interview Jerry London London: It’s the latter: you don’t want to change the format of what they’re doing. On
Dr. Quinn, if I started to get very flashy with the angles, or started doing big dramatic camera moves, which I usually do in drama, they didn’t like it. They didn’t want to be distracted by the camera moves; they don’t want you to change things. You can put your own ideas in the staging, working with the actors, but you really don’t change the tone of the episodes.
Faktorovich: Does a script writer have more control in the direction of an episode than the director? Do you change the script to fit the realities of the shoot?
London: The writer sets the story and tone on a series. On a TV series, when you’re a hired director, the producer and writer set the story. When you come in, the script is set and ready to go. You can give the writer ideas if you think something doesn’t work, add, subtract. When you’re doing a miniseries and you’re the main director, a lot of times the script isn’t written yet, so you tell the writer the types of locations and other elements you want to include in the story.
Faktorovich: Before your major successes in the ‘80s, you directed episodes for some iconic shows in the ‘70s:
The Bionic Woman, Happy Days, and
The Brady Bunch. You describe this period in your book thus: “For about five years I bounced around Paramount working on sitcoms.” You used the “three-camera show technique” on
The Mary Tyler Moore Show and other similar shows. Was it easy for you to direct something like
The Brady Bunch? Was it just a matter of pointing the camera and correcting major mistakes from actors? Other than working with famous actors, is there anything unusual that stands out in your mind about those experiences?
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Dim 20 Jan - 11:05