The Archive is very saddened to hear of the death of noted television producer Henry Colman, who passed away on Wednesday, November 7th at the age of 89. Not only was Henry an Archive interviewee, but he was also one of the Archive’s main interviewers — having completed over 33 oral history interviews for the Archive of American Television’s collection. We will miss his warmth and enthusiasm.
Henry began his career in television just as it was beginning — as a production coordinator on a local musical show, Easy Does It. In 1951, he became an assistant to the director on Kraft Television Theatre and then worked on other programs including Robert Montgomery Presents and Colgate Comedy Hour. He then became a television executive, overseeing the pilot of The Many Loves of Dobie Gillis, and working on programs such as Green Acres and Hawaii Five-0. He later worked on the development of The Love Boat, where he became line producer, and went on to produce the series Hotel. Beginning in 1987, he produced a number of TV movies including Body of Evidence, Parent Trap III and The Rape of Dr. Willis.
Below are some selections from his 2001 Archive interview:
On the genesis of The Love Boat:
On his advice to aspiring producers:
On being an interviewer for the Archive of American Television:
On how he’d like to be remembered:
I’d like to be remembered as being generous and kind and with enough talent that I got the job done, and did it well.
Below are some selections from Hemsley’s 2003 Archive interview:
On his screen test for The Jeffersons’ executive producer, Norman Lear:
On “George Jefferson”:
On playing “Deacon Earnest Frye” on Amen:
On following his own path:
On advice to aspiring actors:
You got something steady telling you everyday, “go, go, go.” So rather than fight the voice, you just got to say ,”whew” and just start. That’s my advice to people – you want to do it? Start … Just go for it. Go for it; it’s fun.
Below are some selections from Miller’s 2003 Archive interview:
On how he became interested in fashion:
What turned me on to fashion? Movies. I loved movies. I lived from Saturday to Saturday, and of course I particularly like Joan Crawford, Barbara Stanwyck, Betty Grable … I knew when I watched Betty Grable movies that that was what I wanted to do. All those costumes … it’s so strange that in movies there was always a fashion show or something or a girl was picked up by some guy who told her she needed clothes to be presentable and would take her to the store. Of course there was always a designer in a dark suit – note dark suit – and there was usually a staircase that the models came down. I just thought, “this is what I want.” I didn’t realize, though, the 18-hour-day of hard work sometimes. But it sounded glamorous and I loved the whole thing of movies. Anything to do with the movies. I just wanted to work at the studio.
It was an hour show, every day at noon, and it was live. There were usually three groups of people in the wardrobe department preparing shows, because one day it would be a modern show, one day it would be a biblical thing, another day might be a comedy. I think that there were probably 3 or 4 people in my group, and I think we did two shows a week, one if we were on a show that aired on Monday, and we would prep the rest of the week. Maybe we’d have a show for Thursday or something that week. We were always prepping the next show. It was quite an amazing show, particularly in that it was live every day.
On working in a flower shop and meeting Aaron Spelling:
He and his then wife Carolyn Jones were shopping in Beverly Hills and they stopped in the flower shop to say hello. At that point Aaron Spelling wasn’t anyone, you know. He was married to Carolyn Jones, who I was thrilled to meet. We decided to go and have a drink; it was late in the afternoon. So we went and had a drink and Carolyn was under contract to Hal Wallis at Paramount. She had just finished a film and she said the studio was sending her on a PR junket. She said the studio told her to get some clothes for personal appearances. She said, “do you want to design them?” I said, “of course.” She said, “okay, well, why don’t you bring me some sketches.” She told me what she needed and so I did sketches for her. And that was the beginning, because I did those clothes for her. I found a dressmaker who was highly recommended who had quite a good star clientele, so I knew that she was capable, and I made the clothes for Carolyn.
On Aaron Spelling:
First of all, he’s very unassuming. He’s always been very, very thin, looks like he’s undernourished. He’s very warm, very friendly; he immediately puts everyone at ease that’s around him. After all of these years he still hasn’t run out of ideas and instantly knows what to do. He has a sixth sense about what’s wrong with the show or what he should do or something. He’s great to work with because he sees what the show is going to look like. When he says, “she’s running down the road; she should be in a white sweater,” he has a reason why she should be in a white sweater. Over the years I would argue with him over certain things, but he usually proved himself right.
I was starting to be sort of known for glamour clothes and beaded gowns and that kind of thing. I had my shop at that time. I had a call from the producer, saying they were doing the show and they had a girl who was like a showgirl and they were all stranded. She must have had a very large trunk with her that day that they went for a cruise, because every season we’d do a couple of new gowns. They’d call me, “we need a couple more gowns,” so I did Tina’s clothes. I didn’t do the rest of the show. I just did Tina Louise’s gowns.
On the bra-lessness on Charlie’s Angels:
All of the Paris collections and everything were showing chiffon blouses with nothing under it. Everyone was just aghast. Everyone was so shocked, but they were showing the same blouses on Rodeo Drive. They weren’t so see-through, but you could tell there was no bra on. Before that we couldn’t even show the imprint of a nipple. I had to put a band-aid over the nipple or something. All of the sudden Farrah was in a crepe de chine blouse or a double white chiffon blouse with no bra under it. Everyone said, “ah, this is going to be shocking. They won’t allow this. You won’t get by with this.” But we did.
Aaron Spelling, who died at the age of 83 on June 23rd, was interviewed for three hours by the Archive of American Television in a two-part interview on November 18 and 24, 1999.
During his interview, Mr. Spelling spoke of his early career as an actor before turning to writing. He described the role of a producer and discussed the creation of such programs as Charlie’s Angels, Dynasty, Fantasy Island, The Love Boat, Beverly Hills 90210, and Melrose Place. He also discussed his role as producer of the films And the Band Played On and Mr. Mom. The interview was conducted by Henry Colman.