Buzz
On a movie set, the director is often the most powerful figure, crafting the narrative that integrates all aspects of filmmaking into a seamless, captivating, emotional, and, if everything aligns, a lucrative masterpiece. The legendary egos, outbursts, quirks, and influence of these Hollywood giants are famous, but they aren't the only ones holding the reins in Tinsel Town.
There are others with egos just as immense or even bigger, who wield even more influence and power in the entertainment industry. Some of them are producers, others are stars who are meant to be subordinate to the very directors they challenge. When such heavyweights clash, it's inevitable that one will fall. Fortunately, many of these setbacks are brief, as directors of such high caliber and achievement are too invaluable and skilled to remain sidelined for long.
10. Peter Godfrey and Joseph von Sternberg
These two directors were responsible for different sections of the same film and were both dismissed by the same individual, so we’re considering them as a pair.
Howard Hughes had assembled the perfect cast for his film: Janet Leigh and John Wayne. He had the plot: a Soviet spy defects, travels to Alaska, marries her handler, and the newlyweds return to Russia, only to flee for their lives after a series of twists. He also secured financing, with the billionaire funding the project himself. What he still needed was a director.
He hired Peter Godfrey from Warner Bros., but dismissed him in a matter of days, replacing him with Joseph von Sternberg. The blunt Sternberg quickly alienated the stars and was soon let go, though he was briefly rehired before being fired again. While Sternberg retained the credit for directing, it was the film’s third director, Jules Furthman, who had co-written the script with Hughes, who ultimately completed the movie, a full seventeen months after filming had begun. Hughes was dissatisfied with the final product and refused to release it. By the time he finally agreed to distribute it, the technological aspects of the film had become outdated, and the movie resulted in substantial financial losses. While this may not have been a huge sum for the billionaire, Hughes’s wounded pride was likely far more painful.
Godfrey, who had previously been an actor, had directed stars like Barbara Stanwyck, Humphrey Bogart, Errol Flynn, Ida Lupino, and Mickey Rooney. Sternberg’s resume included numerous films featuring Marlene Dietrich, including The Blue Angel (1930), along with directing major stars such as Gary Cooper, Cary Grant, and Cesar Romero.
Only Furthman, mainly a screenwriter, lacked notable directing experience, but neither he nor the other two well-established directors Hughes hired could satisfy the billionaire’s vision. This was no more successful than Hughes’s own disastrous 1957 film, Jet Pilot, which failed to please both critics and audiences.
9. Anthony Mann
Despite an extensive search for the right director for Spartacus (1960), starring Kirk Douglas, the initial choice didn’t last long. Douglas’s close friend and advisor Lew Wasserman, president of the MCA talent agency, recognized the need for a strong director if he and Douglas, who also produced the film, were going to sell their pitch to Universal Pictures. Delmer Daves was unavailable due to ‘heart problems.’ Peter Glenville was busy directing a Broadway play. Stanley Kubrick was already committed to One-Eyed Jacks (1961). David Lean turned down the offer.
Douglas had a fondness for Joe Mankiewicz, but Wasserman rejected his selection, insisting the film’s massive projected budget required a ‘technician they [could] manage’ rather than an artist. Initially, Douglas passed over Anthony Mann, who was mostly known for directing Westerns, saying, ‘I had no interest in doing a ‘shoot ’em up’ with spears.’ Eventually, when no other options presented themselves, Douglas reluctantly hired Mann, and filming began.
The reasons behind Mann’s departure vary. Mann claimed that he wanted to tell the story primarily through visuals, while Douglas insisted on using dialogue. Douglas stated that the decision to let Mann go came from studio executives. There are also differing accounts regarding whether Mann left voluntarily. Both Mann and producer Edward Lewis assert that Mann chose to leave, while Douglas suggests that he was forced out. According to Lewis, Mann’s departure was voluntary, though he was effectively pushed toward the decision by the pressure of dealing with what amounted to ‘four additional directors and screenwriters.’
Another perspective offers a clearer conclusion on whether Mann quit or was fired. According to Douglas’s biographer Michael Munn, ‘The film was first and foremost Douglas’s vision,’ which is why he ‘named himself executive producer to ensure it was made his way.’ Tony Curtis, who played the slave Antoninus, explained that Douglas wanted the movie to focus on both ‘the love story’ and the rebellion of the slaves, and the ‘disagreements over this core concept led to Mann’s dismissal two weeks into production.’
