Don’t Kill the Messenger welcomes Oscar-winning producer and Hollywood mogul, Brian Grazer

In this episode of Don’t Kill the Messenger, host Kevin Goetz interviews legendary producer Brian Grazer. As co-founder of Imagine Entertainment with Ron Howard, Grazer’s films and television shows have earned 47 Oscar nominations and 242 Emmy nominations, with his movies grossing nearly $15 billion globally. Known for hits like A Beautiful Mind (which won him the Academy Award for Best Picture), Apollo 13, and Friday Night Lights, Grazer opens up about the power of curiosity, the secret to his 40-year partnership with Ron Howard, and the magic of connecting with audiences through emotionally elevated storytelling.

Kevin Goetz on Brian Grazer:

You are one of my favorite people in the entire business for so many years and for so many reasons. There’s a sense of humility that you have that you’ve retained despite your enormous success, and I think that’s your superpower.

A transformative moment came when Grazer watched E.T. at the Cinerama Dome. This experience would shape his entire approach to filmmaking and define the kind of emotional impact he wanted his own movies to have:

“Always going to a movie theater was the experience that was really hostile and aggressive, fighting for a parking spot, fighting for a ticket, trying to get in the line for the food and hope your seat doesn’t get taken. Endless stuff like that… The movie E.T., everyone did exactly the same thing, aggression, but the end of the movie, zero aggression, zero, no pushing, no shoving, people’s consciousness, emotional energy, everything was elevated in a transcendent way… And I thought, I want to make movies that lead to an ending like that, where you are elevated, you’re inspired, it’s aspirational.”

Oscar Night Memories

Grazer’s refreshingly candid account of winning an Academy Award reveals both the pressure and joy of the moment. His vulnerability in sharing this experience offers a rare glimpse into the reality of Hollywood’s biggest night:

“The thing that heightened my sense of nerves was in the front row of the Oscars were all of the female stars that were making a difference in that generation. Renee Zellweger, Julia Roberts, Meryl Streep, Nicole Kidman… And I saw Nicole Kidman’s lips move like, Brian, you can do it. And it was so moving to me… because all those girls knew me personally.”

The Art of Human Connection

Throughout his career, Grazer has approached every world “with a beginner’s mind, with complete innocence, whether it’s science, medicine, politics, religion, all art forms.” This philosophy led to two books about the power of curiosity and human connection. His approach to decision-making remains deeply informed by these countless conversations: “I’m not coming to any decision that’s certainly creative as a dilettante. I’ve talked to such a variety of people and really paid attention.”

Grazer’s remarkable career demonstrates the power of curiosity, emotional storytelling, and human connection in creating impactful entertainment. From his early days selling newspaper subscriptions to winning an Oscar for A Beautiful Mind, Grazer’s journey shows how maintaining humility, following one’s instincts, and seeking deeper meaning in stories can lead to a legacy of success in Hollywood.

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.

Don’t Kill the Messenger welcomes producer and studio executive, David Friendly

In this episode of Don’t Kill the Messenger, host Kevin Goetz interviews David Friendly, whose remarkable career transition from journalism to film production led to an Academy Award nomination for Best Picture with Little Miss Sunshine. David worked with industry giants like Ron Howard and Brian Grazer before establishing himself as a successful producer. His producing credits include Courage Under Fire, Dr. Dolittle, Big Momma’s House, Laws of Attraction, and the hit USA Network series Queen of the South. In this conversation, Friendly shares candid stories about his career transition, the making of Little Miss Sunshine, lessons learned from his mentors, and his perspective on an ever-changing industry.

David Friendly on Kevin Goetz and Audience Testing:

But those screenings you do, I want to talk about what you do just for a second. I don’t think you’re really as conscious of how nervous producers are at the first test screening. You kind of see if you let the negative come up, you’re thinking this might be the last one if it fails, and then you let the positive come up and you’re like, what if it really works? You are sweating and anxious and you’re trying to perceive how it’s playing and when it goes well, it is such a rush. And when it goes poorly, it’s just awful. Terrible.

His breakthrough came during the writers’ strike at Imagine Entertainment. Under pressure from Brian Grazer to “find us a movie,” Friendly discovered Backdraft. “I said, I like the brother relationship. I think fire as a character is really interesting… I don’t think the script is perfect by any means, but I think it can be a real movie.” This helped launched a successful tenure at Imagine that included bringing in projects like My Girl and Kindergarten Cop.

Wisdom for a Changing Industry

Friendly approaches the industry with what he calls two metaphorical tattoos: “The first word is acceptance, and the second word is gratitude.” This philosophy has helped him navigate industry changes, leading to successful ventures like the television series Queen of the South.

