November 15, 2024

Analysis: A Lost Chance at Redemption for Ebersol

It was a characteristic gesture. Ebersol exuded confidence at NBC Sports. He had been a star executive at NBC for almost 40 years; a masterful press agent for NBC and for himself; a story-telling executive who loved to produce big events; and the production monarch of the Olympic control room.

So in the late spring air of Lausanne, Switzerland, it was not surprising to see him puff to a victory not yet declared, but one that he had a strong hunch that he had won. “We came to play,” he said.

And when NBC did win, it was by an overwhelming margin: NBC had bid $2.2 billion; Fox, $1.3 billion; and ESPN’s offer had been to share advertising revenue with the Olympic committee. In defeat, Fox and ESPN executives cited their fiscal prudence; in triumph, Ebersol said the bid was not wild at all, but based on “conservative figures” and a knowledge of television economics that his competitors lacked.

He was wrong. He overbid dramatically, with the backing of NBC’s parent at the time, General Electric, and the recession hurt advertising. The 2010 Vancouver Winter Games lost $223 million, astonishing for a 17-day event. Next year’s London Summer Games, which cost a record Olympic rights fee of $1.18 billion, are expected to lose at least as much, and Comcast, NBC Universal’s new owner, will have to absorb it.

Ebersol will not get a chance to redeem himself or lead NBC back to Lausanne on June 6 to the negotiation for the 2014 and ’16 Olympics. He resigned on Thursday, losing a power play with Stephen B. Burke, his boss since earlier this year when Comcast took control of NBC Universal.

Comcast named Mark Lazarus as Ebersol’s successor as the chairman of the NBC Sports Group — an exchange of an above-the-title executive star (notice the size of the letters of Ebersol’s name in the credits for “Sunday Night Football”) for a low-key, accomplished executive from the business side of cable.

Instead of Ebersol playing the Olympic maestro in presenting NBC’s plan to the I.O.C. next month, it will be his protégé, Gary Zenkel, who disdains the public profile that Ebersol embraced.

NBC will face ESPN and Fox in what could be a fascinating game of financial chicken with the I.O.C. All are preaching financial sanity publicly and privately. Burke recently said: “We’re here to be disciplined. Our job is to increase value.” Sochi, Russia, the site of the 2014 Winter Games, is considered by all three media companies to be worth much less than Vancouver, which cost NBC a rights fee of $820 million.

Rio de Janeiro, Brazil, where the 2016 Summer Games will be held, is an exotic locale, and the first Olympics in South America. It is in a time zone well situated to show the majority of events live. But will any network operating rationally bid more than the $1.18 billion that NBC is paying for London?

The I.O.C. has delayed the auction to let the economy recover from the recession.

But in that time, NBC, its best friend in television, merged with Comcast, and Ebersol, a recipient of the I.O.C.’s Olympic Order medal and its closest ally at NBC, is gone. And Comcast — a cable company and programmer — does not have the industrial assets like those that compelled G.E. to buy an Olympic sponsorship for about $200 million to sweeten the oversized Vancouver-London bid; that sponsorship led to hundreds of millions of dollars in contracts around the 2008 Beijing Summer Games. The Walt Disney Company, which owns ESPN, is considering a sponsorship, Sports Business Journal has reported.

Ebersol’s departure was not altogether surprising, but the timing was. He was expected to lead the bidding in Lausanne and oversee all the production in London. He has a deep bench to replace him in the London control room. But while Comcast viewed him as an executive who had to learn its ways, G.E. treated him like show-business talent, as it had also treated Lorne Michaels, the producer of “Saturday Night Live.”

Ebersol was admired, followed and sometimes feared within NBC. He built a core group of loyal executives and producers. Comcast had no such loyalty to him and was unwilling or unprepared to accept his penchant for behaving like a corporate king with the sort of freewheeling portfolio he had had under G.E., where he advised on decisions in news, late night and entertainment. Last year, he famously leaped to the defense of Jay Leno, whom NBC returned to his previous role as the host of “The Tonight Show,” replacing Conan O’Brien. Ebersol said, “What this is really all about is an astounding failure by Conan.”

A person who has observed Ebersol’s interactions the last few months, but was not authorized to speak publicly, said he could be dismissive, difficult, meddlesome and patronizing, and acted as if he deserved to be treated in a special way. In a statement, Ebersol said: “There were no meaningful clashes whatsoever between me and any Comcast executive. I’m not interested in responding to fiction. I’ve moved on.”

Ebersol could not have predicted in 2003 how his NBC career would end. But as he basked in winning the rights to the 2010 and ’12 Olympics, he looked ahead and said, “This will be my last Olympic negotiation.”

