Frank Price’s passing at 95 marks the close of a remarkable chapter in Hollywood history. For over three decades, Price navigated the intricate currents of both television and film production, leaving an indelible mark on an industry he helped define. His career, from humble beginnings to presiding over major studios, reflects a profound dedication to storytelling and an astute understanding of audience appeal.
Known as “The $10 Million Man” during his first tenure at Columbia Pictures, Price was unique among Hollywood executives for his writing background. This foundation shaped his philosophy: investing significantly in top talent to secure box-office success. This strategy often perplexed peers but consistently yielded groundbreaking results, both critically and commercially. His journey from TV Westerns to film studio chief exemplifies a career built on foresight and an unwavering commitment to creative vision.
This retrospective chronicles Price’s extraordinary life and career, exploring the pivotal moments and strategic decisions that cemented his legacy. We delve into his formative years, groundbreaking television work, and initial, highly impactful stints as a studio head. Here, he championed projects that became cinematic touchstones, and at times, made decisions that forever shaped Hollywood lore.
1. **Early Life and Formative Years: From Illinois to New York, the influence of Warner Bros.** William Francis Price Jr., born May 17, 1930, in Decatur, Illinois, began a life that would eventually place him at Hollywood’s core. His early years were peripatetic, with his father, an electrician, pursuing jobs across the country, including Los Angeles from 1937 to 1942. This provided a unique backdrop to Price’s developing worldview, offering glimpses into diverse American life before he would shape its popular culture.
A formative period occurred in Los Angeles, where his mother, Winifred (Moran) Price, worked as a waitress at the Warner Bros. studio commissary. Young Frank Price was exposed to Hollywood’s larger-than-life world. He recalled witnessing Edward G. Robinson being hosed down during “The Sea Wolf” (1941), a vivid memory. His mother’s interactions with stars, requesting signed photographs “To Frankie,” connected him to industry luminaries, though this early exposure also created a sense of distance.
Despite glamorous proximity, Price initially felt disinclined towards the film industry. He stated in a 2013 National Endowment for the Arts podcast, “The whole experience of being around Warner Bros. drove me away from it, because it loomed too large. That was unreal.” He preferred the tangible nature of the stage, pursuing journalism in Flint, Michigan, as a high school newspaper editor and a copy boy. After a year in the U.S. Navy, Price attended Michigan State and Columbia University in New York, deliberately seeking a path away from West Coast film. His initial ambition was journalism, but his unsuccessful search led him to television.
2. **The Genesis of a Career: Clerk, Reader, Writer at CBS and Screen Gems.** In 1951, Frank Price’s entry into entertainment was as a clerk in the story department at CBS Television, primarily due to being an “excellent typist.” This administrative role, however, quickly became a gateway into television’s narrative core. Recognizing the department’s function in “reading, looking for story material,” he declared, “I said, ‘Well, I can do that.’” He swiftly moved from clerk to reader, noting, “that was very good, because I started writing out of that.”
His ability to discern compelling narratives and burgeoning writing talent soon bore fruit. While at CBS, Price sold a story for “Casey, Crime Photographer,” an early live television show. This initial success validated his instincts, providing a pathway from clerical work to creative contribution. This formative experience as a writer gave him a unique perspective, distinguishing him among Hollywood executives who typically lacked such a background. He inherently understood the creative process.
Following CBS, Price became a story editor for Columbia’s television subsidiary, Screen Gems, further honing his narrative judgment. He then transitioned to NBC’s “Matinee Theatre” in 1955, writing and producing for the intense, 60-minute live drama that aired five days a week. This high-pressure environment for live television provided invaluable experience in rapid decision-making and creative problem-solving, shaping his capabilities as a producer and manager.
3. **Pioneering Television Westerns: Developing “The Virginian” and Collaboration with Roy Huggins.**
Frank Price’s career took a significant turn in 1959, joining MCA’s Universal Television as a writer and producer. He began making his mark on television Westerns, working on series like “Overland Trail” and “The Tall Man.” This immersion positioned him for a pivotal role in creating one of the genre’s most enduring series, cementing his reputation as a television innovator.
A watershed moment arrived in 1962 when NBC needed a flagship Western, having lost “Wagon Train.” Price’s keen eye led him to recommend Owen Wister’s 1902 novel, “The Virginian,” then in the public domain. His vision was for a groundbreaking 90-minute Western, an unprecedented format for television, offering a richer canvas for storytelling than standard hour-long dramas.
