{"id":2091,"date":"2026-06-18T20:37:13","date_gmt":"2026-06-18T20:37:13","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=2091"},"modified":"2026-06-18T20:37:13","modified_gmt":"2026-06-18T20:37:13","slug":"legendary-producer-larry-gordon-at-90-delivers-the-oscar-speech-he-never-got-to-give","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=2091","title":{"rendered":"Legendary Producer Larry Gordon, at 90, Delivers the Oscar Speech He Never Got to Give"},"content":{"rendered":"
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\n\tYou know it was a special night when Jerry Bruckheimer walked to the valet and described what he\u2019d just witnessed in the backyard of Sherry Lansing\u2019s Bel-Air home as \u201cthe greatest speech\u201d he\u2019s ever heard. <\/p>\n

Read more \u2018Awards Chatter\u2019: \u2018Euphoria\u2019 Creator Sam Levinson on Addiction, \u201cSocial Media Mobs,\u201d Nick Reiner and \u201cGoing Out on Top\u201d<\/a><\/p>\n

\n\tOne legendary producer complimenting another after Lawrence Gordon \u2014 best known in Hollywood as Larry, and as a guiding force behind films like 48 Hrs., Predator, Die Hard, Field of Dreams<\/em>, Lara Croft: Tomb Raider<\/em>, Hellboy<\/em> and dozens of others \u2014 took home Producers United\u2019s inaugural Legacy Award at the organization\u2019s first major fundraiser. <\/p>\n

\n\tThe intimate affair, spread across Lansing\u2019s lawn with sweeping views of the city, was filled with some accomplished, dogged and (currently) beleaguered producers in the business along with industry insiders like CAA\u2019s Kevin Huvane. Before Gordon took to the stage to accept his trophy, he was gifted with praise from two other legends of the field, married producers Frank Marshall and Kathleen Kennedy. Marshall, who met him first in the 1970s, when they made movies like The Driver <\/em>and The Warriors<\/em> together. \u201cAnd somewhere in there, Larry became our family,\u201d Marshall noted.<\/p>\n

\n\t\u201cI came into Larry\u2019s life just a little bit later,\u201d Kennedy continued, \u201cbut for the last 30 years, he and I have been in the trenches together on something we both believed in deeply \u2014\u00a0the producers\u2019 code of credits for the PGA and getting the [Academy of Motion Picture Arts & Sciences] to recognize the people who actually do the work of producing. It was a long fight. There were plenty of moments we didn\u2019t think we\u2019d succeed, but Larry never wavered. That\u2019s who he is \u2014\u00a0always looking out for the rest of us.\u201d<\/p>\n

\n\tMarshall said fighting for the integrity of credits mattered a lot to him personally as well, \u201cbecause we\u2019ve all watched producing credits get handed out as favors, traded like currency, attached to people who never set foot on set.\u201d (The fight is the heart of the mission for Producers United, an advocacy group of 300 dedicated to protecting and advancing the rights of career producers in film and TV.)<\/p>\n

\n\tThe couple cited Gordon\u2019s special skills in producing movies like 48 Hrs., Field of Dreams<\/em> and Die Hard<\/em>, all which took a level of tenacity and vision to get made. \u201cEverybody in this town now talks about it like it was inevitable,\u201d Kennedy said of Die Hard<\/em>. \u201cIt wasn\u2019t. Larry has said it himself. Every action star in Hollywood turned that part down. [Sylvester] Stallone, [Arnold] Schwarzenegger, [Clint] Eastwood, [Harrison] Ford, Burt Reynolds. The list goes on. They couldn\u2019t get anyone to play John McClane,\u201d she recalled, to which Marshall said, \u201cAnd then Larry\u2019s instinct was, \u2018What about that guy from Moonlight<\/em>?\u201d <\/p>\n

\n\t\u201cLarry has navigated this business with compassion, grace, legendary firmness and, above all, an amazing sense of humor,\u201d she said. \u201cAnd Larry doesn\u2019t just produce movies. He produces legends and he remembers how every frame was made.\u201d<\/p>\n

