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When John was making Hairspray,
I'd been out in L.A...
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...working with New Line, and the deal
with Vestron to make the film fell through.
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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."
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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.
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Does he really want his production assistant
coming back as his producer?
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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?“
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He was delighted. He said, “I'd much rather have
somebody I know and like than some stranger."
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S0 it actually was a very, very good thing,
but it was very difficult walking into a group...
12
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...who had been able to sort of, you know...
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.-.treat me like a production assistant...
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...and to now walk in as the studio
and as the producer...
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...and say,
“Okay, now I'm gonna tell you what to do."
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I was very nervous and uncomfortable the first
time I dealt with everyone after Polyester.
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And I was there probably a day...
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...and John was going through location photos.
And he'd never had a producer before...
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...because this was the first time
there was really real money involved.
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He was going through location photos,
trying to make some locations work.
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I realized that they weren't working, and I said:
“Well, go get him some more choices."
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And he was so shocked and thrilled
that there was somebody there to help him...
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.-.that that was an immediate change.
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And from then on, I was completely accepted.
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Completely part of the group.
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And I take the approach, as a producer,
that my job is to try and expedite things.
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Not be the suit, not be the studio.
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Not say,
“No, we don't have the money to do this.“
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It's about finding out what the director wants...
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...and trying to provide it for him.
And John had never had anybody...
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...to do that for him. And so immediately
on Hairspray, it was this great relationship.
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Hairspray was the first time that he'd done
a film with a full distribution...
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...with a company that was a reputable
company financing the entire thing.
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But it was a tremendously ambitious show
because of the dance numbers and the period--
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That it was a period piece
and that we had period cars.
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And we had to do very, very difficult things...
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...like, you know,
have all the extras work for free.
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We had the scene in the...
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Dorney Park, in the amusement park,
where we needed hundreds of extras rioting.
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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.
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And like all John's films, it was full of chaos.
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You can't just have one person
running around.
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You have to have as many
as you can possibly get.
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00:03:01,837 --> 00:03:06,041
S0 it was a very complicated film
and there were a lot of different locations.
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And it wasn't like the old days when he could
run around with his own camera.
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It was, you know, permits
and it was a professional film that needed...
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...a full crew, and that was a change for John.
It wasn't so much...
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I mean, Polyester had been a change as well
from that point of view...
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...that he had--
He wasn't doing everything himself.
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But Hairspray was the big--
The next big step.
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I mean, I remember the day that we discovered
that we were gonna get a PG or a PG-13 rating.
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I can't remember which one it was.
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And John's-- The absolute terror on his face...
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...that this would be the end of his career.
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And, I mean, I love Hairspray.
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And I remember saying I think that,
you know, this is a great thing.
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Your love of this period and your love
of this topic is what's come out in this film.
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And that's what filmmaking's about.
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And that's-- Not that I'm any great sage in this...
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...but I had great faith that people would see
what was great about Hairspray.
6215
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