Article source: http://feeds.nytimes.com/click.phdo?i=05d7acabe15fe8111062bff6088506e3

Soapbox: Scene Stealer: In Hollywood, a Decade of Hits Is No Longer Enough

Sure, there have been flops and missteps. But Mr. Horn, as Warner’s president and chief operating officer, has generally kept the studio on an unusually steady course by delivering hit after hit: “The Perfect Storm,” “300,” “The Departed,” “Happy Feet,” “Ocean’s Eleven,” “Sherlock Holmes,” “Million Dollar Baby,” “The Dark Knight.”

The most lucrative film franchise in Hollywood history, bigger even than “Star Wars” and James Bond, is Harry Potter. And Mr. Horn is largely the one to thank for that.

But in the coming days, Mr. Horn will ride — unhappily — into the sunset after being squeezed out of the studio to make room for a new generation of managers.

“The notion of my leaving, as you know, did not come from me,” Mr. Horn said in an interview. “I guess they wanted younger and better-looking management.”

There is nothing unusual, in Hollywood or any industry, about a star executive wanting to remain at the controls longer than a corporate parent would like. What has raised eyebrows in movie circles is the indelicate manner in which Time Warner, which owns the studio, has pushed Mr. Horn aside.

One of the longstanding codes of the movie business involves longevity and loyalty: Once you’re a made man, to use the Mafia term adopted by film folk, you’re allowed to write your own ticket for nearly as long as you want. Perhaps, eventually, you get a discreet nudge to step aside or move into a chairman emeritus-type of position. All the while, you are treated with deep respect.

Yes, it’s true that Mr. Horn was not enthusiastic about making “The Hangover,” the crude comedy that racked up $468 million in global ticket sales in 2009. But he is also the guy who drafted the blueprints for what has become Warner’s primary operating strategy — focusing on effects-filled event pictures, or “tent poles,” that resonate overseas.

Under his leadership, Warner has also been the No. 1 studio in market share for the last three years. (It has long been the biggest when measured by number of movies.) “You don’t get to be No. 1 because you rest on your laurels or won’t adapt to changing times,” Mr. Horn said. “You get it because you earn it year after year.”

Mr. Horn’s friends say a first slight from Time Warner came in 2009, when the company allowed news to circulate in the Hollywood trade press that it planned to renew the contracts of Mr. Horn and Barry M. Meyer, Warner’s chairman, for only two years instead of the typical three to five. “Humiliating!” was how Deadline.com, the Hollywood blog, summed up the move.

Then, last September, Jeffrey L. Bewkes, Time Warner’s chief executive, announced that he would keep Mr. Meyer in place for two more years — but stick to the planned parting of ways with Mr. Horn, whose consolation prize was a consulting gig. To replace Mr. Horn, the company created an “office of the president,” elevating three executives who had been angling for promotion: Jeff Robinov, Bruce Rosenblum and Kevin Tsujihara.

The upshot, say longtime industry watchers, is that Hollywood’s clubby, insular business culture is fraying as studios grow ever more corporate and answer to multinational companies that either don’t know the customs of Hollywood or don’t care about them. Columbia Pictures, Paramount Pictures, 20th Century Fox, Universal Pictures and Warner all answer to bosses in New York. Walt Disney Studios is the sole major film operation that has a local owner.

“It’s hard to leave,” Mr. Horn said. “But Jeff Bewkes, you’ve heard that name, he’s the big boss.”

In an e-mail statement last week, Mr. Bewkes said: “With his passion for compelling filmmaking, Alan helped lead Warner Brothers through one of the company’s most creative and successful eras in its long history. Even more importantly, Alan generously shared his knowledge of how to engage and excite audiences around the world with the Warners executives who will succeed him — a lasting contribution for which I will always be grateful.”

LOOKING back, Mr. Horn, who grew up on Long Island and got his Hollywood start working in television, is proud of a range of accomplishments, starting with Warner’s No. 1 status. “I’m especially proud of the people that I’ve worked with — the most first-rate, first-class group around,” he said.

Running Warner’s movie operation has been arduous, but he says he has relished the pressure. “It’s competitive and tough, and I have felt the weight of committing upwards of $3 billion of the company’s money on movie production,” he said. “But I like it.”

Mr. Horn declined to single out a specific movie as a point of pride, but he did name the filmmaker with whom he was most pleased to work: Clint Eastwood.

“I have tremendous affection for Mr. Eastwood,” he said, displaying the kind of public deference that has traditionally been part of the business culture in the movie capital. “ ‘Gran Torino,’ ‘Unforgiven,’ ‘Hereafter’ — all terrific,” Mr. Horn said. “Oh, and you can’t forget ‘Invictus.’ ”

He added, “Leaving would be easy if there wasn’t such incredible talent here.”

Article source: http://feeds.nytimes.com/click.phdo?i=78377ec8279dcbd05f86e71a549c69d7