\n\tThat legendary firmness and trademark sense of humor were on full display as Gordon delivered a nearly 20-minute acceptance speech that had guests like Lansing rolling with laughter, nodding in agreement or cheering with validation over his comments on how the heyday has been replaced by a constricted ecosystem of tighter budgets, evaporated backends and credit wars. He dropped plenty of f-bombs and other expletives along the way, too.<\/p>\n

\n\t\u201cThis is something you guys have never seen. You know what this is?\u201d Gordon said in kicking off his comments and raising a hand to reveal a rubber finger pad. \u201cIt\u2019s not a rubber for a little dick. It\u2019s an accountant\u2019s thing that used to flip page. Was that too dirty?\u201d<\/p>\n

\n\tNot for this crowd. Seated at the event were Brian Grazer, David Hoberman, Lynette Howell Taylor, Chris Bender, Albert Berger, Bill Block, Stacey Sher, John Burnham, Lauren Shuler Donner, Carla Hacken, Andrea Sperling, Matt DelPiano, Lorenzo di Bonaventura, Lauren Dolgen, David Friendly, Andrew Lazar, Debbie Liebling, Michael London, Kevin Mischer, Nate Moore, Mary Parent, Sarah Schechter, Cathy Schulman, Risa Shapiro, sisters Jennifer and Suzanne Todd (both of whom offered introductory remarks), Mark Vahradian, J. Todd Harris, Janet Yang, Chris Day and dozens of others. <\/p>\n

\n\tAfter reading Gordon recapped his unlikely career path, as a native of Yazoo City, Mississippi, who went on to Tulane University. He broke into the business by working as a \u201cchauffeur gopher\u201d for legendary TV producer Aaron Spelling. He rose through the ranks as a young executive at companies like ABC Television before segueing to the film side with American International Pictures. In 1984, he emerged as president and COO at 20th Century Fox. During his time running the studio, he brought in James Cameron and hired him to direct 1986\u2019s Aliens<\/em>.<\/p>\n

\n\t\u201cWhen I turned 90 in March, I suddenly realized I\u2019ve been alive for 36 percent of the history of the United States, 78 percent of the Hollywood movie business and 100 percent of the television business. I actually met Jack Warner, Darryl Zanuck, Sam Goldwyn, and I even went to the founder of Paramount Adolf Zukor\u2019s 100th birthday party,\u201d Gordon said in recalling his impressive run. \u201cI\u2019ve done almost everything to do in this business. I\u2019ve written, I acted, produced. I was a senior vice president of major\u2019s television studio and president of a major\u2019s film studio. And I\u2019m the only person that will ever be able to say that they worked for Marvin Davis, Barry Diller and Rupert Murdoch at the same time. And I only lost one major artery.\u201d<\/p>\n

\n\tHe came close to directing once by after hearing about something Robert De Niro said to director Michael Cimino on The Deer Hunter<\/em>, he changed his mind. \u201cRobert De Niro, who wasn\u2019t even working that day, had shown up and urgently needed to see him. Michael left the set, raced back and found De Niro nervously pacing in his trailer. \u2018What\u2019s wrong, Bob?\u2019 \u2018You know, Michael, it\u2019s killing me. I just can\u2019t figure out what this character would have in his wallet.\u2019 In his frigging wallet. That was it for me.\u201d<\/p>\n

\n\tNot to say that his career path as a producer was less frustrating. \u201cEvery project I produced for movies or television, even fluffy Xanadu<\/em> was a fucking war. Think about it. You\u2019re always fighting with somebody, the financier, agents, lawyers \u2014\u00a0theirs and yours \u2014 managers, business affairs, legal, writers, directors, actors, marketing and, finally, distribution. So every day, I put on my steel helmet and went into battle,\u201d he explained.<\/p>\n

