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The phenomenon of “Nightmare” allowed Shaye and his partner, Michael Lynne, who died in March, to compete with other independent film companies including Bob and Harvey Weinstein’s Miramax. He was mixing genres and releasing them to great success.” That is what he figured out really early. Bob used to say to me, ‘How do you always get to be friends with the bookkeeper?’ Bob understood that the exploitation film was influencing all the new young directors and that people outside of the intended audience were celebrating them. “Without Bob I would have never had a career,” says Waters, a cult filmmaker. “I was picking up rocks and finding little gems,” says Shaye.
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He sought niche markets - a grocer finds out what his customers want - and how to squeeze a lot of pennies from them. Shaye revered the work of Godard and Truffaut as much as he did Wes Craven. The company was a brash outsider, peddling art films to college campuses, capitalizing on international distribution and the videocassette market, and reimagining the horror genre at a time America was confronting AIDS and Cold War anxieties. The son of a Detroit wholesale grocer, Shaye, a Fulbright scholar with a degree from Columbia Law School, started New Line Cinema with $300 in his New York City apartment. My God, nobody wanted Waters’ ‘Pink Flamingos.’ And ‘A Nightmare on Elm Street.’ A lot of people passed on that before we did it. He liked pushing boundaries and taking risks and doing things other people would say no to, like John Waters. “He loved movies and frightening people and amazing them. “Bob wanted to entertain,” says Sara Risher, who was New Line’s head of production and later founder of ChickFlicks Productions. At its height, New Line embodied a heavy-drinking, libertine entertainment industry culture that decades later would collide with the rise of the #MeToo and Time’s Up movements. A once fiercely independent studio, New Line succumbed to the Hollywood establishment and Shaye lost his job as co-chairman and CEO in 2008. New Line was bought by Ted Turner in 1993 and was later subsumed by Time Warner Inc. His career is the diary of a driven man and a film industry that would turn into a landscape of mergers and takeovers. A charmer and a scowler with a clever sense of zeitgeist.
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He has been described through the years as bristly and soulful. These days, he’s reading a Brian Greene book on quantum physics and starting “The Dying Animal,” a Philip Roth novel about a narcissistic professor brought to despair by lust and fear of commitment. He’s reminiscent of a well-heeled Robinson Crusoe, cast alone by design and circumstance, a man who never quite fit into Hollywood - “I’m not that kind of hustler” - yet made films that helped redefine cinema for the baby boomer generation. His hair is long, his beard graying, his frame, dressed in dark jeans and a pullover shirt, trim. Everything is fuzzy, you don’t know if something is here or there.” You really don’t know how reliable the narrator is. “It dealt with the confusion and uncertainty of what’s real, and ironically that’s come around again with all the fake news stuff. “‘Ambition’ hearkened back to the first, very modest film I made a long time ago called ‘Imagine,’” Shaye says as assistants whisper nearby in the open kitchen.
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The film has echoes of “A Nightmare on Elm Street,” the franchise Shaye and his studio New Line Cinema produced in 1984, making him a fortune and sending Freddy Krueger‘s razor-sharp fingernails into a string of bloody sequels. Rain falls, music turns menacing, bodies pile up. It is the story of a millennial violinist, murder, envy and a gathering storm. Shaye wants to talk about his new film, “Ambition,” which explores the terrifying subconscious and sinister shadows of a deceptive protagonist.
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In his living room, big windows look over the ocean and make one think of the fine cracks between reality and illusion. A topless woman sits in red stockings, another snorts diamonds as if cocaine. Photographed, drawn and painted, they slant from the ceiling, hang on walls. Nude women gaze from various angles in Bob Shaye’s home.