- Born
- Birth namePeter Benton Bart
- Height5′ 9″ (1.75 m)
- Peter moved to Deadline in 2016 from his longtime home at Variety, where he had been a fixture since 1989 as that trade's Editor-In Chief. He began his career as a staff reporter for The Wall Street Journal and The New York Times before his entry into the movie business, becoming Vice President for Production at Paramount. At that studio, he played a key role in such films as The Godfather, Rosemary's Baby and Harold & Maude. He later served as Senior Vice President for Production at MGM and, later, as President of Lorimar films. Peter is also the author of nine books, and is a member of PMC's board of advisors.
- IMDb mini biography by: Deadline Official Website - Peter Bart is Editor-at-Large at Deadline and also serves as a PMC Advisor. Prior to his current role, Peter was Editor-at-Large at Variety and also served as Variety's Editor-in-Chief for twenty years, from 1989 until 2009.
Peter began his career as a staff reporter for The Wall Street Journal and The New York Times before his entry into the movie business, becoming Vice President for Production at Paramount Pictures. At that studio, he played a key role in such films as The Godfather, Rosemary's Baby and Harold & Maude. He later served as Senior Vice President for Production at MGM and, later, as President of Lorimar films.
Bart is the author of nine books and the father of two children.
- IMDb mini biography by: PMC Official Site Bio
- SpousesPhyllis Fredette(August 8, 2008 - present)Leslie Cox(February 23, 1982 - 2005) (divorced)Dorothy Callmann(November 4, 1961 - June 4, 1981) (divorced, 2 children)
- Children
- RelativesMadeleine Centrella(Grandchild)Roger Bart(Niece or Nephew)
- Uncle of Roger Bart
- Father of Colby P. Bart and Dilys J. Bart.
- Editor-in-Chief of Daily Variety, the show business newspaper.
- Wrote his first novel, Dangerous company: Dark Tales from Tinseltown. Thirteen short stories about characters based on real-life entertainment industry members. (January 2004).
- In charge of production at Paramount Pictures in the late 1960s and early '70s.
- I despair at what's happening as an effect of the whole celebrity culture and the way the media covers it because, for one thing, it's changing the nature of movie stars and what they are and how they live. Stars are like hunted animals today. They really feel afraid to emerge from their compounds with their posses and go to clubs or restaurants and try to live like normal people live. They do feel that they, to a large degree, have to hide because wherever they go, paparazzi [are] hanging outside their home. The Hollywood that I first came to, throughout the '70s and '80s, you walk down the street in Beverly Hills, Fred Astaire, [James Stewart, all these old stars would be ambling by. You go into a restaurant, it was no big deal about being a legend. I would eat lunch every day next to John Wayne, who would grouchily eat his steak and drink his beer and talk about what idiots the Democrats are.
- You know, making The Godfather (1972) was such an extraordinarily unpleasant experience in every aspect that I've avoided thinking about it or talking about it for 30 years. It's one of those things where you say to yourself, "This could not have happened". Everybody turned on everyone else. The president of the company was fired during it. And one of the things I've found I repressed in recent years was, I woke up one morning and I thought, as an ex-journalist, I am not a naive person, you are not a naive person, but I realized that there really was a plot afoot during the third week of shooting The Godfather (1972) to fire Francis Ford Coppola.
- It takes too long for a project to wend its way from development to release these days.
Not long ago, it was possible to make a deal for a project and steer it into production within a year. Albert S. Ruddy and I once pushed a movie from one-liner to start date within four months! It was called The Longest Yard (1974) and it made a lot of money... The business used to have a bit more spontaneity. - [Late Show Interview] One reason actors don't strike well is, actors don't like other actors.
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