\n\tGordon closed his comments by delivering an Oscar speech as he said it would be his \u201conly chance\u201d and he\u2019s had one ready since 1990 when he was nominated for producing Field of Dreams<\/em> alongside his brother Charles Gordon. They lost to Driving Miss Daisy<\/em>, which he referred to as Driving That Old Fart Miss Daisy. <\/em>Gordon thanked Producers United, Lansing, Marshall and Kennedy and acclaimed director Walter Hill, who was in the audience. He produced seven of the filmmaker\u2019s movies and during their friendship they \u201chad zero fights, which has to be a record in our business.\u201d<\/p>\n

\n\tHe fought back tears at one point by recalling how his father, who was bipolar, was incredibly tough on him as a kid. \u201cWhen he was Up Daddy, I was the greatest, the apple of his eye. When he was Down Daddy, I was, \u2018You\u2019ll never be anything. You are nothing and you\u2019ll always be a nothing.\u2019 Despite this, I was a daddy\u2019s boy. Unfortunately, he died suddenly at age 56 when I was deftly, as he had so graciously predicted, a complete nothing. He never saw my success or met my family.\u201d<\/p>\n

\n\tHe closed by revealing that he and his brother made Field of Dreams<\/em> as an homage to their late father, a Herculean task considering the film\u2019s logline that follows a farmer who builds a baseball diamond in his field so that the ghost of Shoeless Joe Jackson can reunite with a team of dead players all because that farmer heard a voice whisper \u201cif you build it, he will come.\u201d <\/p>\n

\n\t\u201cWe were turned down and practically thrown out by every studio more than once. It took years, but we got it made,\u201d Gordon said before delivering his personal mantra as an exclamation point on the speech. \u201cNever take no for a fucking answer.\u201d <\/p>\n

\n\tBelow is Gordon\u2019s full speech.<\/p>\n

\nWhen I heard I was being awarded the very first Legacy Award from I was shocked. Why me? Was it because I was the first Jew from Mississippi to produce a movie? They said, \u201cNo, you\u2019re an original OG. I was pissed. I thought they meant old geezer. After I accepted, I got pretty damn cocky. So to bring myself down, I went to my best anti-cocky weapon \u2014 a comment card from a sneak preview that I had framed in my office for more than 50 years from a movie I produced called <\/em>Rolling Thunder. This is a movie that Quentin Tarantino named as No. 10 on his 12 favorite films list. <\/em>\n<\/p>\n

\nThis is from that card: How would you rate this motion picture? \u201cPoor.\u201d What did you especially like about this movie? \u201cNothing.\u201d What word would you use to describe this movie? \u201cSick.\u201d Was the movie too long, too short, or just right? \u201cIt shouldn\u2019t have started.\u201d What do you think would improve this movie? \u201cBurn the print.\u201d And here\u2019s the capper: What did you dislike or would you like changed? \u201cI\u2019d rather take my mother to see <\/em>Deep Throat.\u201d Let me take John Wayne to see this piece of shit. If that won\u2019t bring you down, nothing can. <\/em><\/p>\n

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\nI don\u2019t know what\u2019s more fucked-up: our country or producing. I won\u2019t bore you or torture you with how good things used to be deal-wise for us old timers. It was a gravy tray with the biscuit wheels. I realize that\u2019s gone, at least for now. Possibly there are a couple of old-timers here who will know what I\u2019m talking about, the formidable, amazing <\/em>Top Gun producer, Jerry Bruckheimer, and the expensive watch that keeps on ticking, Brian Grazer.<\/em><\/p>\n

\nI want you to know there are some problems you have today that we had back then. There were always various individuals trying to share credit and sometimes our fees, and they would even try to share our back end. Anyone remember those back ends? Of course, in my day, the actors that wanted to share with us were giant bankable movie stars, not Luke McGluke or Sadie Glutz, and whoever some of these people are today. You do have one important major advantage over us dinosaurs. There were only three networks, and later a fourth where we could sell our television projects, and eight major studios who were financing at the most about 20 to 25 movies a year. That was a total of about 200, which seems like about what just Netflix makes in a year.<\/em>\n<\/p>\n

