Peter Guber - Films Produced

Films Produced

  • The Deep (1977): producer
  • Midnight Express (1978): executive producer
  • An American Werewolf in London (1981): executive producer
  • Missing (1982): executive producer
  • Six Weeks (1982): producer
  • Flashdance (1983): executive producer
  • The Color Purple (1985): executive producer
  • Clue (1985): executive producer
  • The Legend of Billie Jean (1985): executive producer
  • Youngblood (1986): executive producer
  • The Witches of Eastwick (1987): producer
  • Innerspace (1987): executive producer
  • Who's That Girl (1987): executive producer
  • Rain Man (1988): executive producer
  • Gorillas in the Mist (1988): executive producer
  • Caddyshack II (1988): producer
  • Tango & Cash (1989): producer
  • Batman (1989): producer
  • The Bonfire of the Vanities (1990): executive producer
  • Batman Returns (1992): executive producer
  • This Boy's Life (1993): executive producer
  • With Honors (1994): executive producer
  • Sleepy Hollow (1999): producer
  • The Score (2001): producer
  • Enemy at the Gates (2001): producer
  • Serving Sara (2002): producer
  • Alex and Emma (2003): executive producer
  • Beyond Borders (2003): producer
  • Into the Blue (2005): executive producer
  • The Jacket (2005): producer
  • A Thousand Roads (2005): executive producer
  • Montana Sky (made for television, 2007): executive producer
  • Carolina Moon (made for television, 2007): executive producer
  • Blue Smoke (made for television, 2007): executive producer
  • Angels Fall (made for television, 2007): executive producer
  • Tribute (made for television, 2009): executive producer
  • High Noon (made for television, 2009): executive producer
  • Midnight Bayou (made for television, 2009): executive producer
  • Northern Lights (made for television, 2009): executive producer

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Famous quotes containing the words films and/or produced:

    “Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
    —David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)

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