Marshalling happier days
Life has not always been sweet for director Garry Marshall, writes
IN his newly published autobiography, My Happy Days in Hollywood, which he co-wrote with daughter Lori, Garry Marshall recalls the time in his life when he wasn’t very happy – producing the 1976-83 comedy series Laverne & Shirley.
‘‘It was a tough show,’’ recalls the gregarious Marshall.
It was the opposite of the carefree set of Happy Days, the ABC series about the Cunningham family and leather-jacket clad Fonzie (Henry Winkler). Marshall produced, directed and wrote episodes of the series, which aired from 1974 to 1984.
Laverne & Shirley, a spinoff of Happy Days that starred Marshall’s younger sister Penny and Cindy Williams, wasn’t nearly as pleasant. Marshall, 77, recalls that he brought one writer-producer, Arthur Silver, over from Happy Days to try to work with the headstrong actresses.
‘‘There are two kinds of writers,’’ explains Marshall. ‘‘There are feisty writers and there are calm writers.’’
Silver was a calm one until he worked on the series but became so stressed Marshall had to let him go.
He and Penny eventually overcame their differences. ‘‘We’re family,’’ he says. ‘‘We worked it out. That was a long time ago. We got through it.’’
Marshall’s five-decade Hollywood career included writing gigs with then-partner Jerry Belson on The Joey Bishop Show and The Dick Van Dyke Show, and producing, writing and directing such popular series as The Odd Couple with Jack Klugman and Tony Randall and Mork & Mindy. He helmed such hit films as Pretty Woman.
He is married to Barbara, a nurse, since 1963 and they have three children, all of whom have worked with their father. Barbara was a pillar of strength two years ago when he had throat cancer and had to endure radiation and chemotherapy.
‘‘The cure is so hard you can’t eat,’’ he says. ‘‘I went from 206 to 164 pounds. They said you have to have a pump feed you through your stomach. My wife said, ‘I don’t think so. I’ll make him eat’. It wasn’t easy . . . but you can do anything.’’
Marshall’s mother, Marjorie, was a tap dancer who had a tap school and his father, Tony, was an industrial filmmaker who became a producer and executive producer on his son’s TV shows.
‘‘In the book I said a strange thing happened to me when I was getting out of high school – my father noticed me,’’ laughs Marshall. ‘‘My father was very good at trying to get us out of the Bronx and getting out in the world but he didn’t say hello much until we were ready to do that. My mother was in her own world. She was unique and funny.’’
Marshall even used one of her comments as an inspiration for an episode of The Dick Van Dyke Show he penned with Belson.
‘‘I was 11 years old,’’ says Marshall. ‘‘I have moles on my back. We were on the beach and Mom said, ‘You have so many moles on your back I could connect it with a pencil and get a picture’. I didn’t take my shirt off at the beach anymore.’’
He learned life lessons from his mentor, the Rat Pack comic Joey Bishop. ‘‘He was never so happy (as a person) but he taught me a lot. He taught me the most important lesson and that is about loyalty. He never stopped you from advancing.’’
Marshall has been incredibly loyal to Hector Elizondo, who has appeared in every one of Marshall’s films since his 1982 feature directorial debut, Young Doctors in Love. He considers Elizondo to be a goodluck charm because ‘‘the process becomes twice as easy with Hector. Whenever I had trouble on a picture I said, ‘Hector, help me out here’. With Hector it is like having another director not to direct but to calm down the actor. I love to laugh. My mother taught me to laugh. Hector and I laugh together no matter how bad things are.’’