\nThey were practically no independent financiers, domestic or foreign. The ultra reliable ChatGPT says there were 516 scripted TV shows just a couple of years ago, and 794 reality shows in 2025. That\u2019s in addition to the several hundred movies being financed today from all sources. So, obviously content will always be king. That\u2019s the one thing that in my opinion won\u2019t change. It may be shown in theaters or on television, on your phone, in a pair of eyeglasses or up your ass. Something else will never change. It has always been really hard, almost impossible, to get any project financed. And there will always be some asshole arrogant executive who has no idea what we do or how we do it. They will drive you crazy and you will want to kill them.<\/em><\/p>\n

\nAt times, as they gave unbelievably horrible, unusable notes, I used to fantasize doing a <\/em>John Wick on them. Every project I produced for movies or television, even fluffy <\/em>Xanadu was a fucking war. Think about it. You\u2019re always fighting with somebody, the financier, agents, lawyers \u2014\u00a0theirs and yours \u2014 managers, business affairs, legal, writers, directors, actors, marketing, and finally distribution. So every day, I put on my steel helmet and went into battle. Speaking of war, and we produce our N1 for our survival, I want to be clear about one thing: I\u2019ve been a member of the PGA for over 50 years and I still belong and so do many other members of Producers United. The PGA has almost 8,500 members. I\u2019ve never really understood how we found that many producers<\/em>. But thankfully they all pay dues. <\/em>\n<\/p>\n

\nThey say strength is in numbers. So, in our battle, I consider the PGA to be like the U.S. Army; big and well-financed and doing their best for all of us. When I discovered there was a group called Producers United with only 300 members, I did my due diligence and I realized they are special forces like Navy SEALs; experienced, well organized, well-trained, and incredibly skilled and mucho determined. So I joined them too. Just like in any major conflict, it takes the Army and special forces to win. It\u2019s OK so far.<\/em><\/p>\n

\nWhen I turned 90 in March, I suddenly realized I\u2019ve been alive for 36 percent of the history of the United States, 78 percent of the Hollywood movie business and 100 percent of the television business. I actually met Jack Warner, Darryl Zanuck, Sam Goldwyn, and I even went to the founder of Paramount Adolf Zukor\u2019s 100th birthday party. I\u2019ve done almost everything to do in this business. I\u2019ve written, I acted, produced. I was a senior vice president of major\u2019s television studio and president of a major\u2019s film studio. And I\u2019m the only person that will ever be able to say that they worked for Marvin Davis, Barry Diller, and Rupert Murdoch at the same time. And I only lost one major artery.<\/em><\/p>\n

\nBut I\u2019ve never directed. I thought about it. I even had a firm offer \u2014\u00a0the story\u00a0may be true, maybe not \u2014 from Michael Cimino that happened when he was directing the Academy Award-winning <\/em>The Deer Hunter, put the final nail in the coffin of my directing ambition. He was shooting out in the boondocks when he got a call telling him to come back to base camp. Robert De Niro, who wasn\u2019t even working that day, had shown up and urgently needed to see him. Michael left the set, raced back and found De Niro nervously pacing in his trailer. \u201cWhat\u2019s wrong, Bob?\u201d \u201cYou know, Michael, it\u2019s killing me. I just can\u2019t figure out what this character would have in his wallet.\u201d In his frigging wallet. That was it for me. I gave up the chance of ever being mentioned once in a good review and settle for as only the producer, no critic ever mentioning my name or blaming me for making a piece of crap.
<\/em>
I know it\u2019s terribly hard today, but let\u2019s talk about what we do for a living. From the time I was a boy, I had a slight problem. The minute anything got boring, I completely tuned out. Maybe I was the first person with ADD? Back then they called it Larry refuses to pay attention in class. When I got my first job in our business, it was as the legendary producer Aaron Spelling\u2019s chauffeur gopher. I drove him to and from work, stayed in his office all day, served lunch, mixed his 5 p.m. martini, and picked up everything from dry cleaning to his German Shepherd\u2019s dog shit. But boy, it was fun and did I learn. And surprisingly, for the first time in my life, I had a job that wasn\u2019t boring. I was in show biz. <\/em>\n<\/p>\n

