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How Singles & Doubles Saved Disney

"Singles and Doubles" was a strategy that Michael Eisner actually brought with him to Disney from his previous job as president of Paramount Pictures. It was a surprisingly simple concept that helped keep the Disney Company alive. New here? Be sure to subscribe! 🔷https://goo.gl/x17zTL My Disney Podcast! 🎧http://ttapodcast.com Follow me on Twitter! 📱  / robplays   It was a surprisingly simple concept: rather than spend an excessive amount of money getting the best directors and actors, which in-turn meant the film had to do really well to turn any kind of profit, focus instead on coming up with good movie ideas and making them with a low budget. The profit would be more modest, but the risk was also minimized when a movie flopped because the budget was low. This idea came from Eisner's belief that beyond famous actors and directors, a good idea was the most important element in making a good film. Movies with a clear three-act structure and universal themes that would be easier to market everywhere would as a result do better at the box office. So in 1984 when he made the move from Paramount to Disney, he carried this mentality with him, and honestly, Disney needed it. It would only take days for Eisner to start putting his "Singles and Doubles" strategy into action. A major part of his plan to keep budgets low was to avoid using expensive A-list celebrities. Instead, his idea was to find talented actors who had for one reason or another fallen from grace and get them at a reduced price while offering to revitalize their careers in the process.. For their first film under the new leadership, Down and Out in Beverly Hills, they reached out to Richard Dreyfuss who had just finished drug rehab, and Bette Midler, whose career had gone cold in the years following the award winning “The Rose”. As a result the film only cost Disney $14 million to make, but it earned $62 million at the box office. The very definition of one of those singles and doubles.. Sometimes though you'd aim for a single and get that home run. The idea didn’t just include hiring film stars at lower rates. In some cases it meant looking to other mediums. For instance when they spent over a million dollars just for the rights to make an American adaptation of Three Men and a Baby, originally a French film, Disney opted to hire television actors instead of film stars with Ted Danson and Tom Selleck to save money. Proving Eisner's point, the film apparently didn't need big name stars as it grossed $167 million in the domestic box office with just an $11 million budget. Overall, this strategy played a major role in the turnaround of The Walt Disney Company. These singles and doubles not only resulted in modest profits that added up, but occasionally resulted in big hits that, as a result of their low cost, carried high profit margins. By the end of 1988, just four years under Eisner's leadership, Disney became the number one studio in the industry. Operating income went from $300 million when he joined on to $800 million, and this was all before the Disney Renaissance. It would be lucky for Disney to have that renaissance too, because the singles and doubles strategy wouldn't last forever. Perhaps it was pressure to fall in line with the industry's growing trend towards event and tentpole films. Maybe it was studio leadership. It could have also just been a shift in mentality from Eisner himself. For whatever reason, Disney began to abandon the singles and doubles concept for more high-budget films like Dick Tracy, Armageddon,and Pearl Harbor. Bigger actors, bigger directors, and more marketing meant that even when a film did turn a profit, it was a slim one. It also meant that when a film didn't do well, they were out a lot of money. Today, the game has obviously changed and the analogy no longer compares. We live in a time where virtually all films today need to be home runs. There’s more competition, both inside the realm of film and outside of it. Studios are competing for people’s money and time at a point where there’s more entertainment options than ever before. That means bringing in the big talent that Eisner tried to avoid in the 80s and early 90s. Bob Iger isn’t interested in singles and doubles, he wants homeruns. And you know what? It works. With the right talent and oversight Disney is pulling in record setting numbers at the box office, which just shows that there’s more than one approach to the industry. It’s possible that Disney could have taken such an approach in the mid and late 80s, but a flop on a blockbuster scale could have easily ruined them financially. So considering the time, the industry, and the state of the company when he stepped in, Michael Eisner’s “singles and doubles” strategy may have very well helped save Disney. Sources Disney War by James B Stewart Keys to the Kingdom by Kim Masters