A Quote by Garry Marshall
If you're creative, they let you be the showrunner, producer. The first thing my partner and I did as producers was hire ourselves as directors - because who else would hire me?
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There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.
Usually directors hire me because I'm what they are looking for. But once in a while, and it's very rare, they will hire me and then try to make me over.
Because of 'The Birds' and 'Marnie' I was, as the expression goes, hot in Hollywood and producers and directors wanted to hire me.
The weirdest thing to me is that magazines would never do this for their writers. They would never hire a writer who writes for another magazine; they want to have their own stable of writers. Newsweek would never hire a TIME writer, and TIME would never hire a Newsweek writer - but they would both hire the same photographer to shoot a cover for them.
I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.
I hire a lot of hosts, reporters, producers, and I hire people who care about the news.
It's illegal to hire or fire anybody because of their race, appearance, or sexual orientation, but in Hollywood, ironically, it's the reason people will hire or not hire you.
As part of the process by which you hire me, you hire me. You just don't hire an hour of me to do a performance.
I'm very lucky that I'm not a photographer for hire - people hire me for me. I go into every commercial work with an art focus, with that lens; every brand I've worked for just lets me do whatever I want to do. I have full creative freedom.
I'm kind of the boss. I could fire myself if I ever got out of line, and I can hire myself too which is a good thing. It gives me a responsibility to the financial realities of the picture. I'm an extremely conscientious producer and now equally as a director and it now gives me the opportunity to look at the entire movie and allow the movie to be the creative vision of the actors, the writer and myself, because I'm in charge of it from a producer and a director point of view. It gives me freedom and it gives me a certain degree of responsibility at the same time.
I have never had a plan. Things happen to me, and, of course, I make friends who later say, 'Hey, you know who would be good for this? McKean would be good for this.' And they hire me, and if they like me, they hire me again, or the word gets out.
No police department should hire more quickly than they can assimilate the people that they bring in, and we did. I take responsibility for it. It was the first opportunity I had to hire, and I wanted to do it, and I take responsibility.
Later, you should learn to hire fast and scale up the company, but in the early days the goal should be not to hire. Not to hire.
Good people hire people better than themselves. So A players hire A+ players. But others hire below their skills to make themselves look good. So B players hire C players. C players hire D players, etc.
My first time up to bat as a showrunner, what I did was hire an all-Latinx writers room. And it's a diverse Latinx writers room - we have an Afro-Dominican and Texicans and Chileans. It's diverse within its Latinidad.
I always wanted to make a 'James Bond' film, and they only seemed to hire British directors, and I'd made 'Swingers' - they were never going to hire me for a 'James Bond' film off 'Swingers.'
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