\nOrson Welles once said that making a movie is the biggest electric train set a boy could have. What we do has never, ever been boring to me. Have I been pissed off? Have I been discouraged? Have I threatened to quit? A million, gazillion times. But do anything else? Never. I look at my own career as a miracle. The only thing I might have been successful at besides this is selling Toyotas. <\/em><\/p>\n

\nThe other day, a producer friend called me for advice. He had gotten a go on his movie from a streamer. Instead of being thrilled, he was totally dejected because his fee from his last movie, which was three long years ago, was $800,000. Now he was being offered measly $500,000. I said to him, \u201cThat\u2019s easy. Just pass. I\u2019m sure you\u2019ll find a job in some other industry that pays you a half million dollars for a year\u2019s worth doing something you love to do. Good luck with that.\u201d<\/em><\/p>\n

\nThat\u2019s what we all have to think about when any offer comes our way. What are our choices? To me, what I love most about my job as a producer was that every time one of my projects got made, I was able to live a new life. They see a [cat] has nine lives. I think I\u2019ve had at least 50. Think about it. When we actually get the luxury of making a project, we get a new family, new friends, enemies, maybe even lovers, plus a million memories on each one. Some pleasant, some not so fucking pleasant. Can you imagine how many stories I could tell you just from <\/em>Water World?<\/em><\/p>\n

\nAs a producer, the only thing I haven\u2019t done is win an Oscar. The year <\/em>Field of Dreams was nominated, I was sitting in the second row as my friends, Warren Beatty and Jack Nicholson, announced the winner. I was this close. I could have sworn I saw Jack give me a, you\u2019re the winner wink. <\/em>Driving that old fart <\/em>Miss Daisy kicked our ass. We sucked wind. So, unfortunately for you, fortunately for me, as a captive audience, you\u2019re going to have to accept as I have, this will be my only chance to ever given an Oscar speech. I\u2019ve had one ready since 1990. <\/em>\n<\/p>\n

\nLike all Oscar speeches, I have to do my thank yous and sorry they can\u2019t play me off. First, I\u2019d like to thank Producers United for this wonderful honor, keep up the good fight. I\u2019d like to thank my dear friend, the living legend that is the incomparable Sherry Lansing who graciously offered her beautiful home for our event. And I must give a shout out to our late husband, the great Billy Friedkind, whom I adored and who if he was here today, he\u2019d be upstairs looking out the window saying, \u201cWhat is this bullshit?\u201d Am I right, Sherry?<\/em><\/p>\n

\nI\u2019m completely honored and totally shocked that the benefactors and sponsors came up with even one peso to honor me. You love me, you really love me. But thanks for your generosity. It\u2019s immensely appreciated. To Kathy and Frank who know more about making movies than I will ever know, not only are they [Irving G. Thalberg Memorial Award] recipients, but Kathy has been nominated not one time like me, but eight times for best picture. She\u2019s the Diane Warren of producers. And fucking Frank. Little Frankie is an EGOT winner. I\u2019m so fucking jealous, right? He is a consumante movie and television producer, Broadway producer, director and one of the top documentarians in our business. And more importantly, he saved my ass on the movies we worked on together because I hated to go to the fucking set. All I would do is say, \u201cWalter [Hill], are you OK? How are you? Is everybody OK?\u201d I\u2019d go back to try to get the next movie ready to go. <\/em><\/p>\n

\nSpecial thanks to the great writer and director and Laurel Award recipient, Walter Hill, for whom I produced seven movies and with whom I\u2019ve had zero fights, which has to be a record in our business. We never had a cross word. It\u2019s amazing. Lastly, to the bravest, strongest person I know, my beautiful amazing wife, Deidre. She went through something I could never, ever have gone through, ever, and she has had the great pleasure of living for the past 30 plus years in the ultimate threesome with both Dr. Jekyll and Mr. Hyde. <\/em>\n<\/p>\n