His career continues to evolve, as demonstrated by his recent work on a Dolph Lundgren documentary. “I think sometimes you learn the most by making the biggest possible mistake,” he reflects.

The Value of Mentorship

The influence of his early mentors, Ron Howard and Brian Grazer, remains strong: “I cannot believe all these years later how many times I would be in a difficult situation… And I’m constantly hearing their voices in my head and Brian’s saying one thing and Ron’s like, ‘yeah, but maybe be a little calmer about it.’ And I hear them all the time and I take their advice and it’s served me well.”

In this conversation with his friend, Kevin Goetz, David Friendly shares how his journey from journalist to successful producer demonstrates that success in Hollywood requires more than just talent—it demands adaptability, resilience, and the wisdom to learn from both successes and failures. 

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.

Don’t Kill the Messenger welcomes super agents and producers, Paula Wagner and Rick Nicita

In a recent episode of Don’t Kill the Messenger, host Kevin Goetz sat down with Hollywood power couple Paula Wagner and Rick Nicita to discuss their impressive careers as agents and producers. With decades of experience in the entertainment industry, Wagner and Nicita offer a unique perspective on the world of talent representation, film production, and the changing landscape of Hollywood.

Wagner has worked in the top ranks of the entertainment industry as a talent agent, studio executive, and producer. She co-founded Cruise/Wagner Productions with Tom Cruise, producing blockbuster hits like the “Mission: Impossible” franchise. Nicita worked as a successful talent agent for 5 decades before turning to production and consultation. He is currently Chairman of the American Cinematheque. Together, Wagner and Nicita offer insight into cultivating some of the most successful careers in Hollywood.

Kevin Goetz on Paula Wagner and Rick Nicita:

Let’s stop for a second and say this — taste, taste and taste, which is, you both have it. And I know it only because I’ve worked with you in different iterations. And your sense of material, your sense of what makes story work, your appreciation of research, quite frankly, and the respect for the audience has always been very impressive to me in what I do.

Throughout the interview, both Wagner and Nicita emphasized the importance of looking beyond individual deals to focus on building sustainable careers for their clients. Nicita explained:

“Each decision is supposed to not make you rich. Worry about that later. It’s supposed to expand opportunities so that if you do this, you’ll have more opportunities. And if you do the next one, you have even more opportunities.”

Wagner added her perspective on what made her successful as an agent:

“I became the agent I always wanted to have. And I saw myself as an advocate.”

The Changing Landscape of Hollywood

Both Wagner and Nicita offered their thoughts on the current state of the entertainment industry and its future. Wagner observed:

I think movies aren’t going away and there’ll be a renaissance for film. I just don’t think that movies are at the center of our culture the way they used to be. It used to be that movies defined culture or reflected culture.

Nicita added:

We’re all going to be fine because human beings want stories told with visual representations if possible. Therefore, there will be a consistent appetite. The technology and the culture will stagger along trying to figure out how to get these stories with visual representations to the audience. But the audience is there.

Broadway and Beyond

Wagner has recently turned her attention to Broadway producing. She shared details about upcoming projects, including a stage adaptation of High Noon:

More than thinking we are doing High Noon for Broadway next year. It’s the playwriting debut of an extraordinary screenwriter, Eric Roth. It really was an allegory for the blacklist. And if you transpose that to our time…Eric has written an extraordinary script.

Paula Wagner and Rick Nicita’s careers offer a unique, insider perspective on the genesis of some of Hollywood’s biggest names. Wagner’s journey from actress to top agent, then to successful film producer and now Broadway impresario, demonstrates her versatility and understanding of the creative process. Nicita’s legacy as a powerhouse agent and his transition to production and consulting highlight his expertise in talent management. Together, their experiences at CAA, Cruise/Wagner Productions, and beyond provide for a fascinating look at how stars become stars.

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.

Don’t Kill the Messenger welcomes Oscar-winning director, producer, and actor, Ron Howard.

In this special 50th episode of Don’t Kill the Messenger, host Kevin Goetz interviews legendary actor and director Ron Howard. Ron Howard’s extraordinary career spans over six decades, starting as a child actor on The Andy Griffith Show and Happy Days before emerging as one of Hollywood’s most successful and versatile directors. His directorial achievements include critical and commercial successes such as Splash, Cocoon, Parenthood, Apollo 13, A Beautiful Mind (for which he won the Academy Award for Best Director), Rush, Thirteen Lives, and the upcoming Eden. In this intimate conversation, Howard discusses his remarkable journey, his philosophy on maintaining artistic vision while always respecting the audience’s point of view, and his experiences working with some of Hollywood’s biggest names.

