My Journey Through ‘Jennifer 8’

The influence and impact of Scott Rudin, a prominent figure in the entertainment industry, cannot be understated. Numerous accounts have emerged, as highlighted in “Everyone Just Knows He’s an Absolute Monster: Scott Rudin’s Ex-Staffers Speak Out on Abusive Behavior” published by The Hollywood Reporter on April 7, 2021. Interestingly, my own personal experience with Scott Rudin dates back three decades. It was during Labor Day Weekend in 1991 when I held the position of Director’s Assistant at Paramount Studios, working alongside the esteemed Academy Award-nominated Director-Writer, Bruce Robinson, known for his notable works such as “The Killing Fields” and “With Nail and I.” Our collaborative project at the time was the chilling serial-killer thriller titled “Jennifer 8,” slated for release in 1992.

In the midst of the creative process, I became acquainted with the darker side of Scott Rudin’s reputation for the first time. His notorious behavior, as recounted by former colleagues and employees, began to align with my own encounter. Though my personal experience may not have been as extreme as others, it nonetheless left a lasting impression.

As I reflect on that period, it becomes apparent how the revelations and discussions surrounding Scott Rudin’s behavior shed light on a systemic issue within the industry. My involvement with Bruce Robinson and the production of “Jennifer 8” serves as a testament to the resilience and dedication of those working in Hollywood, even in the face of challenging circumstances.

Setting the Scene: Turmoil and Tension During Labor Day Weekend 1991

It was a late Friday afternoon, and the Paramount Lot was winding down as the weekend approached. Bruce, the individual I had been assisting for several months, had departed for a well-deserved holiday, the destination of which remained undisclosed. Throughout my time with Bruce, I had taken on various responsibilities, including the task of transcribing his type-written script into a digital format using an early PC scriptware program. This particular script had only received the green light in mid-July, marking an exciting milestone in its development. The preproduction phase had recently concluded, culminating in the successful casting of Uma Thurman and Andy Garcia as the film’s stars.

Inciting Incident

Being involved in the development process was a source of pride for me, and I eagerly anticipated my role during the actual production in Vancouver, scheduled for September. Bruce’s producer, David Wimbury (1947-2009) (known for his work on “The Commitments”), had explicitly informed me that Bruce would be unavailable during that weekend, without providing me with any means of contacting him. It was worth noting that mobile phones were not yet prevalent within our group at that time.

Amidst the anticipation and excitement surrounding the project, I diligently carried out my duties, maintaining the script’s digital version and ensuring its smooth progression.

CUT TO:

INT. PARAMOUNT STUDIOS – DIRECTOR’S OFFICE – DAY

A corkboard displays script pages, concept art, and production notes. Typewriter keys clack softly, merging with the hum of a vintage computer monitor.

The young assistant, MICHAEL, age 29, sits at the cluttered desk, typing fervently. ’90s attire and determination define their presence. Sunlight bathes the room, emphasizing their focused expression.

A ringing telephone disrupts the tranquility. Michael’s eyes widen, swiftly grabbing the receiver.

CUT TO:

Confronting the Beast

At the conclusion of the day, Scott Rudin, a prominent executive producer affiliated with Paramount Studios, tasked his assistant with contacting me in order to obtain contact details for Bruce. In a courteous manner, I explained that Bruce was currently on vacation and regrettably, I did not possess any information to share. However, a few moments later, Scott personally dialed my number and insisted on obtaining the requested information. I reiterated the same response I had given his assistant. In an unsettling manner, Scott proceeded to issue explicit threats, making it abundantly clear that the consequence of my refusal to provide him with Bruce’s contact information would be the termination of my career in the Hollywood industry. Amidst his forceful words, he resorted to using profanity to emphasize his point. Despite the intimidating tone, I remained steadfast and repeated what I had previously conveyed to his assistant. Abruptly, Scott terminated the call, leaving me hanging in the air for that long three day weekend..

A lingering sense of unease

Following the distressing encounter with Scott Rudin, I promptly reached out to David to inform him about the incident. The entire experience left me with a lingering sense of unease, fearing that Tuesday would mark the end of my employment, as threatened by Scott. Several weeks passed, and unexpectedly, I received another call from Scott’s office. This time, however, it was an invitation to attend the exclusive studio lot screening of “Little Man Tate,” which marked Jodie Foster’s directorial debut. It was an honor to be invited to such an event.

As I arrived at the theater, to my surprise, Scott Rudin stood at the entrance alongside Jodie Foster, extending a cordial greeting, addressing me by name. However, beyond the initial pleasantries, no further mention was made of our previous encounter. It appeared that the incident had been set aside, and I was able to enjoy the screening without any further tension or confrontation.

No good deed goes unrewarded: How it All Ended After Confronting Scott Rudin

On a different note, David made the decision to remove me from working on the production when they relocated to Vancouver. Despite this setback, I remained resilient and continued my career in Hollywood for an additional seven years, taking on new opportunities and contributing to various projects within the industry.

About Scott Rudin

Scott Rudin (born July 14, 1958) is an American film, television, and theatre producer. His films include the Academy Award-winning Best Picture No Country for Old Men, as well as Uncut Gems, Lady Bird, Fences, The Girl with the Dragon Tattoo, The Social Network, South Park: Bigger, Longer & Uncut, School of Rock, Zoolander, The Truman Show, Clueless, The Addams Family, and eight Wes Anderson films. On Broadway, he has won 17 Tony Awards for shows such as The Book of Mormon, Hello, Dolly!, The Humans, A View from the Bridge, Fences and Passion.

He is one of eighteen people who have won an Emmy, Grammy, Oscar, and Tony (EGOT).

In 2021 Rudin stepped back from his Broadway, film and streaming projects following The Hollywood Reporter allegations of abusive behavior towards his employees; Rudin’s name was subsequently removed from a number of upcoming films, and Rudin’s business relationship with the studio A24 was terminated.