\nFinally, as in a lot of Oscar speeches, I have to thank the man upstairs. In this case, I don\u2019t mean God. I mean my daddy, big George Gordon. He was big and tough, violent tempered, charismatic, and 100 percent medically diagnosed bipolar. Sound familiar? When he was up daddy, I was the greatest, the apple of his eye. When he was down daddy, I was, \u201cYou\u2019ll never be anything. You are nothing and you\u2019ll always be a nothing.\u201d Despite this, I was a daddy\u2019s boy. Unfortunately, he died suddenly at age 56 when I was deftly, as he had so graciously predicted, a complete nothing. He never saw my success or met my family. <\/em><\/p>\n

\nMany years after my daddy\u2019s death, a friend of his in New Orleans asked if I wanted a letter daddy had written to him about me. Here\u2019s a paragraph in that letter: \u201cWe talked to him last night. He\u2019s still in Las Vegas and is getting ready to go to Los Angeles. He did not find what he was looking for in Vegas evidently and he has promised that if he doesn\u2019t get settled in Los Angeles, he\u2019s going to be ready to come home, settle down and run the store.\u201d FYI, the store was the Easy Pay Furniture Store in Belzoni, a town of under 200,000 people in the humid, violent, 100 percent segregated, Mississippi Delta. Who wouldn\u2019t love that opportunity? <\/em><\/p>\n

\nThe letter continued: \u201c[Gordon\u2019s mother] Natalie and I both feel that Larry is just going to have to find out for himself that what he is looking for doesn\u2019t exist and sooner or later he\u2019s going to have to come to Earth and realize that life is not just a round of glamour and romance and adventure, and we feel that when he does find this out for himself, he\u2019ll be ready to settle down and make something of himself.\u201d<\/em>\n<\/p>\n

\nWhen I got this letter, I was the president of 20th Century Fox. I had to close my office door, turn off the phones and sit there and cry like a baby. That is why my late beloved baby brother Chuck and I fought so hard to get <\/em>Field of Dreams made. It was an homage to our daddy. By the way, whenever you think you have a hard pitch to sell, think about this one. A farmer plows on his corn crop to build a baseball diamond so that the ghost of Shoeless Joe Jackson comes back to the team of dead players all because one day working in his field that farmer heard an unattached voice whisper to him in a very easy to decipher message that anyone would quickly get: \u201cIf you build it, he would come.\u201d <\/em><\/p>\n

\nWe were turned down and practically thrown out by every studio more than once. It took years, but we got it made. My mantra, which should be yours and our business\u2019, \u201cnever take no for a fucking answer.\u201d To wrap this sucker up so all of you could hope you get your car in the next four hours, I hope and pray that someday when I croak, and daddy and I end up in the same place, I can say to him that what I was looking for does exist and I found it. \u201cHey, daddy, want to have a catch?\u201d Who says that movies aren\u2019t magic? Thank you very much.<\/em><\/p>\n

Read more Spike Lee, Timoth\u00e9e Chalamet and All the Stars Spotted at the New York Knicks Ticker-Tape Parade<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Accepting Producers United\u2019s Legacy Award, Larry Gordon gave an unfiltered speech that Jerry Bruckheimer called the greatest he\u2019s ever heard.<\/p>\n","protected":false},"author":1,"featured_media":2090,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[1737,1738,1739,1740,1741,1742,1743],"class_list":["post-2091","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-frank-marshall","tag-kathleen-kennedy","tag-kevin-huvane","tag-lawrence-gordon","tag-pga","tag-producers-united","tag-sherry-lansing"],"yoast_head":"\nLegendary Producer Larry Gordon, at 90, Delivers the Oscar Speech He Never Got to Give - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=2091\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Legendary Producer Larry Gordon, at 90, Delivers the Oscar Speech He Never Got to Give - 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