s dynamic new management team during this important evolution in the studio’s history,” Misher said at the time.
True, it may only seem as if Paramount’s production deals will soon consist of only Brad Pitt’s Plan B and J.J. Abrams/Bryan Burk’s Bad Robot. But still being carried, for now, are Blue Shirt (Karey Kirkpatrick), Di Bonaventura (Lorenzo di Bonaventura), Dickhouse (Spike Jonze, Johnny Knoxville, Jeff Tremaine), Evans (Robert Evans, only because he’s a longtime pal of Sumner Redstone’s), Gary Sanchez (Will Ferrell, Adam McKay), Important (Matt Stone, Trey Parker), Michaels/Goldwyn (Lorne Michaels, John Goldwyn), Christine Peters (a longtime galpal of Redstone’s), Rat (Brett Ratner), Ripcord (Mike White), and Sikelia (Marty Scorsese).






Be serious, Double Features gettin dumped was long overdue…they haven’t been able to deliver a noteworthy script in years, and have a toxic reputation since their output dried up in the 90′s.
These are not dead weight deals.
Paramount is throwing out the baby with the bath water.
the studios all seem to be cutting the fat. I wonder if Sony will follow. I’m told they’re trying to leave everything in tact, instead cutting food prices, overtime, etc. Ya kinda wonder how those assistants, so dependent on their overtime, will support themselves.
aversano has amazing taste and in my books he will be a huge producer.
oh and the fact is his entire deal just started ticking after they had him leave his deal to start Nick/mtv film division which in the brad grey world lasted a year before they decided not to do it.
total team player
incredible developer
fantastic people person
great relationships
so unless they are paying off his deal which would have to cost a few million which they aren’t going to do.
With all this bad economic news, how can the actors possibly think of going on strike?
After leaving Rudin, what exactly has Aversano accomplished?
Nice guy and all – but really, what has he gotten done?
Very easily, sam — with their brains. They’ve got them, you know.
facts straight is 100% right. Aversano is the best. Paramount is nuts to let him leave.
Aversano got the raw end of this deal… Weston never gave him a fair shake because he and Scott butted heads during the MTV/Nick division days. Need I even bring up how Weston tried to finger point Aversano as the one who put Twilight in turnaround (in truth it was Weston’s call; Aversano wasn’t even working at the studio yet).
Weston should be the one getting his pink slip, and the entire town knows it.
Aversano will be fine, but Paramount owes him some big concessions in this separation.
The Kid Stays in the Picture.
These are talented producers with good contacts and fine taste. So are a lot of others in this town who’re being cut loose. Maybe the problem is that film company jasons (that’s my generic term for D-people and Harvard MBA wonks) don’t know poop about how to develop, produce, and sell anything that isn’t a widget, and not that creative producers like this don’t know how to make widgets.
You’re missing the bigger behinds the scenes play here— I bet that Lorenzo is making a behinds the scene play for Bray Grey’s job just like he did at Warners with Alan Horn. He needs to do something before GI JOE becomes the worst film of 2009.
Truth is right about Weston. Paramount had already made the decision to get rid of Twilight before Aversano started.
These are three talented producers who have seemingly been roadblocked by a studio that only wants to pay attention to a few of their deals.
it will all soon come to an end for Paramount
I’m hearing on the lot that Benjamin Buttons is going to be one hell of a flop. It HAS to make 60 Millon PLUS opening weekend and upwards of 270 Millon domestically just to break even…
I don’t know if Redstone will make it through opening weekend.
once he sees 1st day numbers he will probably have some sort of stroke.
You can’t play the Fincher blame game on everything. the marketing campaign sucks, nothing engaging about it, nothing interesting about it. ohhhhhhhh a backwards title treatment… wow…
I’m hearing it’s tracking under that horrible VALKaruise flick…..
it will do better internationally so once again Warners gets the better end on this one..again!
Kevin Misher is terrible producer. I am a high level something and I can tell you his taste is the worst. If there is a leader in the room he will be there to follow. Kevin takes no chances, and is a p-l-a-y-a. I’m glad to see him lose his deal.
There are great producers who are really producers. Wendy Finerman anyone. Someone who takes chances. Sticks with projects regardless of what “they” say.
Goodbye Kevin. Hasta La Vista baby! (Bet you wished you made that one.)
Thank you.
What are these Aversano defenders smoking? Whatever the tricky landscape of Paramount, the guy didn’t get a single noteworthy project off the ground while running a division there…and has been just as anemic with his own producing shingle. Not really surprising; his longterm Rudin service just doesn’t translate once he has to swim on his own. (We’ve seen it before–i.e. Adam Schroeder’s post-Rudin accomplishements…not.)
Misher/Aversano is not too big a surprise; output aside, I’m surprised they didn’t let Shamberg/Sher stick around.
It’s amazing Shamberg-Sher were ever given a sympathy deal there when they were dropped by Devito and booted out of Universal. Sher’s poisonous micromanaging has alienated most filmmakers, talent, agents, and execs for years now. She’s become a sad piece of work, cold truth be told.
JJ Abrams is a hack and a phony ass thief. He should lose his deal, but oh yeah he’s not finished failing up yet.
Damn and how the fur is flying, m e o w! It certainly ain’t called “show friends.”
I’m not sure anyone “deserves protection,” it’s a tough town. I’m really curious to see what kind of movies are going to come out of these brutal times…
We all know being a buyer is sooo different from being a seller, i.e. a producer – deal or no deal. Misher and Aversano may have been victims of that (tho I can understand the Aversano situation, as it’s often hard for a former employee to get his stuff made at his old studio; thus Lorenzo at Par, etc.). I would think that Double Features would be one of those ‘quality films’ deal, but look at who’ve they’ve kept: Sumner’s friends, starf&@#ing w. Brad (the other Brad’s old client) and Lorenzo who makes big colorful pix. So what else does Par think it’ll make?
Kevin Misher is one of those guys who make this business suck. Ask anyone who has worked with him or for him. A screamer. A bully. A backstabber. Someone who only values people to the extent that they can advance his career.
But the real reason he lost his deal is simple. He’s bad at his job. A producer with zero story instincts and even less imagination who fancies himself a creative type. Rumor has it the late Sidney Pollack, exasperated by Misher’s endless dumb advice on set, finally told him to his face: “You don’t know what you’re talking about!!!”
So true, Sydney, so true.
The Aversano bashers aren’t privy to the inside dynamics — once Berman and Shearmur left, he was politically dead at MTV/NICK. Without a legitimate operating budget for almost six months in the position, once he had it the studio was embroiled in utter turmoil and he was odd man out with Weston. Ergo, there was nothing he could do. This info is from people within Paramount, MTV and Nick, as well as a bunch of CAA agents. He never had the chance.
Aversano singlehandedly pushed through ORANGE COUNTY and FAILURE TO LAUNCH, was on set every day and worked to take these particular sow’s ears and turning into silk purses. He knows how it works, and he knows how to get it done.
He’s a terrific guy, very smart and deserves any success that comes his way. Give him a chance.
Michael and Stacey have shown great taste in the past but every project they’ve brought Paramount’s way since their split with DeVito has bombed both critically and financially so it’s really not hard to see why Paramount dropped them. You can only live on fumes for so long.