What reads like a textbook example of studio pressure occurred behind the scenes of All I Want for Christmas in mid‑1991. In June 1991 Thom Eberhardt was announced as the writer‑director on a picture that carried working titles Home for Christmas and Home for the Holidays; within a month the film’s production trajectory changed dramatically. By July 24, 1991 The Hollywood Reporter was blunt: Paramount’s newly installed chairman, Brandon Tartikoff, was rushing the project into production with the explicit aim of squeezing it into the 1991 holiday season rather than waiting until 1992. That executive timetable forced creative upheaval — Eberhardt was replaced by Robert Lieberman, a commercial and television director, and though reports stress the departure was “amicable,” it was plainly a casualty of a deadline dictated by studio business priorities rather than creative readiness.
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