I hope this series is good work, but it is in the half-hour medium, which is limited to a kind of mediocrity that sponsors are just dying to have right now, and the public, for some reason, is unconsciously demanding.
I never say too much about that in public interviews, because it disappoints the public to tell them you're not that crazy about a property you did that possibly they liked.
I remember Mr. Mayer very well. He sort of liked to be the father - no, he liked to be treated like you thought he was Daddy, but he didn't treat you like Daddy at all.
I would also like to act, once in a while, but not get up every morning at 5:30 or six o'clock and pound into the studio and get home at 7:30 or eight o'clock at night, or act over and over and over every night on Broadway, either.
People like Spencer Tracy held up because they had the background originally, but to this day they never have changed Mr. Gable's role, or most of them.
So I'm in that half-hour business where the most money is, so that eventually I feel like the people that put on the Dupont show, like maybe my artistic effort is going to be a little different.
So if I keep making mistakes on Broadway or tape or film, producing, directing or acting, I can go along and do it - so long as I'm not investing too much capital in these things.
So whatever I might have started to learn at that age was all undone by the next director and next crew in the next cheap picture, because I was allowed to get away with murder.
The studio didn't ask them to learn their trade, they just worked them, and when that personality or that gimmick or whatever they had ran dry at the box office, they were dropped and out.
