It's
easier to come out as a gay in
Hollywood than as a Jew. I'm
frankly shocked at how many
people are in the closet about
their Jewishness.
-- Publicist Howard
Bragman |
Los Angeles, September 25, 2002
In
Hollywood, a Small Break in the Silence on
Israel A
group of insiders wants Jewish players to
take a stand. But the issue's complexity
and the industry's assimilated nature are
obstacles. By RACHEL ABRAMOWITZ STAFF WRITER Last May, after a rash
of suicide bombings in Israel and the
Israeli army's incursion into Palestinian
territory, former Prime Minister
Benjamin Netanyahu had breakfast
with some Hollywood players. These weren't
his usual conservative hosts but mostly
liberals, among them TV legend Norman
Lear, "Rock the Vote" co-founder and
record executive Jeff Ayeroff, and
film director Jon
Turteltaub. Most had paid $10,000 apiece for this
sit-down, money that was to seed a new
Hollywood group seeking to somehow help
Israel in the court of public opinion. After listening to what some perceived
as Netanyahu's right-wing politicking,
though, many were overwhelmed with the
sense that Israel was in desperate need of
a distinctly Hollywood commodity: the
public relations blitz. There's hardly a cause in the world
that isn't attempting to harness
Hollywood's star power to raise awareness
and cash. Elizabeth Taylor drew the
limelight to the AIDS crisis, for example,
and Charlton Heston has become an advocate
for the right to bear arms. Yet the question of Israel and whether
to wholeheartedly embrace its cause is
posing a surprisingly provocative and
uncomfortable dilemma for many in the
industry, all the more notable because the
movie business was founded by and is still
well-populated by Jews. It's one issue on
which few are speaking out, rare in a town
where people spout off on almost every
political concern from guns to whales. "There's been a puzzling silence," says
Dan Gordon, screenwriter of "The
Hurricane" and a strong supporter of
Israel. "We're in an industry that takes
stands on everything. People can't shut us
up! I'd love to see the indignation about
homicide bombers that is reserved for
smokers. You smoke in this town, and
you're dead. Rob Reiner will come
after you." Like Jews in many communities in
America, Jews in Hollywood are divided,
from those who support Prime Minister
Ariel Sharon's government to others
who question his settlement policies or
commitment to the peace process but don't
want to do so publicly for fear of
appearing anti-Israel. Unlike Jews elsewhere, though, those in
Hollywood are in the hot seat because of
who they are and what they do. They also
spring from an industry with a history of
ambivalence toward its heritage. And
though few in Hollywood are nervous about
appearing pro-environment or anti-smoking,
there is trepidation about the unwelcome
typecasting that being unabashedly
pro-Israel might bring. "One of the
stereotypes is that the Jews control the
media," says David Brandes,
writer-producer of the 1991 film "The
Quarrel." "A lot of Jews have been
intimidated unnecessarily because of the
stereotype." "I don't think Jews in general know
what to do, and Hollywood knows even less
what to do,"
journalist-turned-screenwriter Andrea
King says. "Jews in Hollywood have
never been big flag-waving Jews to begin
with. If the Jewish community is
struggling, then the Hollywood community
is paralyzed." Publicist Howard Bragman goes
further: "It's easier to come out as a gay
in Hollywood than as a Jew. I'm frankly
shocked at how many people are in the
closet about their Jewishness." Now a nascent effort, spearheaded by a
mostly younger group of rising players, is
trying to challenge the status quo and
galvanize Hollywood's powerful
communication machine. Unofficially spearheaded by Dan
Adler, a 39-year old Creative Artists
agent who organized the Netanyahu
breakfast, the effort, dubbed Project
Communicate, this fall will launch a
marketing push on college campuses. The
idea is "to create defenders and advocates
of Israel," says Adler, the
son of a Holocaust
survivor whose group is trying to
navigate Hollywood's political divisions
by adopting a non-ideological stance. "We're trying to be pro-humanity and
pro-solution, rather than simply
pro-Israel," he says. As for creating
advocates and defenders of Israel in
Hollywood, that could be a unique
challenge of its own. Israel's consul general in L.A.,
Yuval Rotem, says he's made dozens
of phone calls trying to get a
high-profile Hollywood figure to visit
Israel and so far has failed. "Ever since
March, when we lost 140 people in one
month, which was the trigger for our
incursion into the territories, I've asked
this question over and over again: 'Where
have they been?' " Rotem says. Ever since the movie industry's
founding, many Jews in Hollywood have had
ambivalent feelings about their heritage.