Ron Howard on loyalty:

So to me, my loyalty first and foremost is to, what I hope is this intersection between my sensibilities, the project, and an audience. And that’s where your work comes in so significantly. But I don’t believe that I know what’s going to be a hit. I am not a brilliant marketing guy, that is more of a Michael Rosenberg, and Brian’s very gifted in that way as well. But the one thing I have control over is the storytelling and using those materials that I’ve been able to gather through the filming to try to land the plane, you know, to make sure that it reaches the audience. It’s a communication. It’s meant to achieve some connection with the audience. And once I’ve done that to the best of my ability, it works out better with some films than with others. But I can always move the needle toward that connection so that I feel that, well, if an audience member chooses to watch, there’s a really high percentage chance here that they’re going to enjoy it, that they’re going to appreciate it. They’re not going to feel like they wasted their time.

One of the most memorable experiences in Howard’s early directing career was working with the legendary Bette Davis. At just 25 years old, Howard found himself directing Davis in a television movie. He recounts the initial tension, with Davis insisting on calling him “Mr. Howard” until she decided whether she liked him or not.

Howard recounts a memorable experience with Bette Davis:

At a certain point, late in the day, she was having trouble with this one exit, the timing wasn’t right. And I suggested that she leave, I don’t know, either earlier or later, and hesitate before she got to the door and turn around and, and go or something. And she says, oh no, that won’t work. I, that’s, no, that’s not, I, I, no, that’s, that’s a bad idea. And I said, well, would you just try it for me? And she said, well, certainly I’ll try it because you know, I’ve always been the director’s kid. I’ll try anything. So we tried it. We got through the rehearsal, and she did the move, changed the timing, and immediately turned around and said, you’re right. That works better. Okay, let’s shoot it. We shot it. She did it that way. It went well. We finished out the day. When it was over. I said, well, Ms. Davis, you’re wrapped great first day, thanks, I’ll see you tomorrow. And she said, okay, Ron, see you tomorrow. And she patted me on the ass.

Winning the Oscar for A Beautiful Mind

Howard vividly recalls the night he won his Oscar:

This is a kind of wild, Kevin, because there was a number of things that went on. First it was a relief because people sort of expected me to get it, but it had been expected that I would be a candidate for Apollo 13, and I wasn’t nominated.

He also shared an insider story about Mel Gibson presenting the award:

So I went up, I did remember my speech, more or less. I did that. And on the way out, I said to Mel, show me that fricking card. I might not have said frick. And he showed it to me, and thank God it had my name on it. So, oh man, it was a good, it was a good moment.

Balancing Art and Audience

One of Howard’s strengths as a director is his ability to create films that are both artistic and audience-pleasing. He explains his perspective on this balance, emphasizing the importance of understanding and respecting the audience while maintaining artistic integrity. He explains:

Well, it is a dance, and it must be undertaken with real thought and consciousness. Because the audience, of course, they know what they like and they know what they don’t like. They don’t necessarily know why. It begins with art. It begins with a desire to communicate something. Whatever the tone, whether it’s silliness and fun, look, everything carries a theme with it and a set of ideas, or it won’t even register with an audience.

Howard emphasizes the importance of understanding audience feedback:

When you start sharing it with an audience, the challenge is to understand what the questions are and what the answers could be and how they could help you. The question is, what do you think? Look, it’s a little bit like if you tell a joke at a party and you don’t tell it very well, it doesn’t get much of a laugh, but you know there’s something funny there. Maybe the next time you tell it better and it does get a laugh. So the spirit of the joke, the idea of the joke remains the same, but the delivery improved. So this is really about understanding how the ideas are being delivered and what it’s adding up to. And when you get the answers back, it’s sometimes it’s pretty heartbreaking to you as a creative person. But if you understand the information, the feedback that you’re getting, you then get to make a value judgment. You get to make a decision.

Ron Howard’s career is a testament to his enduring talent, adaptability, and passion for storytelling. From his early days as Opie on The Andy Griffith Show to winning an Oscar for A Beautiful Mind, Howard has consistently delivered compelling narratives across a wide variety of genres. His ability to balance artistic vision with audience expectations has resulted in an acclaimed body of work that resonates with both critics and viewers. Ron Howard remains a well-loved and innovative figure in Hollywood, always seeking to push the boundaries of filmmaking while maintaining a deep respect for the audience.

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, a