NBC brought in Roy Huggins, creator of “Maverick” and “77 Sunset Strip,” as executive producer. Huggins agreed on one condition: Price would work alongside him. Price recounted their unique collaboration: Huggins attended UCLA during the day while Price “would run the show,” then joined him in the evenings, often working “until about 2 o’clock in the morning.” This intensive partnership proved invaluable.
Set in the late 1890s in Medicine Bow, Wyoming, “The Virginian” starred James Drury and Doug McClure, becoming television’s first 90-minute Western. Price deeply connected with the material, stating, “I felt that I was a ranch owner in Wyoming because I immersed myself in it and I loved telling the stories. It was a wonderful form.” He took over as executive producer from Huggins for the second season, staying until 1967, ensuring its nine-season run.
4. **Ascension to Universal Television President: Building a Broadcast Empire.** Frank Price’s success with “The Virginian” propelled him within Universal. He steadily climbed, becoming vice president in 1964 and executive vice president by the early 1970s. By 1973, his leadership capabilities led to his appointment as head of Universal Television. This marked a period of immense prosperity, solidifying Universal’s position as a dominant force in network programming during the “Big Three” era.
Under Price’s astute leadership, Universal Television became an unparalleled powerhouse. He stated, “I was running the biggest, most successful television operation that had ever existed. I built it to where we had one-third of all network programming, back when there were just the three networks.” This staggering market share underscored his strategic acumen in greenlighting a diverse slate of iconic shows. These included “Columbo,” “Ironside,” “Kojak,” “Quincy,” “The Six Million Dollar Man,” “Battlestar Galactica,” “Baretta,” “The Rockford Files,” “The Incredible Hulk,” and “Bionic Woman.”
Price’s vision extended beyond episodic series to groundbreaking miniseries like “Rich Man, Poor Man” and the ambitious “Centennial.” These long-form narratives showcased Universal’s production capabilities and pushed television’s boundaries. His comprehensive oversight created a robust and versatile programming slate, ensuring Universal Television’s unprecedented command of the network airwaves, a testament to his executive prowess.
5. **Pushing Boundaries with Made-for-TV Movies: “That Certain Summer”** As head of Universal Television, Frank Price was not content with popular episodic series alone. He demonstrated a remarkable willingness to push social and thematic boundaries through made-for-TV movies. These films, often tackling sensitive and previously taboo subjects, showcased Price’s commitment to using television as a platform for social commentary, cementing his reputation as a forward-thinking executive unafraid of controversial content.
One notable example was “That Certain Summer” (1972), starring Hal Holbrook and Martin Sheen, which boldly portrayed a gay relationship. At a time when network television shied away, Price’s decision was a significant act of courage. The film offered a nuanced, empathetic portrayal rarely seen on primetime, sparking important conversations and demonstrating television’s potential for social progress.
These projects, alongside others like Steven Spielberg’s early triumph “Duel” and “The Execution of Private Slovik,” underscored Price’s comprehensive vision. He understood the power of the medium for both mass entertainment and impactful, thought-provoking narratives. This willingness to embrace commercial success and challenging subject matter set a precedent, proving compelling storytelling could coexist with social responsibility and artistic ambition.
6. **First Foray into Columbia Pictures: Taking the Helm in a Turbulent Era.** Despite immense success at Universal Television, Frank Price recognized the shifting industry landscape with HBO’s advent. He foresaw radical changes, stating he didn’t “want to ride this down.” In June 1978, Price resigned to join Columbia Pictures, a dramatic pivot. He stepped into a major film studio helm during a turbulent period, replacing David Begelman amidst a check-forging scandal that had “roiled Hollywood.”
Price swiftly ascended at Columbia, becoming president of the motion picture division in March 1979, then chairman and CEO. His arrival garnered attention, earning him the moniker “The $10 Million Man” for his lucrative four-year contract. Price embraced the challenge, noting, “The idea that I had Harry Cohn’s job was a real kick.” His executive philosophy was clear: “The best part of the job was the ability to buy the best — directors, scripts, talent,” a commitment to top-tier creative talent that sometimes confounded peers.
Under Price’s initial leadership, Columbia experienced a vibrant period of commercial and critical success. He oversaw financial triumphs like Brooke Shields’ “The Blue Lagoon” (made for $4 million), and box-office hits such as “Stir Crazy” (1980) and Ivan Reitman’s “Stripes” (1981). More prestigious successes like “Absence of Malice” and “Tess” also emerged, establishing a strong foundation for his most legendary film accomplishments, including several Oscar best picture winners.
