Hey, guys. Quint here. I guess it’s appropriate that I write up the passing of legendary producer David Brown considering without him I’d be calling myself Hudson or Moonchild or, God forbid, my given name on this site.
David Brown partnered with Richard Zanuck officially in 1972, but the two worked together at 20th Century Fox, which was run by Richard’s father, Darryl F. Zanuck, years before. A successful short story writer, Brown was hired by Zanuck Sr. in 1952 to head up Fox’s story department. Over the years he connected with Zanuck Jr. and ultimately they branched off and began a producing career.
This collaboration was notable for many reasons, namely the cinematic birth of one Steven Spielberg. While Duel might have been one of Spielberg’s first films it wasn’t intended as a theatrical experience. It was a quickie TV movie that was so good it got an international theatrical run. I don’t know for sure if it ever went to the big screen here in the states, but I know it did in foreign markets.
His first theatrical feature, pairing him with John Williams for the first time, was SUGARLAND EXPRESS starring Goldie Hawn and the great William Atherton, who you know mostly as the asshole in every ‘80s movie (like Peck in Ghostbusters or the popcorn house professor in Real Genius), but played a much more sympathetic role in this movie. This was Zanuck and Brown’s first collaboration with Spielberg, but their next is what made history.
I have to give Zanuck and Brown a lot of credit because the horror story that was the production of JAWS could have ended in disaster without their support. In all the behind the scenes I’ve seen, the personal conversations I’ve had with those involved and the thorough readings of Carl Gottlieb’s The Jaws Log I have come to the conclusion that as great as Spielberg is, as perfect as the cast was, as magnificent as the score was without David Brown and Richard Zanuck JAWS wouldn’t exist.
They protected Spielberg when the production stretched way past its allotted schedule, they were able to keep film rolling through the camera as the budget doubled. I’m sure there must have been some heated moments between them and Spielberg, but at the end of the day the dude got to finish the movie and it turned out to be the world’s first $100 million blockbuster, setting the template for big studio summer tentpole pictures.
David Brown’s producing work literally changed the way the business was run. You can argue for the good or ill, but you can’t argue the impact.
Brown also produced THE STING, which won the Best Picture Oscar, THE VERDICT, which was nominated, blaxploitation flick WILLIE DYNAMITE, Don Siegel’s THE BLACK WINDMILL, Clint Eastwood’s THE EIGER SANCTION and COCOON with Richard Zanuck as well as A FEW GOOD MEN, DRIVING MISS DAISY, Altman’s THE PLAYER, KISS THE GIRLS, ANGELA’S ASHES and CHOCOLAT.
I was invited to the world premiere of Spielberg’s WAR OF THE WORLDS in New York City back in 2005. I have a few memories that stand out from that event. One is meeting Dennis Muren who was standing around with no fanfare at the afterparty as the crowd swarmed the stars. I had to gush. Another is seeing Tim Robbins and Bill O’Reilly talking to each other and wondering if the universe was about to fall in on itself. Another is getting to tell Kate Capshaw with all sincerity that I loved her in Temple of Doom.
And another was spotting David Brown as he exited the theater. I couldn’t miss the mustache. The mob was pushing towards the afterparty and we were being jostled together. I stopped and introduced myself and I thanked him for producing my favorite movie of all time. He smiled and thanked me for the kind words, shaking my hand and that was about it.
We didn’t talk, we didn’t share stories or connect on anything but a cordial surface level, but I will remember that moment.
Thank you, Mr. Brown.
-Quint
quint@aintitcool.com
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