The producers of I’ll Eat You Last, the John Logan-penned play that stars Bette Midler as superagent Sue Mengers, has recouped its $2.4 million investment in just over eight weeks at the Booth Theatre. The show has another month in which to turn a profit, as the run ends June 30. It’s a Broadway tradition for shows to crow when they’ve recovered their costs and turn a profit. Why don’t movies do the same thing? Oh, I know why. When studio tentpoles cost up to $200 million with another $125 million-$150 million to launch them globally, a lot of these big-ticket items probably never cover costs and we only hear about them when the studio declares a writedown in earnings reports. It’s a slipperier slope when the movies do fantastically well. I was the guy who published the net profit statement on Harry Potter And The Order Of The Phoenix, the 2007 Warner Bros sequel that grossed $938.2 million worldwide. Despite that, the accounting statement below conveys that the film is still over $167 million in the red. So I guess we’ll forget about Hollywood following that Broadway tradition of reporting when movies recoup their costs and turn a profit. Even if studios do cover their ballooning costs and make some cash, they would be the last to admit it. And it’s the reason Mengers and cohorts swung the business toward first dollar gross; they just couldn’t get an accurate accounting from studio bean counters.
Sue Mengers Play Proves Good Bette For Investors; Why Doesn’t Hollywood Report When Movies Turn Profitable?
UPDATE: Vanity Fair Editor in chief Graydon Carter announced this morning that legendary Hollywood agent Sue Mengers died Saturday night at her Beverly Hills home after a number of small strokes. She was 81. Mengers was surrounded by three of her closest friends: Ali MacGraw, Joanna Poitier, and Boaty Boatwright. “Sue was unlike anyone I’ve ever met – a true original,” said Boaty Boatwright, the ICM talent agent. ”Her name became synonymous with women and what she helped us all to accomplish, but her legend is really the vitality with which she lived life, and her wit, which will be celebrated in stories throughout our community for years to come.”
Reclusive in her dotage due to ill health, Mengers made her last major public appearance on May 24th, 2010, when she was interviewed by CAA’s Bob Bookman in the Ray Kurtzman Theater of the agency’s Century City headquarters. It followed a renaissance of sorts for Mengers. Instead of the legendary dinner parties she used to host, she held intimate luncheons in her home for Hollywood power players. (And sometimes tête-à-têtes with today’s agency bosses like Bryan Lourd and Ari Emanuel who regularly picked her brain.) With her blowsy blondness, withering sarcasm, and Borscht Belt banter, Mengers was an unlikely mentor to agents everywhere. Because, at one time or another, this superagent had repped Barbra Streisand, Candice Bergen, Peter Bogdanovich, Michael Caine, Dyan Cannon, Cher, Joan Collins, Brian De Palma, Faye Dunaway, Bob Fosse, Gene Hackman, Sidney Lumet, Ali McGraw, Steve McQueen, Mike Nichols, Nick Nolte, Tatum O’Neal, Ryan O’Neal, Anthony Perkins, Burt Reynolds, Cybill Shepherd, Gore Vidal, Richard Benjamin, Paula Prentiss, and Tuesday Weld in their heyday as a movie rep at CMA (1969-1975), ICM (1975-1986), and William Morris Agency (1988-1990) at which point she retired from the biz altogether.
I had spoken to Sue off and on over the years. Then one day after I started my Deadline Hollywood blog, Mengers invited me to her home for a long chat. It began one of the most fun reporter-source relationships I’ve ever had. She was a wealth of information for me about what was happening behind-the-scenes in Hollywood. And she always had those withering sarcasms at the ready. Her plump white flesh still draped in a sea of caftans and mumus, eyes framed in huge tinted glasses, with a soft breathy voice and the mouth of a stevedore, taking hits from an always lit joint, the 5’-2 1/2” inch Mengers was the exact opposite of the stereotypical image of a Hollywood agent, not the cigar-chomping salesman nor the smooth-talking sleek-dressed tenpercenter. Her enemies dismissed her as loud, overbearing and vulgar. But to the stellar list of above-the-title clients in her heyday, Mengers was therapist, confessor, Jewish mother, best friend and unflagging chief advocate.
