Paul Schrader Blames Michael Ovitz for Robert De Niro’s Career Missteps
Renowned filmmaker and screenwriter Paul Schrader is known for his candid and sharp insights into Hollywood, and this time, he’s taken aim at one of the industry's most influential power players—CAA co-founder Michael Ovitz. In a recent interview, Schrader laid the blame on Ovitz for what he perceives as Robert De Niro’s descent into roles that were beneath his talent.
During the conversation, Schrader explained the dynamic that, in his view, “trapped” actors like De Niro into less-than-stellar film choices. Ovitz, who played a pivotal role in shaping the careers of icons like Tom Cruise and Steven Spielberg, apparently had a specific strategy: identifying his clients’ personal interests and using them to lure them into projects. Schrader claimed that Ovitz would exploit their needs, particularly financial ones, by offering projects that, while not artistically fulfilling, came with significant paychecks.
Schrader described Ovitz’s approach as almost devilish, saying, “The devil was named Mike Ovitz. He had a scheme. He’d find something the actor liked—whether it was real estate, art, or something else—and encourage it. Then, when they needed money, Ovitz would swoop in with a solution: ‘I’ve got a film for you. It’s not a great film, but it’s a great paycheck.’”
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He went on to illustrate how Ovitz attempted to bring him into the fold, but Schrader resisted. He recounted a memorable moment when Ovitz invited him to a Lakers game shortly after their first meeting. Schrader declined, bluntly saying, “I just met with him. I don’t want to see him again.” Unlike many actors and filmmakers who fell into Ovitz’s web, Schrader claimed Ovitz never found his “point of weakness,” allowing him to maintain artistic integrity.
For Schrader, this was emblematic of a broader shift in Hollywood during the 1980s and 1990s. As the industry evolved, financial priorities and market testing began to overshadow creative storytelling. Schrader recalled how studios gradually shifted from taking risks to playing it safe, prioritizing profits over art. He specifically noted that during the 1970s, artists were at the forefront of Hollywood, shaping the narratives and driving the creative vision. But by the time Barry Diller brought heavy market research to Paramount, the message became clear: “We know what we want now.”
Schrader’s frustrations highlight a recurring critique of Hollywood—how business decisions can stifle an artist’s career and legacy. While De Niro remains one of the greatest actors of his generation, Schrader believes Ovitz’s influence led him to accept projects for financial stability rather than artistic fulfillment.
It’s a harsh but fascinating insight into the unseen power struggles of Hollywood’s elite, where even the most celebrated actors can find themselves stuck in a cycle of compromises. For Schrader, the lesson is clear: when money drives decisions, creativity suffers.
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