How Harrison Ford Quietly Changed Hollywood’s Biggest Release
Harrison Ford’s behind-the-scenes intervention led Paramount to reschedule Air Force One, prompting Titanic to shift its premiere and sidestep a box office showdown. This clever move ensured all three films thrived.
Harrison Ford has always stood apart from his peers in the film industry. While many leading actors dabble in directing or scriptwriting, Ford has consistently kept his focus on performing. His only notable work behind the camera has been as an executive producer on K-19: The Widowmaker and Extraordinary Measures. This straightforward approach is entirely in keeping with his reputation. Known for his roles in Star Wars and Indiana Jones, Ford has spent decades sidestepping the trappings of celebrity, preferring to get on with the job and then quietly slip away. He’s never been one for grand gestures or self-promotion, yet his influence in the industry is undeniable.
That influence was on full display in 1997, when Ford and director Wolfgang Petersen were preparing to launch their action-packed thriller, Air Force One, with a planned release at the end of July. The timing, however, was less than ideal. Paramount’s Titanic and Warner Bros’ Conspiracy Theory, starring Mel Gibson and directed by Richard Donner, were both scheduled to open on the same day. With three major titles vying for attention, there was a real risk that each would eat into the other’s audience, leaving all three worse off.
Ford’s Strategic Intervention
Having been a reliable box office draw for Paramount thanks to hits like the Indiana Jones series and his turns as Jack Ryan, Ford decided to take action. He rang Jonathan Dolgen, then head of Paramount’s parent company, Viacom Entertainment Group, and made his feelings clear.
“Harrison was definitely irritated,”
his manager Patricia McQueeney recalled.
“He didn’t make any threats. He was not huffing and puffing. It was a friendly phone call. But Harrison did say, ‘Jonathan, what the hell are you guys doing?’ We’re very concerned about the whole situation.”
Ford’s team also reached out to Warner Bros regarding Conspiracy Theory. As McQueeney put it,
“it’s bad business to open two movies on the same date, much less three of them.”
The message was clear: something had to give, or all three films would suffer at the box office.
The Domino Effect on Release Dates
Within a fortnight, the landscape had shifted. Titanic, which had been the most expensive production in history and was widely expected to be a major event, quietly moved its release to December. Conspiracy Theory was pushed back to early August. This left Air Force One with a clear run at the end of July, and it promptly claimed the top spot at the box office for two consecutive weekends.
When Conspiracy Theory finally arrived, it managed to unseat Ford’s film from number one, but by then, both had enjoyed successful openings. Titanic, meanwhile, would go on to break every conceivable record, becoming the highest-grossing film of all time and sweeping the Academy Awards. The decision to stagger the releases meant that each film had its moment in the spotlight, rather than being lost in a crowded field.
Box Office Success for All
In the end, the reshuffling benefited everyone involved. Air Force One, Conspiracy Theory, and Titanic all debuted at number one and performed strongly. While Titanic ultimately dwarfed the others in terms of earnings, the absence of direct competition allowed each to maximise its potential. Ford’s intervention, though understated, proved to be a masterstroke in Hollywood strategy, ensuring that none of the films were overshadowed by the others.