The protégé of powerful agents Marty Baum and David Begelman and Freddie Fields, Mengers became as infamous as her mentors. She was certainly as talked-about and could boast her own litany of Hollywood lore. There was the story about the time Mengers dropped her card in a star’s soup at Sardis. Or pulled up at a stoplight next to Burt Lancaster, rolled down her window, and offered to represent him. And then there was the day Mengers dropped by director Otto Preminger’s New York office and declared, “I’m the only agent who actually gives head if you hire the client.” (Preminger burst out laughing and immediately contracted for an actor.) But few will ever top her one-liner to Barbra Streisand when the actress turned up on Charlie Manson’s list of celebrity targets after Roman Polanski’s pregnant wife Sharon Tate was murdered: “Don’t worry, honeee. They’re only killing bit players.”
It only added to Sue’s celebrity that she was that rarest of Hollywood creatures — a top female talent agent. In the old days, the successful women agents represented one huge star, many times an actor they had fallen in love with. Sue Carol not only promoted Alan Ladd as an actor but married the man. Eleanor Kilgallen, Monique James and the rest of famed “The Ladies” at MCA were out of the business, having jumped to Universal when Lew Wasserman folded the agency. Few had replaced them. Most women agents were literary agents who handled writers and directors, not superstars. But Mengers not only handled superstars, she became one herself, featured on 60 Minutes and by Dyan Cannon in the 1973 film The Last of Sheila, and eventually in Time magazine: “She has just about everything else she wants. Except George C. Scott as a client, and a body like Candice Bergen’s.”
It didn’t take pop psychology to see how much of Mengers’ ballsiness was simply a cover for the scared and insecure little girl inside. She had been turned out early into a tough world. Born in Hamburg, Germany, into a poor Jewish family, Mengers and her parents barely escaped the Nazis by fleeing to the United States, first living in Utica, New York, and then settling in the Bronx. Her father committed suicide when she was just 12. Menger’s family didn’t speak a word of English, and she learned the language sitting in darkened movie theaters in the Bronx, while dreaming of one day becoming a movie star herself. Later, she even took elocution lessons, hoping to get into acting. “She wanted to be a movie star,” her one-time colleague Tom Korman told me. “If she’d had her druthers, she would have been Marilyn Monroe.” Instead she embarked on a life of helping talent achieve their own stardom. And beneath the insecurities and the self-deprecating humor, Mengers was hard as nails. She was charming, but she was also crafty and, if need be, coldly cutthroat.
She began her showbiz career in 1955 as a secretary at the agency MCA, then at Baum-Newborn where she impressed Marty Baum with her aggressiveness and ingenuity. If he needed something, she would find a way to get it for him. Then Mengers landed at William Morris, once again as a secretary but determined to move up in the business. She started out the way she would operate for the next 20 years, by making friends like Gore Vidal. “She was this pretty, mildly zaftig blonde, and she twinkled,” Vidal recalled. “Once, I heard this laugh inside the agency, I looked out the door, and there she was at the keyhole, eyes and ears both. Frankly, I think she just wanted to have an adventurous life.”
Mengers became a baby agent in the theater department. Instead of calling legend David Merrick cold, Mengers devised a scheme to establish a relationship with the producer. She rented a mink coat (something Mengers would do on more than one occasion in the early years) and floated into Sardis, where she headed straight for Merrick’s table and began suggesting people she said would be perfect for parts in his plays — like Ginger Rogers as a replacement in Hello, Dolly. For months, each night Mengers dropped Merrick three similar passing ideas. Of course, the agent didn’t represent any of the big names she tossed around. But she made her pitches with humor and style and, gradually, the producer looked forward to their conversations. The fact was, Mengers had good ideas. Before long, other producers wanted to talk to her, too.
In 1963, Mengers decided to strike out on her own with agent Tom Korman. When Mengers couldn’t get the people she wanted on the phone, she began sending them funny telegrams. “No one knew who I was, and nobody cared,” she explained. “And, in order to make an impact, I guess I became outrageous.” She used to joke she was so driven, she “would have signed Martin Boorman.” But people began taking note. When she called Sidney Lumet at midnight to sell him a client, the director told her, “If you’re this pushy, I want you to be my agent.”
