Jane Rosenthal has run the Tribeca Festival from the start. Now that she’s got a Murdoch by her side, she and her amorphous project are poised for another pivot. ShawnMcCreesh reports on how the festival has found its own multi-hyphenate lane
Jane Rosenthal Photo: Lucas Michael In the halls of film producer Jane Rosenthal’s Greenwich Street office hang massive, rare framed movie posters. There’s Breakfast at Tiffany’s and Night and the City with Gene Tierney and Michelangelo Antonioni’s Blow-Up. She’s even got one of my all-time favorite film noirs, The Big Clock, which never seems to be in stock at Posteritati. Where does she find them? “Marty’s got a guy,” she said with a nod, referring to Martin Scorsese.
The film world in New York was different back then, glitzier and more concentrated. Lower Manhattan was the capital of indie cool, and Harvey Weinstein, who shared the office building on Greenwich Street, reigned supreme as the Emperor Miramaximus. It was the era of Pastis and Florent, when downtown wasn’t overrun by 12,000 Google employees and Highline-ambling tourists but rather cocaine-addled actors and filmmakers barking into Ericssons while hailing yellow cabs.
Moments before I arrived at her office on Greenwich Street, news broke that an appeals court would uphold Weinstein’s conviction, meaning he will likely be in prison for a very long time. I read Rosenthal the lead paragraph in the New York Times and asked if it ever feels as though he still haunts these halls. “I think of it,” she said. “He was in this building, and I’d see him in the elevator or getting into his car or at the Grill.
But when Dolan and MSG joined the picture in 2014, there was a retrenchment. The new partners wanted to make Tribeca more focused on the festival in New York, seeing it as fundamentally a live-events company. SEC documents show that, after its initial buy-in, the group continued to make loans to try to sustain that model. That didn’t work so well, and MSG sold to Murdoch in 2019.
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