Producer Matt Baer remembers the late talent manager, writing that Carlyle, the first person in the business who gave him a chance, was on a mission to break into the powerful “Boys Club” of executives who viewed her as too aggressive.
Phyllis was the first person in the business who believed in me. I had just graduated from AFI. I didn’t want to be a manager, but I did want to learn how to navigate the industry. Mastering how to handle the non-stop agenda of her workday was sturdy preparation for the interactions I would experience as a producer.
Phyllis was ahead of her time in seeking genuine parity, resulting in a turbulent mission to break into the powerful “Boys Club” of high-level executives who often viewed her as too aggressive. In her mind, she was fighting for her clients, but those on the other end of the phone felt she was fighting. She struggled with the perception that women could be firm, but not “too firm,” when dealing with men she viewed as slow on the uptake.
Phyllis had a first look production deal at Paramount, and her desire to be a manager/producer yielded some success, the most notable being the movie. But that film didn’t have a client in it. As her star clients ascended, Phyllis also wanted to produce for them. This is when her career began to change.
After years of hosting well-attended Christmas parties at her large home, she ended up in a small apartment. I didn’t know Phyllis was sick. If I did, I would have come to her small apartment, with a glass of iced tea. We would have laughed about all the silly little things she had me do. I would have felt the same thing I do now that she’s gone: grateful — and sad, knowing she became, like Eleanor Rigby, one of the “lonely people.
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