It was only a matter of time before Mengers ran into David Begelman, maybe the only other agent in New York who could match Mengers quip for quip. The CMA chief had been running into this loud, funny, opinionated woman all over New York. She seemed to be everywhere. One night after the theater, Begelman stopped by Sardis and spotted Mengers sitting with his clients Paul Newman and Joanne Woodward. The next day, Newman telephoned Begelman. “Gee, there was an awfully bright person I met last night,” Newman said. “Blonde. I don’t remember her name. But I think she’s got a terrific idea. She said that if she represented me and Joanne, she’d get Arthur Miller and Bill Inge to collaborate on writing a play for us.” Begelman was thinking that Mengers had chutzpah. Another night, Begelman’s biggest star, Barbra Streisand, told him all excited, “Sue just signed Dirk Bogarde for films in America!” Now Begelman knew that Bogarde had never done a film in the United States, and never would. Mengers had put one over. Not long after, Begelman hired Mengers to work at CMA. “It was 50% because I thought she had potential to be a great agent and 50% to get her out of my hair,” he explained years later.
By that time, some of the creme de la creme of the Broadway set were all Sue’s friends and clients. She was responsible by virtue of who she knew and who she had signed for putting CMA in the Broadway business. Mengers’ real strength was connecting with people. Her whirlwind energy and expletive-laced bon mots made her someone people loved to be around. Her enthusiasm was infectious. Fields and Begelman recognized Mengers’ gifts and helped her hone them.“We just kind of invented a character for her to play, which she was able to play almost naturally at a time when the industry needed some flamboyance,” Fields told me.
Then CMA sent her to Hollywood to become a movie agent. “We brought her out here initially to get her exposed to people,” Fields recalled. Hollywood turned out to be the perfect stage for Mengers’ antics. Typical was the night Mengers was having dinner with publicist Warren Cowan and mentioned how much she liked actor Maximillian Schell. Cowan offered to arrange a meeting. “Oh, I don’t need a meeting,” Mengers shot back. “He took me out last week and tried to fuck me. And he isn’t even a client.”
Mengers signed Ryan O’Neal after seeing him at a party and screaming, “When are you going to dump your asshole agent?” She picked up film critic turned director Peter Bogdonavich before Columbia released The Last Picture Show. She just happened to run into Ali MacGraw on the Paramount lot one day after the actress was engaged to Mengers’ producer friend Robert Evans. “I took one look at her and I fell in love instantly,” Mengers recalled. Over and over, the agent would take her unknowns and front-load them into packages with her bigger stars, then sell them all for astronomical salaries to her loyal coterie of studio pals. For months, Mengers had pushed her buddy Evans to cast Faye Dunaway in his new movie, Chinatown. Evans, however, had been holding out for Jane Fonda. “If you don’t give me an answer in twenty-four hours, Faye Dunaway is going to do Night Moves with Arthur Penn,” she screamed at Evans over the phone. Evans finally bit, but not for the $250,000 Mengers was demanding. “Seventy-five thousand or I’m going with Jane,” the producer told her. Mengers let fly a stream of expletives, but a half hour later she was back accepting the offer. After the deal was signed, Mengers gloated to Evans. “Honeee, guess what? There was no picture with Arthur Penn. I made it up.” To which Evans replied, “Guess what? Fonda already turned us down.”
But it wasn’t easy for Mengers in the motion picture department. “I always thought she was quite heroic because the boys were really mean to her,” recalled Jeff Sanford, one of her CMA colleagues. “It was very competitive at CMA, and it always seemed that nobody really treated her terribly nice. The first time anybody took Sue seriously was when Barbra Streisand came to Hollywood.”
