Barry Diller’s Road to Success: 8 tips that you can follow, and some that you probably cannot

Between the revelations on his personal life and an abundance of daring names, the autobiography of Barry Diller “Who Know” is a fairly delicious reading for all those who followed the imperative career of the executives of the management, filled with the commercial philosophy of Diller who clearly served the president of the IAC billionaire IAC.

What the book is not, with its old -fashioned roots and its exploration by Diller of the way in which his privileged education has fueled his professional intrusation, it is all kind of roadmap that a simple mortal could follow to imitate these commercial breakthroughs.

During the 321 pages book, Diller’s equivalent of “Moguldom’s art” offers many observations on how he addressed decisions as well as his opinions on what works and what does not work in the media and entertainment. Given its history – from the puncture of the “film of the week” to ABC to the launch of Fox to supervise Paramount to become a successful internet entrepreneur – these merits, and will be explored here.

The Diller, 83, has also not shown signs of slowing down, from its management of IAC to its frequent appearances of CNBC, where it is invariably frank, recently declaring that it will not work with law firms that bowed against President Trump’s pressure. He also balances agreements and made waves, whether by rubbing the elbows with other media titans in Sun Valley or his last pursuit of Paramount in 2024.

However, the personal side of his life, about which he opens with the liberated meaning of someone who is no longer embarrassed by keeping secrets, mainly strengthens the old truism that the best way to do so in Hollywood is to be born – or at least, born next to it – with the connections and the advantages that involve it.

Although a large part of the accent was put on Diller by finally discussing his sexuality – and surprise, for him and others, when he fell in love and finally married Diane von Furstenberg – the related key was that Diller was so concerned about the gay threat placed in his career in the 1960s and 70s that he was completely fearless in matters.

“I denigrated all the time forward because I did not see the risks that an average person would do it,” he wrote, knowing that being extinguished could make his plans derail.
This quality also results in part from not needing to worry about money, as he admits freely, which is certainly, as the old song says, a good job if you can get it, but barely an available state of mind for the less lucky.

Despite the dysfunction of his family life, because he grew up relatively rich in Beverly Hills (his father was a real estate developer), Diller notes that money is not what led him, although Lord knows it, he did a lot. Regarding the introduction by break -in in the Biz, his career concert in the mail hall of William Morris came thanks to being a childhood friend of Marlo Thomas, whose father, Danny – one of the greatest customers of the agency at the time – simply told them to hire him.

Diller speaks of being so indifferent to the money he was reprimanded for not having cashed his first pay checks.

“I have never made a decision related to money,” explains Diller. “While I wanted to be paid for my work with the best of them, it had no dictatorial role for me. Money for me was just a by-product of the work I was doing, never a motivation. ”

Casually melancholy, Diller’s occasional, Diller notes that he served as a sort of bridge from an earlier generation of larger than life characters in the modern era, “before the film industry becomes more and more sustainable and bureaucratise.” He also concedes: “While wishing simpler times is the madness of an elderly person, media fragmentation and polarization in particular in news, and Hollywood tectonic plates going from the old major studio system to the control of technological societies of billions of dollars is not a good thing.”

As Diller notes, he started when three networks have always dominated the landscape, and a film made for television like “That Certain Summer” – a 1972 currency film on a homosexual son and father, one of the first to present LGBTQ characters in a nice way – could have a huge impact while reaching a maximum of characters looking together.

So, what are the main dishes to remember from Diller’s book, which resonate far beyond the years of media training? Here are eight who stand out, and surely deserve consideration for anyone aspires to occupy the executive consequences where he forged his reputation:

The creative conflict is productive.

Far from those who seek to avoid conflicts, Diller welcomed it and encouraged it. “I never thought that decision-making should be peaceful,” he said, calling for creative tension “the best process” to achieve positive results. “What I call” torturing the process “works. To say “it’s okay” or “it’s going to do” is a repellent. Never compromising. “

Similarly, Diller expresses the disdain for the conceptions of creativity focused on artists who reject or reject the contributions of others, including studio or network “combinations”. As he says, “I hate the popular concept that filmmakers should be left alone to do their job. There are many who do not benefit from a more objective opinion; that they appreciate or recognize that it is next to the point. ”

Do not let success generate arrogance.

While Diller is obviously proud of his achievements, he suggests: “If there is a deadly sin that often results from someone in business, arrogance should lead the list.”

Be ready to move away from an agreement.

Diller attributes “the best negotiation lesson” that he has ever taught the legendary president of MCA, Lew Wasserman, who, after a particularly bruised negotiation, said to him when he started: “Fully ready to call the whole agreement if you do not get what you ask. Because otherwise you will never do it. “

Take risks during hiring and promotion.

Diller has always favored the denunciation of people in positions for whom they may not seem qualified – however – raising those who took up the challenge and rejecting those who did not do so. “Give them responsibilities before being considered ready. Place them in depth and see who fights and who survives. “

Instinct beats data and research.

“Instinct is what I write. No research or data, ”writes Diller. “The data can tell you what has happened, not what can or will happen. The data is often harmful to instinct, and I believe that it is true to make not only creative decisions but also many commercial decisions. ”

Be original.

Throughout his career, said Diller, he was guided in a creative way by two principles: “never done before” and “never done in this way”.

Consolidation and “size” are overrated.

At a time when many companies talk about looking for economies of scale, Diller maintains that “Bigness” has no meaning for the good of bigance, especially on the current idea focused on the idea. “I do not believe that the scale leads you elsewhere than botched governance. In many ways, consolidation is only a competition of ego and organ. ”

Know the company from top to bottom.

Diller frequently speaks of the value of the construction of an operation from zero – returning to the TV movie in ABC – as opposed to parachuting as a boss and to take over. “Descending management is exceptionally difficult if you have not had the experience of managing low to top.”

I hate the popular concept that filmmakers should be left alone to do their job. There are many who do not benefit from a more objective opinion; Whether they appreciate it or recognize it is out of regard.

On his credit, Diller also recognizes the importance of luck and timing, and identifies some of his failures, such as Pooh-Coohing Bruce Willis as a movie star before “Die Hard” made him one, or the transmission of an opportunity for ground floor, Steve Jobs presented him to join Pixar because the attraction of what was going to become “Toy Story”.

That said, Diller does not owe a low debt either to one of the oldest tacit laws of Hollywood, which really concerns real estate and inheritance: namely, it helps to be born or next to someone who can give you this first job with a telephone call.

Who knew that? If you have observed or studied the entertainment industry over the years, almost everyone.

The post Barry Diller’s Road to Success: 8 tips that you can follow, and some that you probably cannot appear first on Thewrap.