8. Alex Cox
After a few missteps, Alex Cox had built a strong reputation for producing successful films, including Repo Man (1984), Sid and Nancy (1986), and El patrullero (Highway Patrolman) (1991). Then, the opportunity to direct Fear and Loathing in Las Vegas (1998) came his way. However, Cox was fired shortly after taking the job, and the directing role was given to Terry Gilliam instead.
Cox’s dismissal seems to have stemmed from a conflict with gonzo journalist Hunter S. Thompson, whose book the film was based on. The tension between the director and the author became a story in itself, eventually inspiring part of the documentary Breakfast with Hunter (2003).
It seems that Cox may have been dismissed as much for his 'fiercely independent punk spirit' and political stance as for any creative differences with Thompson. His independence seemed to lead to him being 'increasingly shunned by mainstream Hollywood,' and specifically from Fear and Loathing. This ostracism by the powers of Tinsel Town has pushed Cox more toward making films in Europe rather than in Hollywood.
7. John Avilden
John Avilden, who directed Save the Tiger (1973) and Rocky (1976), the latter earning him the Academy Award for Best Director, came to Saturday Night Fever (1977) with an impressive list of achievements that made him a top choice as a director. Despite this, his clashes with the movie’s producer resulted in his removal from the director’s chair.
According to producer Robert Stigwood, Avilden irritated him by continuously 'changing the script,' trying to turn Saturday Night Fever into 'another Rocky.' When associate producer Milt Felsen confronted Avilden about Stigwood’s concerns, the director argued that he only wanted 'a few changes' to ensure the film had 'an upbeat ending.' Despite Felsen’s advice to 'back off' to avoid angering Stigwood, Avilden pressed on. Shortly after, he was dismissed.
Being fired was nothing new for Avilden. He had previously been let go from projects such as The Stoolie (1972) and Serpico (1973). Later, he would also be dismissed from Kramer vs. Kramer (1979), Space Camp (1986), and Gone Fishing (1996). Additionally, Macaulay Culkin’s father, Kit, refused to work with Avilden on Richie Rich (1994). Hollywood’s price for independence was steep, but Avilden was willing to pay it.
6. Philip Kaufman
Although Philip Kaufman earned the New Critics Prize at the Cannes Film Festival in 1964 for his direction of Goldstein, as well as the applause of famed French director François Truffaut during the film’s screening, it was not until Kaufman worked with Clint Eastwood on The Outlaw Josey Wales (1976) that he had the opportunity to direct a major star. Kaufman had previously directed Jon Voight in Fearless Frank (1967) and Robert Duvall in The Great Northfield Minnesota Raid (1972).
While revising the script for The Outlaw Josey Wales, Kaufman opted to have the outlaw's enemies relentlessly pursue him throughout the film, rather than having them abandon their pursuit as in earlier versions of the screenplay. Eastwood believed that this new direction would enhance suspense, and he was so impressed by the change that he decided Kaufman should direct the movie.
However, it wasn’t long before some of the crew began to have doubts about Kaufman. His indecisiveness was noted, a characteristic that didn’t mesh well with Eastwood’s impatience. Tensions grew when Kaufman filmed a Comancheros’ attack on Wales’s wife, Laura Lee, before Eastwood arrived at the location. Neither producer Bob Daley nor Eastwood were happy with the footage, with Daley describing it as 'milquetoast.'
Further complications arose, including Kaufman’s perceived inefficiency and the growing concerns about the film being completed on time and within budget. Eventually, Eastwood made the difficult decision to fire Kaufman. 'It’s the hardest thing I ever did in my life,' Eastwood later remarked. With Kaufman out, Eastwood took over the directing duties in addition to his acting role. As a consequence of this, the Directors Guild enforced a rule prohibiting the replacement of one of its members by someone else from the crew of a film once that member had been removed.
5. Kevin Jarre
Kevin Jarre’s career faced a setback after his departure from Tombstone (1993), which starred Kurt Russell. There were several reasons for Jarre’s dismissal. The film was behind schedule and the costs were escalating. Actors began to resent the rigid instructions on how to move and deliver their lines. Jarre struggled with sequencing shots and crafting cohesive scenes. Executives were dissatisfied with the dailies, and the film became too long, with over thirty scenes having to be cut.
Jarre, whom several crew members, including Kurt Russell, believed was out of his depth, refused to take advice from experienced members of the cast and crew. Co-star Val Kilmer recalled a conversation he had with Jarre, saying, 'Listen, Kevin. It’s collaborative. Kurt’s been doing this since he was three years old. He knows what he’s doing. Listen to him.' Kilmer also encouraged Jarre to consider the insights of other crew members.
