From Page to Screen: Elizabeth Gabler’s Hollywood Journey

Elizabeth Gabler, a studio executive known for transforming literary works into cinematic successes, recently sat down with her friend and host of the Don’t Kill the Messenger podcast, Kevin Goetz. From her early days as an agent’s assistant to becoming president of Fox 2000 and now Sony 3000 Pictures, Gabler shares insights from her remarkable career developing hit films like Life of Pi, The Devil Wears Prada, Cast Away, Mrs. Doubtfire, Marley and Me, and Where the Crawdads Sing.

EARLY CAREER AND LOVE OF READING

Elizabeth Gabler’s journey to becoming one of Hollywood’s most influential executives began with a deep love of literature. Despite her eventual impact on the industry, she never intended to work in entertainment. Her early position at ICM would prove transformative when she discovered the script library across from her desk: “I would sit there and answer the phone and being the avid reader that I was, because my mother taught me to read when I was three years old… I was very excited to read all of those things in front of me.”

Gabler discusses the development of Mrs. Doubtfire, and shows how her faith and passion for the project was ultimately rewarded. “At the time, no one wanted to do it. I couldn’t even get a writer,” she recalls, noting that many thought it too similar to Tootsie. Her persistence paid off, leading to a collaboration with Robin Williams and director Chris Columbus that would create a beloved classic.

LIFE OF PI JOURNEY

Perhaps no project better illustrates Gabler’s determination than Life of Pi. When faced with technical and studio challenges that seemed insurmountable, she supported Ang Lee’s vision. As she recalls, Lee’s commitment was unwavering:

I called him [Ang Lee] and said, I’m giving the movie back to you. I’m sure someone in town will make it. It’s just we can’t do it at Fox. And he said, no, I’m not letting you say no. I’m getting on a plane right now. And he flew to LA and with him, he had a pre-visualization of the freighter sinking, the beginning of the whole story. And it was almost frame for frame what the actual film became. It was even scored. It was scored. So you looked like you were watching drawings of a movie, but in cinematic live action. And he also had the audition tape of our young actor who became our Pi, Suraj. And it was just Suraj reading a survival manual. So it was a monologue of him reading a life raft survival manual. And of him playing the drums, watching this beautiful young Indian woman dance and his facial expressions. So I said, okay. I called Tom and Jim Gianopulos and I said, you need to meet me in the screening room. We had our heads of marketing, we had our wonderful head of international, our physical production, and post-production executives there. And Ang showed them what I just explained to you. And a wonderful man named Tony Sella who was the head of marketing, stood up in his chair and said, there’s no way we’re not making this movie. And they said, okay.

DEVIL WEARS PRADA CASTING

The casting process for The Devil Wears Prada reveals Gabler’s keen eye for talent. The pitch-perfect casting of Meryl Streep, her support of Anne Hathaway’s persistence, and recognition of Emily Blunt’s potential contributed to creating one of Hollywood’s most memorable ensembles.

CURRENT PROJECTS AND PERSONAL REFLECTIONS

Now at Sony 3000 Pictures, Gabler continues to bridge publishing and film with upcoming projects like Klara and the Sun. When reflecting on the recurring theme of family in her work, she shares: “I’m the oldest of six children. We’re very close family. And I think that it’s one of the most definitely emotionally prevalent things of my life and themes that I’ve always wanted to explore in movies.”

On her current project Klara and the Sun:

Jenna is absolutely a revelation… she is this artificial friend who is very much very human-like in her qualities and has empathy and is an empath, and how she is bought by this family… And it’s the way that Klara’s character basically heals and saves this family. And it’s very emotional.

This intimate conversation reveals not just the mechanics of bringing books to screen, but the passion, persistence, and vision required to create lasting cinema. Gabler’s deep love for storytelling and family themes runs throughout her work and this discussion, offering insights into how personal values can shape professional success.

Don’t miss the full conversation on “Don’t Kill the Messenger” to hear more about Elizabeth Gabler’s remarkable journey and insights into some of Hollywood’s most memorable films. 

Don’t Kill the Messenger, hosted by movie and entertainment research expert Kevin Goetz, brings his book Audienceology to life. This bi-monthly podcast takes a peek behind the filmmaking curtain as Kevin talks with famous filmmakers, studio executives, stars, and other creatives about movies, filmmaking, audience test screenings, and much more.

Don’t Kill the Messenger welcomes director and producer, Brad Furman

In this episode of Don’t Kill the Messenger, host Kevin Goetz welcomes director and producer Brad Furman, known for films like The Lincoln Lawyer and City of Lies. The episode opens with Furman reading a touching tribute letter he wrote after the passing of his friend, filmmaker John Singleton, setting the tone for an intimate conversation about perseverance, mentorship, and the evolution of his career.

Brad Furman on Audience Testing with Kevin Goetz:

I remember meeting you on my first film, The Take with Clint Culpepper in around 2006, and you approached the process with so much love and care. I was this like little itty bitty filmmaker and you had this presence about you and you treated me in a manner that was so kind and caring. You really deeply cared that I heard the information that I was educated on, the information that I was being taught, how to make a better film and to use the information to my benefit. And that was applicable on every movie. I mean, you tested The Take for me, Lincoln Lawyer for me, Runner Runner. I learned a ton.

His early Hollywood years included a pivotal role as Julia Roberts’ assistant, though he initially hesitated to take the position. He recalls his first meeting with powerhouse agent Elaine Goldsmith Thomas: “I showed up to her office door and she was on a loud call with someone and she snapped at me… And I said, ‘You don’t have to yell at me. I’m Brad Furman, it’s a pleasure to meet you.'” That moment of self-respect earned him not only her respect but also a life-changing opportunity.

The Lincoln Lawyer Journey

Furman shares his regret about leaving Lakeshore Entertainment after the success of The Lincoln Lawyer. He reflects on lessons learned from working with Tom Rosenberg and the challenges of navigating studio politics.

On working with Tom Rosenberg:

I was young, I was extraordinarily young. And what I didn’t understand was Tom was like a father to me. You know when your father gives you brilliant wisdom but you can’t hear it or you don’t want to hear it. I was this unabashed kid who didn’t want to hear the wisdom. I wanted it my way and he wanted it his way. And that’s where the friction came from. But that is on me. I don’t put that on him.

Personal Growth and Current Projects

Furman views his career through a sports metaphor: “I’m in my Michael Jordan years right now, meaning I’ve been kicked around. I went through the eighties where I lost and now I’m in the nineties. I’m in my prime years.” This growth extends beyond filmmaking: “When I sit with my daughter at the beach, when we were making People Not Places and we were just alone watching the sun go down, I never felt peace or joy at that level.”

From his early days making The Take with John Leguizamo, through the breakthrough success of The Lincoln Lawyer with Matthew McConaughey, to battling to release City of Lies with Johnny Depp, and now creating intimate character studies like People Not Places with Shirley MacLaine, Brad Furman’s career demonstrates remarkable range and resilience. 

For the full conversation, check out the podcast episode here. And let us know your thoughts on the episode in the comments!

Don’t Kill the Messenger, hosted by movie and entertainment research expert Kevin Goetz, brings his book Audienceology to life. This bi-monthly podcast takes a peek behind the filmmaking curtain as Kevin talks with famous filmmakers, studio executives, stars, and other creatives about movies, filmmaking, audience test screenings, and much more.