It was Begelman who gave Mengers her biggest client. For a decade and a half, Sue Mengers and Barbra Streisand became Hollywood’s most famous pairing. Their rise to prominence was inextricably linked in everyone’s mind. Their relationship went far beyond the bonds of mere agenting. There was an immediate and total kinship. Both had strong personalities they used to mask the scared insecure girls hiding within. In the meantime, Mengers had befriended Elliott Gould and, through Gould, had met Barbra. Begelman acceeded to Mengers’ pleas to handle Streisand. It served both women well. Mengers had a gut feeling of knowing when to push her clients into projects, and when to ask the moguls to pay for the moon. In 1971, she sold the romantic farce What’s Up, Doc? to Warner Bros, packaging Bogdonavich with Streisand and O’Neal. At the time, O’Neal had barely made above scale for Love Story, and Bogdonavich’s The Last Picture Show was still in rough cut. But Mengers went for the big money. The What’s Up Doc? deal caused Mengers’ stock in Hollywood to soar. Yet before that 60 Minutes interview, Mengers was more nervous than anyone the producers had ever put before the camera. Wallace’s last question was, “Do you ever pinch yourself and say, ‘Who, me?’” Mengers replied, “Yeah, a lot.. And then I say, ‘Who deserves it more?’ ”
Beginning in 1975, Marvin Josephson merged CMA and IFA and soon more agencies into a loose amalgamation of autonomous corporate cultures flung together known as ICM. Mengers would be working there without Freddie or David who had both left the agency business for greener Hollywood pastures. “She was scared to death,” recalled Fields. “She always needed support.” So Mengers played her hand with all the savvy she could muster. If Josephson wasn’t going to make it worth her while to stay, Mengers let it be known she would jump to a studio for big money from her close pals there. For starters, the agent made sure everyone in town knew about her trip back to New York to talk to friend Barry Diller, the new head of Paramount. Soon after, word spread she was talking to another friend, Ned Tanen at Universal. Warner Bros president John Calley got a call from Mengers one day: “Why is Warner’s the only company that hasn’t approached me for a job?” And Stan Kamen began courting Mengers seriously about joining him at William Morris Agency for a super-pairing.
Josephson finally caved and gave the agent a huge five-year contract. (Josephson maintained Mengers was being paid $175,000 a year; Mengers claimed it was $250,000, plus a $40,000 expense account.) With no visible personality at the helm, the new agency was identified mostly with Mengers, who continued to live off her press clippings. But Mengers was not a manager or, for that matter, even a team player; the agent attended to the business of her own personal fiefdom. ICM’s problems were not her problems. She cared more that at Hollywood screenings, the town’s elite would linger after the closing credits just to hear her priceless bon mots — especially if the picture were a bomb. She signed the Industry’s most respected director, Mike Nichols, to her list of prestigious clients. (“Even I’m awed,” Mengers quipped). Sue Mengers was it, made more so by her famed parties at her Beverly Hills homes.
Like a Hollywood salon, Mengers’ guestlists were an eclectic mix of writers, executives, actors, socialites, and artists. On any given night, sitting around the living room or talking out on the patio were Elizabeth Taylor and Princess Margaret or Julie Christie or Mikhail Barishnikov besides David Geffen and John Calley. Even Woody Allen would show up to mix with studio moguls like Frank Yablans. Mengers also made sure to include models, actresses or whatevers. Ali MacGraw once told me what she remembered most about Sue’s parties were “half the group getting stoned in a corner, and the other half hoping to get lucky.”
EXCLUSIVE: Elaine Goldsmith-Thomas is joining 3 Arts as a manager/producer, returning to the rep business after 11 years. Once a high-powered dealmaker at ICM best known for guiding Julia Roberts from unknown to $20 million a picture as the world’s biggest female star, Goldsmith-Thomas left ICM in 2000 to run Revolution Studios East for Joe Roth and supervise films under Roberts’ production deal there. She has been a full-time producer since Revolution folded. An agent for more than 15 years at WMA and ICM, Goldsmith-Thomas also repped Tim Robbins, Susan Sarandon, Jennifer Lopez, Jennifer Connelly, Madonna and Darren Star.
The obvious question is whether she will be rejoined by Roberts, who went to CAA not long after Goldsmith-Thomas left. Goldsmith-Thomas said she comes to 3 Arts without any clients. While producing, she continued to give career advice when asked, but referred talent to agencies and management companies for years even as people asked why she wasn’t building a client list. She decided months ago to explore a return but was reticent to resurface as an agent. It would be hard returning to a job she left behind, and she never liked the poaching part of that game. She also didn’t want to give up producing, which agents can’t do. After meeting with 3 Arts’ Erwin Stoff, Goldsmith-Thomas felt she’d found the right fit. She will operate out of the management/production company’s New York base, where Richard Abate manages authors and runs the book department and Avi Gilbert manages stand-up comics.
“I’ve always loved the architecture of careers, and I missed working with colleagues in breaking down walls that have gotten thicker,” Goldsmith-Thomas told me. “I think it’s a mistake when people try to re-create the same career they had. I love what I’m doing now, and I see this as a complement.”