Eventually, Kilmer and Russell warned the young director that if he didn’t change his approach, he would likely be fired. 'It’s not working,' Russell told Jarre. 'They’re going to come in here and can you.' Despite these warnings, Jarre remained determined to follow his vision, leading producer Andrew Vajna to dismiss him. 'Kevin was incredibly crushed,' recalled cast member Powers Booth.
4. Richard Thorpe
The Wizard of Oz (1939), starring Judy Garland, has become a beloved classic, but Richard Thorpe’s brief two-week stint as director was far from smooth. After the first week of filming, producer Mervyn LeRoy held a meeting where Buddy Ebsen, the original Tin Man, recalled LeRoy telling the crew that the footage was 'terrible,' 'utter confusion,' and that the actors were being 'berated.'
LeRoy himself felt that Thorpe was not the right fit for the project. 'He was a wonderful guy,' the producer said, 'who made some fine pictures,' but Thorpe didn’t quite capture the emotional 'warmth' required for a fairy tale. 'To make a fairy story, you have to think like a kid.' Victor Fleming, who replaced Thorpe, was able to bring that childlike wonder to the film. The Wizard of Oz went on to earn six Academy Award nominations and won three, though none were for Best Director.
3. Stanley Kubrick
By 1976, Stanley Kubrick had already gained a reputation for directing major cinematic successes, earning critical acclaim with films like Spartacus (1960), Dr. Strangelove (1964), 2001: A Space Odyssey (1968), and A Clockwork Orange (1971). However, despite his illustrious career, even Kubrick couldn't escape being dismissed from his position as the director of One-Eyed Jacks (1976).
Before that, Kubrick had dreamed of adapting the 1935 novel Paths of Glory by World War I veteran Humphrey Cobb. The story, which centered on French soldiers executed for mutiny and later exonerated posthumously, was a project Kubrick was passionate about. However, MGM declined to finance the film, citing their recent release of The Red Badge of Courage (1951), based on Stephen Crane’s 1895 novel, as a reason.
With that plan derailed, Kubrick was offered the opportunity to direct The Authentic Death of Hendry Jones, a film about Sheriff Pat Garrett and Billy the Kid, starring Marlon Brando. Unfortunately, the collaboration didn't go smoothly. The director and the star had significant creative differences, and the production was marked by heated arguments. So intense were the disagreements that Brando felt the need to bang a gong to restore calm. In the end, Brando dismissed Kubrick, renamed the film One-Eyed Jacks, and took on the task of directing it himself.
2. George Cukor
George Cukor, one of Hollywood's most respected directors, was dismissed from the iconic 1939 film Gone with the Wind. The rumor was that producer David O. Selznick let Cukor go because Clark Gable, the star playing Rhett Butler, took issue with Cukor’s homosexuality. This, despite the fact that Cukor and Gable had previously worked together on the 1933 film Manhattan.
While Gable’s alleged homophobia may have contributed to Cukor’s dismissal, another reason for the producer's decision to fire Cukor, as Selznick himself noted, could have been personal conflicts. The producer felt that the director failed to grasp the full 'scope' and 'breadth' of the film, focusing too much on intimate scenes and the female characters.
1. Howard Hawks
Howard Hawks was a multifaceted figure in Hollywood, excelling in multiple roles. As a screenwriter, producer, and director, he worked with renowned actors like Douglas Fairbanks, Jr., Paul Muni, Gary Cooper, Joan Crawford, Edward G. Robinson, James Cagney, Cary Grant, and Katherine Hepburn. His directing credits include classics such as The Dawn Patrol (1930), Scarface (1932), Today We Live (1933), Barbary Coast (1935), Ceiling Zero (1936), Bringing Up Baby (1938), and Sergeant York (1941).
Although it's hard to imagine anyone wanting to let go of such a talented director, Howard Hawks was fired from The Outlaw, a 1943 film starring Jane Russell and Walter Huston. The man behind the dismissal? Billionaire Howard Hughes, who was listed as the director in the movie's credits. Hawks had just completed Sergeant York when Hughes dismissed him, reportedly because Hughes didn't appreciate Hawks's meticulous attention to detail or his occasional walks off the set. Despite this, Hughes seemed to take a personal interest in at least one aspect of the film: designing the scandalous, form-enhancing bra worn by Jane Russell.