The founding studio chiefs, primarily
Jews, were leaders in the charge for
secularization and ultimately
assimilation. According to Neal
Gabler's book "An Empire of Their Own:
How the Jews Invented Hollywood," they
tended to compensate for their ethnicity,
and rebuff the anti-Semitism they faced,
by promulgating an image of America as a
corn-fed, Midwestern, paternalistic
utopia. Even today, with the exception of
Holocaust-related films and documentaries,
it's not uncommon for projects to be
dismissed as "too Jewish." There have been
few movies made about Israel, although
David Mamet is developing a project
about the formation of the Israeli air
force, as is the production company run by
director Robert Zemeckis and
Jack Rapke. "Most people don't identify with what's
going on there. They're Americans and
interested in making movies and making
money," says Zvi Howard Rosenman,
producer of such films as "The Family
Man," who is developing the air force
movie with Zemeckis. "We are 60 years away from the
Holocaust," says David Lonner, 40,
a partner at the talent agency Endeavor
who also runs the entertainment division
of the Jewish Federation of L.A., a social
services charity. "And, obviously, out of
the Holocaust, Israel was born." In a recent fund-raising foray for the
federation, Lonner encountered at least
one producer who was worried that the
group's money would go to the Israeli
government. (It doesn't.) "Hollywood is a
community that's classically liberal and
left-wing," Lonner says. "Some people are
uncomfortable with the Sharon government
and their policies and the government's
view on the West Bank." Others point to the Democratic Party's
lack of leadership on the issue and to the
absence of former President Bill
Clinton. Some of Hollywood's
highest-profile players, such as Steven
Spielberg and Jeffrey
Katzenberg, made support of Clinton
their primary mode of political activism.
They're not as involved in public life now
that George W. Bush is in the White
House. Other pro-Israel liberals say they feel
isolated by the rightward drift of the
larger Jewish community and pressured to
toe a strict, unquestioning,
Israel-right-or-wrong line, at least
publicly. "I think Israel is walking down
a dangerous road if it doesn't get out of
the territories, but it's hard to say that
in public," says one writer, echoing
several others. "Liberals are
on the side of the underdog," says
writer-director Michael Tolkin,
author of "The Player" and "Changing
Lanes." "The people who've had their
cities turned into rubble look like the
underdog. There's embarrassment about
being a Jew and a feeling of alienation
from the Jewish community, a fear that
it's been taken over by the right
wing." At times, the left in Hollywood
sounds as anguished as the left in
Israel. "One thing everybody shares is total
depression and disappointment over the
peace process' failing," says Marge
Tabankin, who runs both Steven
Spielberg's
Righteous Persons
Foundation, which is devoted to
domestic Jewish causes, and the Streisand
Foundation, which handles actress
Barbra Streisand's diverse
charitable donations. Speaking personally,
she says, "I don't know where to put my
heart and soul in my volunteer time as a
person who cares both about human rights
and the existence of the state of
Israel." As the U.S. faces the prospect of war
against Iraq, producer Sean Daniel
("The Mummy") notes Israel's precarious
position in the region. If Iraq were to
attack Israel, he says, "there would be an
outpouring." Running through every conversation is
an unusual nervousness about projecting
private beliefs into the public arena. "It's clear there's an assumption that
the industry is dominated by Jews and that
the media industry is very powerful," adds
attorney Ken Hertz. "Unlike during
the time of [late MCA Chairman]
Lew Wasserman, most of these are
publicly traded companies, run by Jewish
executives who are not comfortable putting
their own religious, social or cultural
affiliations on the company." Given the supercharged emotional nature
of the debate (which is being waged with
heated passion particularly on the
Internet), it's not surprising that some
fast-growing urban legends have sprung up,
including one about Jerry
Seinfeld's supposedly embarking on a
trip to Israel. (A friend of his announced
it in the Israeli press, but the visit has
not yet materialized.) Spielberg has been
subject to a hoax, an announcement sent to
dozens of media outlets falsely claiming
that he was making a movie about
Palestinians. Director Henry Jaglom, whose
latest film is "Festival in Cannes," is
part of the Hollywood crowd that finds
itself drawn to the Internet. Jaglom, who
describes himself as a "progressive,
pro-Israel Zionist who's left-wing,"
became incensed after he received an
e-mail from a producer he barely knew,
attacking Israel after the battles in the
Jenin refugee camp. He says she sent it to
her 800 closest
friends, most of whom appear to be
in the film business. "She started it.
