Daisy Miller became a test of whether Hollywood's brief early-1970s director-driven experiment could survive the commercial pressures of the studio system. Peter Bogdanovich had a production deal with The Directors Company, a Paramount-backed venture created by Gulf and Western chairman Charles Bluhdorn to give major filmmakers unusual creative freedom. His partners were Francis Ford Coppola and William Friedkin, but the arrangement was premised on making commercially viable films. After the success of The Last Picture Show, What's Up, Doc? and Paper Moon, Bogdanovich chose to adapt Henry James's 1878 novella, with his romantic partner Cybill Shepherd as Daisy. He later admitted that he knew during production that the film was unlikely to be a hit, but rationalized the decision by thinking that one less-commercial picture would not matter after three successes. Friedkin strongly objected, telling him he should not make it for the company, while Coppola remained neutral. Bogdanovich later believed that Paramount executive Frank Yablans, who disliked The Directors Company, encouraged him to proceed in a way that would help demonstrate the venture's weakness.
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AI concept artworkArchive Record · 1970s
The Directors Company Revolt Over Bogdanovich's “Uncommercial” Daisy Miller
Daisy Miller / Peter Bogdanovich / 1970s
Daisy Miller became a test of whether Hollywood's brief early-1970s director-driven experiment could survive the commercial pressures of the studio system. Peter Bogdanovich had a production deal with The Directors Company, a Paramount-backed venture created by Gulf and Western chairman Charles Bluhdorn to give major filmmakers unusual creative freedom. His partners were Francis Ford Coppola and William Friedkin, but the arrangement was premised on making commercially viable films. After the success of The Last Picture Show, What's Up, Doc? and Paper Moon, Bogdanovich chose to adapt Henry James's 1878 novella, with his romantic partner Cybill Shepherd as Daisy. He later admitted that he knew during production that the film was unlikely to be a hit, but rationalized the decision by thinking that one less-commercial picture would not matter after three successes. Friedkin strongly objected, telling him he should not make it for the company, while Coppola remained neutral. Bogdanovich later believed that Paramount executive Frank Yablans, who disliked The Directors Company, encouraged him to proceed in a way that would help demonstrate the venture's weakness.
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