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When John was making Hairspray,
I'd been out in L.A...
2
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...working with New Line, and the deal
with Vestron to make the film fell through.
3
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New Line picked it up.
They came to me and said:
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“Do you want to go produce this film
in Baltimore? We assume you do."
5
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And I said, “I have no idea
how John's gonna respond to...“
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I was a production assistant
when I did Polyester, you know.
7
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Does he really want his production assistant
coming back as his producer?
8
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S0 I called him up and said,
“New Line wants to send me...
9
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...to produce the film for you.
How do you feel about this?“
10
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He was delighted. He said, “I'd much rather have
somebody I know and like than some stranger."
11
00:00:50,573 --> 00:00:55,511
S0 it actually was a very, very good thing,
but it was very difficult walking into a group...
12
00:00:55,678 --> 00:00:59,915
...who had been able to sort of, you know...
13
00:01:00,082 --> 00:01:02,484
.-.treat me like a production assistant...
14
00:01:02,651 --> 00:01:06,488
...and to now walk in as the studio
and as the producer...
15
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...and say,
“Okay, now I'm gonna tell you what to do."
16
00:01:09,325 --> 00:01:14,897
I was very nervous and uncomfortable the first
time I dealt with everyone after Polyester.
17
00:01:15,064 --> 00:01:17,933
And I was there probably a day...
18
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...and John was going through location photos.
And he'd never had a producer before...
19
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...because this was the first time
there was really real money involved.
20
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He was going through location photos,
trying to make some locations work.
21
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I realized that they weren't working, and I said:
“Well, go get him some more choices."
22
00:01:35,884 --> 00:01:40,823
And he was so shocked and thrilled
that there was somebody there to help him...
23
00:01:40,990 --> 00:01:43,225
.-.that that was an immediate change.
24
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And from then on, I was completely accepted.
25
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Completely part of the group.
26
00:01:48,764 --> 00:01:54,536
And I take the approach, as a producer,
that my job is to try and expedite things.
27
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Not be the suit, not be the studio.
28
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Not say,
“No, we don't have the money to do this.“
29
00:02:00,175 --> 00:02:02,811
It's about finding out what the director wants...
30
00:02:02,978 --> 00:02:06,615
...and trying to provide it for him.
And John had never had anybody...
31
00:02:06,782 --> 00:02:11,820
...to do that for him. And so immediately
on Hairspray, it was this great relationship.
32
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Hairspray was the first time that he'd done
a film with a full distribution...
33
00:02:17,192 --> 00:02:21,563
...with a company that was a reputable
company financing the entire thing.
34
00:02:21,730 --> 00:02:26,702
But it was a tremendously ambitious show
because of the dance numbers and the period--
35
00:02:26,869 --> 00:02:29,872
That it was a period piece
and that we had period cars.
36
00:02:30,039 --> 00:02:32,074
And we had to do very, very difficult things...
37
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...like, you know,
have all the extras work for free.
38
00:02:35,444 --> 00:02:38,047
We had the scene in the...
39
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Dorney Park, in the amusement park,
where we needed hundreds of extras rioting.
40
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And we had to try and get them to work for free
because it was still, I mean--
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I think under 2.5 million
to do a period piece like that.
42
00:02:52,795 --> 00:02:56,065
And like all John's films, it was full of chaos.
43
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You can't just have one person
running around.
44
00:02:58,534 --> 00:03:01,670
You have to have as many
as you can possibly get.
45
00:03:01,837 --> 00:03:06,041
S0 it was a very complicated film
and there were a lot of different locations.
46
00:03:06,208 --> 00:03:12,114
And it wasn't like the old days when he could
run around with his own camera.
47
00:03:12,281 --> 00:03:17,786
It was, you know, permits
and it was a professional film that needed...
48
00:03:18,353 --> 00:03:22,925
...a full crew, and that was a change for John.
It wasn't so much...
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00:03:23,092 --> 00:03:26,662
I mean, Polyester had been a change as well
from that point of view...
50
00:03:26,829 --> 00:03:29,331
...that he had--
He wasn't doing everything himself.
51
00:03:29,498 --> 00:03:32,434
But Hairspray was the big--
The next big step.
52
00:03:32,601 --> 00:03:36,972
I mean, I remember the day that we discovered
that we were gonna get a PG or a PG-13 rating.
53
00:03:37,139 --> 00:03:38,741
I can't remember which one it was.
54
00:03:38,907 --> 00:03:41,710
And John's-- The absolute terror on his face...
55
00:03:41,877 --> 00:03:44,480
...that this would be the end of his career.
56
00:03:44,646 --> 00:03:46,882
And, I mean, I love Hairspray.
57
00:03:47,049 --> 00:03:50,452
And I remember saying I think that,
you know, this is a great thing.
58
00:03:50,619 --> 00:03:55,824
Your love of this period and your love
of this topic is what's come out in this film.
59
00:03:55,991 --> 00:03:57,626
And that's what filmmaking's about.
60
00:03:57,793 --> 00:04:00,796
And that's-- Not that I'm any great sage in this...
61
00:04:00,963 --> 00:04:05,701
...but I had great faith that people would see
what was great about Hairspray.
6215
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