Before that it was a trickle, and now it's
torrential," says Jaglom, who spends
several hours a night e-mailing the 4,000
people in his Israel address book. For the most part, Hollywood's boldface
names, the people who dot power lists and
whose opinions galvanize the community,
have not yet publicly embraced the issue.
Reiner, Katzenberg, Seinfeld, David
Geffen, Harvey Weinstein and
Adam Sandler all declined to
comment for this article. According to their representatives,
Geffen, Katzenberg, Streisand and
particularly Weinstein, a Miramax
co-chairman, have donated money to various
Israel-in-crisis campaigns. Weinstein has
been agitating behind the scenes, meeting
with former liberal Prime Minister Ehud
Barak and arranging for Abraham
Foxman, head of the Anti-Defamation
League, to meet with "Life Is
Beautiful" actor-director Roberto
Benigni to discuss ways to combat
anti-Semitism in Europe. Spielberg is
one of the Hollywood elite most devoted
to Jewish causes. During the last
decade, he spent his $62 million in
profits from 1993's "Schindler's List"
on the Righteous Persons Foundation.
Spielberg declined to comment, although
his representative, Marvin Levy,
noted that "Schindler's List" ends in
Israel and adds, "I think it should be
obvious to people where his heart is."
Recently Shimon Peres, the
liberal Israeli foreign minister, has
requested a meeting with Spielberg,
pending the scheduling of Peres' next
trip to the U.S. One top player who has been vocal and
active is Paramount Chairman Sherry
Lansing. "I've always been
pro-Israel," she says. "This is the first
time in my life that I have feared for the
existence of Israel." The highest-profile entertainment
figure to visit Israel recently has been
Mamet, who went to the Jerusalem
Film Festival this summer and toured the
sites of suicide bombings with Jerusalem's
mayor. Sandler planned to visit children
in hospitals in Israel in August but
pulled out two days before he was supposed
to leave because of the bombing at Hebrew
University, according to someone familiar
with his decision. Republican
pollster Frank Luntz, who
recently analyzed American attitudes
toward Israel (partly at the behest of
Project Communicate), believes that one
person who could dramatically and
immediately affect public opinion is
"West Wing" creator Aaron
Sorkin. "He has the ability to explain the
Middle East situation in a
straightforward, unbiased fashion that
will influence America," said Luntz, once
a consultant on the show. Sorkin declined to comment, but he did
touch briefly on the Mideast crisis in
last year's season premiere. A schoolchild
asks Rob Lowe's character what you
call a country where you can't go out for
pizza without getting blown up. Lowe
answers grimly, "Israel." For the new young activists seeking to
draw Hollywood into the fray, the
Wasserman legend hangs heavy. A
nonobservant Jew, Wasserman privately made
sure that people opened their checkbooks.
One prominent member of the Jewish
community recalls a planning meeting for a
Jewish charity dinner during the Wasserman
heyday. The MCA leader stood up, pointed
to each studio chief or his
representative, and announced, "You're
going to buy two tables. You're going to
buy three tables." Within 10 minutes, the
event was sold out. Contemplating what it might take to
galvanize the Hollywood elite, Lonner
sighs. "It takes a Lew Wasserman." In the short term, Project
Communicate's activism looks much like
Rock the Vote's, which is focused on young
people and draws wide support. The 100 or so activists behind Project
Communicate are mostly newcomers to Jewish
causes. They include Adler, Ayeroff,
Bragman, Lear and Lonner, as well as
"Simpsons" writer Jay Kogen,
William Morris agent John Fogelman
and Art Levitt, CEO of Fandango, a
movie-related Internet site. Last summer, the group hired Luntz to
run a pair of focus groups of college
students, plumbing their attitudes about
the image and rhetoric from the Middle
East crisis. The outcome was that "the
non-Jews were predominantly open to
pro-Palestinian messages and the Jews were
utterly apathetic," recalls King, the
writer, who attended. Project Communicate is using Luntz's
research to focus its marketing points,
some of which the group hopes will be
delivered by high-profile Jewish
celebrities, although specifics of the
campaign are under wraps. But even Hollywood's most persuasive
communicators acknowledge how hard it is
to render the Mideast simple terms. As Tolkin sees it: "Everybody in
Hollywood is obsessed with story and used
to thinking their way out of a plot.
There's no obvious way out of this. I
don't know anyone who can get three
paragraphs through a discussion of the
Middle East crisis without being struck
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