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And then right after that, you do Night Shift, you do Splash, so you have-
在那之后，你执导了电影《夜班》，执导了电影《美人鱼》，所以你--
Well, in between, there was a visionary executive at NBC in charge of television movies.
在此期间，美国全国广播公司(NBC)有一位富有远见的高管负责电视电影。
Her name was Deanne Barkley. She was the most powerful female executive in the business at that time, in a time when there were really no women with the levers of power.
她的名字叫迪安·巴克利。她是当时商界最有权势的女性高管，在那个年代，真正拥有权力杠杆的女性并不多。
She really believed in the idea of actors transitioning into directing.
她真的认同演员转型为导演的想法。
She gave Michael Landon a lot of opportunities, and Beau Bridges chances to direct and others.
她给了迈克尔·兰登很多机会，给了博·布里奇斯执导的机会，也给了其他人机会。
And she saw Grant Theft Auto and had a meeting with me, and said, “Would you like to direct movies at NBC? In fact, would you like to produce them? Would you like to come up with the ideas? There’s an open door here.”
她看了电影《疯狂恋爱跑天下》，跟我开了个会，说: “你愿意在NBC执导电影吗? 你真的愿意拍电影吗? 你愿意提出你的想法吗? 这里有一扇敞开的大门。”
And lo and behold, I made a television movie for Deanne Barkley for three straight off seasons from Happy Days.
你瞧， 我在连续三季《欢乐时光》的拍摄之余为迪安妮·巴克利拍摄电视电影。
And I learned so much about filmmaking, but also taking responsibility for an entire production, which I did, financial risk, which I did.
我学到了很多关于电影制作的知识，同时也学会了对整个制作过程负责，我做到了这些，承担财务风险，我也做到了。
And put me in such a stronger position just a few years later when Brian Grazer and I would form Imagine Entertainment.
几年后，我和布莱恩·格拉泽成立了“想象娱乐”公司，这让我处于一个更有利的位置。
Do you think that she wanted to help actors make that transition, because she thought actors were better at managing other actors when they became directors?
你会认为她是想帮助演员们完成这种转变，因为她认为演员们成为导演后，能更好地管理其他演员吗?
I think she believed in that. She wanted the movies to have heart.
我想她相信这一点。她希望电影要有感情。
I think she felt like that actors could channel that and very quickly work well with actors.
我想她觉得演员们可以引导这种情绪，很快就能和演员们很好地合作。
And I also think she was going after people who had TV names.
她也在寻找那些在电视圈出名的人。
I think it was also a way to bring some status and profile to some of the TV movies.
我认为这也是给一些电视电影带来地位和高关注度的方式。
Yeah. So then you do get to Night Shift and Splash, and they are hits.
是的。你拍摄了《夜班》与《美人鱼》，这些作品都很受欢迎。
Yes.
是的。
So how did that feel?
那感觉如何?
First of all, it was validation. Night Shift was a bit of a rocky road.
首先，这是一种认可。拍摄《夜班》历经曲折。
Michael Keaton makes his movie debut in that movie, and he’s fantastic in this character called Bill Blazejowski.
迈克尔·基顿的电影首秀献给了这部电影，他扮演的角色名叫比尔·布拉泽乔斯基，他的演技出色。
The movie wouldn’t have been green lit without my friend Henry Winkler.
如果没有我的朋友亨利·温克勒，这部电影就拍不起来。
I had now left Happy Days, but we remained such good friends, and he was kind of like a big brother for me.
虽然我已经离开了《欢乐时光》，但我们仍然是非常好的朋友，他对我来说有点像老大哥。
And he really came through.
他真的来了。
And at this point, when we couldn’t get the movie made, he agreed to come in and play this role.
在那个时候，我们没法拍电影，他同意来出演这个角色。
And it really got the movie green lit. So I’m forever grateful for that.
这让这部电影得以拍摄。所以我永远对此心存感激。
But it also launched this partnership with Brian Grazer.
这也让我与布莱恩·格拉泽建立了合作关系。
Both Night Shift and Splash were Brian’s original ideas.
电影《夜班》和《美人鱼》都是布莱恩最初的想法。
And the work he did as a young guy who had never gotten a feature film green lit before was remarkable.
作为一个从未拍过剧情片的年轻人，他所做的工作非常杰出。
But there was something about the two of us, again, we’re baby boomers.
但我们俩之间有某种默契，强调一下，我们俩是婴儿潮一代的人。
I was late 20s, he was 30.
我快30了，而他也30了。
They were actually looking, like, “Who’s going to tell us what the baby boomer audience really wants?”
他们实际上在想，“谁能告诉我们婴儿潮一代的观众真正想要什么?”
