When Barry Diller sat down to write his memoir, he didn’t plan to reopen a 45-year-old Hollywood wound. But in 'Who Knew', published by HarperCollins in May 2025, the media mogul did just that — claiming John Travolta walked away from the lead role in 'American Gigolo'Los Angeles not because of grief, but because he was scared of the film’s quiet, unspoken gay subtext.
The Story Behind the Walkout
Diller, who served as Chairman and CEO of Paramount Pictures Corporation from 1974 to 1984, says Travolta’s official reason — mourning the deaths of his mother, Helen Cecilia Travolta, and his girlfriend, Diana Hyland — was a cover. In his memoir, Diller recalls Travolta slumping into the office of Michael Eisner, then Paramount’s president, and crying, “I can’t do American Gigolo… I’m too sad.” But Diller didn’t buy it. “He acted his way through that meeting,” Diller writes. “He was afraid of playing the character because of its somewhat gay sub-text.” The role of Julian Kay, a high-end male escort navigating the glittering, lonely world of wealthy women in Los Angeles, was tailor-made for Travolta’s post-Saturday Night Fever star power. But beneath the tailored suits and seductive glances, Schrader’s script hinted at something more complex: a man whose intimacy with women felt performative, whose loneliness bordered on isolation, whose desires might not fit neatly into heteronormative boxes. In 1979, that was dangerous territory for a leading man.The Home Visit That Didn’t Work
Diller didn’t let go easily. He invited Travolta to his home one afternoon, hoping to talk him off the ledge. “Right now, you are the biggest star in the world,” Diller told him, “and you worry you’re going to screw it up. This is a critical time for you. When you’ve got a great script and a great part, don’t let anything put you off.” It didn’t work. Travolta, then 25, walked away from what could have been one of the most defining roles of his career. Diller says he was stunned. “He had the charisma, the looks, the timing. He was the perfect Julian Kay. But he was scared.” The role eventually went to Richard Gere, who delivered a career-defining performance. The film premiered on February 1, 1980, at the Mann Village Theatre in Westwood, Los Angeles, and became a critical and commercial success — though not without controversy. Critics noted the film’s ambiguity, its refusal to label Julian’s sexuality outright. Audiences, however, were captivated by his vulnerability.
Why It Matters Now
Diller’s revelation lands at a moment when Hollywood is re-examining its past — not just in terms of representation, but in terms of fear. In 1979, actors were routinely pressured to avoid roles that hinted at queerness. Even the suggestion of it could tank a career. Travolta’s withdrawal wasn’t unique; it was routine. But Diller’s candidness is. What’s striking isn’t just the claim — it’s that Diller, now 83, is finally speaking openly about his own relationships with men. He doesn’t label himself gay or bisexual. He just says: “I’ve loved men. I’ve lived with them. I’ve lost them.” It’s a quiet, powerful admission — one that reframes his entire account. He didn’t just see Travolta’s fear. He recognized it.The Silence from Travolta
As of May 28, 2025, John Travolta has not responded to Diller’s claims. The Pink News, the British digital outlet that broke the story after The Hollywood Reporter first reported it on May 23, 2025, reached out to Travolta’s representatives. No reply. That silence speaks volumes. Travolta, now 71, has spent decades navigating Hollywood’s shifting tides — from the macho roles of Grease to the darkly comic Pulp Fiction, from the public scrutiny of his family’s tragedies to his quiet advocacy for Scientology. He’s never addressed the American Gigolo controversy directly. Is it denial? Respect for privacy? Or something deeper — a lingering discomfort with a part of his past he never wanted to confront?
A Legacy of Unspoken Choices
The film’s legacy endures. Julian Kay’s white linen suit, his lonely walks through Beverly Hills, his ambiguous glances — they’re now iconic. But the real story might be the one that never made it to screen: the one where Travolta played him. Had he stayed, would we see a different Hollywood today? One where a leading man could embody complexity without fear? Where queerness wasn’t a career risk, but a character trait? We’ll never know. But Diller’s memoir gives us something rarer: a glimpse into the quiet, personal battles that shaped the movies we love — and the ones we never got to see.Frequently Asked Questions
Why would John Travolta fear a role with gay subtext in 1979?
In late 1970s Hollywood, any hint of homosexuality in a leading man’s role was considered commercially risky. Actors like Rock Hudson faced public scrutiny and career damage after being outed. Even subtle queer coding — like Julian Kay’s emotional detachment or ambiguous relationships — could trigger backlash from conservative audiences and studios. Travolta, riding high on Saturday Night Fever and Grease, had everything to lose.
Did Barry Diller ever come out publicly before this memoir?
No. Diller, who has been a powerful figure in media since the 1970s, has never publicly discussed his personal relationships with men — until Who Knew. While he doesn’t identify as gay or bisexual, he writes candidly about loving and living with men, calling it one of the most personal revelations of his life. This marks the first time he’s opened up about it in detail.
What impact did Richard Gere’s casting have on the film’s reception?
Gere’s casting was pivotal. Unlike Travolta’s working-class charm, Gere brought a cool, aristocratic aloofness that made Julian Kay feel more enigmatic — and thus, more believable as someone hiding his true self. His performance was widely praised for its restraint and depth, helping the film transcend its sensational premise. Critics noted how Gere’s ambiguity made the subtext more powerful than any explicit scene could have been.
Is there any evidence that Travolta was actually grieving, or was Diller just making excuses?
Travolta’s grief was real. His mother died in November 1978, and Diana Hyland — his longtime partner — passed from cancer in March 1977. He was deeply affected by both losses. But Diller isn’t denying the grief; he’s suggesting it was used as a socially acceptable excuse for a deeper fear. In Hollywood, grief is a noble reason to leave a role. Fear of being seen as gay? Not so much.
How does this reflect broader changes in Hollywood since 1980?
Since 1980, Hollywood has slowly moved from hiding queer stories to centering them — though unevenly. Actors like Billy Porter, Kit Harington, and even Travolta himself in The Fanatic have taken on more complex roles. But the fear Diller describes still lingers. In 2025, a star might still hesitate to play a gay lead if they think it’ll cost them mainstream appeal. Diller’s memoir reminds us that progress isn’t linear — it’s built on the roles actors refused to take.
What role did Paramount Pictures play in this decision?
Paramount Pictures, under Diller and Eisner, aggressively pursued Travolta for the role after his two massive hits. They saw him as their golden boy. But once he withdrew, they moved quickly to secure Gere, who was already attached to other projects. The studio didn’t push back on Travolta’s exit — likely because they understood the cultural risk. Their priority was protecting their investment, not challenging Hollywood norms.
