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By TIM GRAY FIN C T MY FIRST TIME IN VARIETY Sheila Nevins “You’d ask a simple question about a person’s American dream, and suddenly you were in the middle of their life. It was a blueprint for all I’m still doing.” When you started out in the industry, what was your goal? To make a living. It was the ’60s, I was a woman, and I wanted to work behind the camera, but no one wanted to hire a woman director. I guess things haven’t changed that much. What was your first job? Teaching English on camera at [the U.S. Information Agency]. There were conversations called “Adventures in English,” which were sent all over the world to help people learn the language. I played Jean, the secretary to a professor, Mr. Richards. We would discuss three words a day. He and I would have these inane, Beckett-like conversations about the three words. That’s what I did for two years. Don Mischer was the director. Then he got a job at PBS’ “The Great American Dream Machine,” and I followed. That’s when my real career began. What were your duties? I started as researcher and rose to associate producer, then producer. What did you learn? Everything. At PBS, there was freedom. You could be brash. And there was a continuity in storytelling; you didn’t interrupt for a commercial, so you had to fill every moment. What did you do as a “Dream Machine” producer? There was no money for interstitials. I thought, “What if I go out on the street and ask people their dreams?” Maybe I could cut that into segments. Al [Permutter, the executive producer] said “Who could shoot it?” And I said, “The Maysles!” I didn’t even know them. He said, “They’ll never work for this money,” because it was public television. I called them and they said, “Sure, for public television, we’ll work for minimum.” We went to beauty parlors, barber shops, bookstores. We didn’t have permits; we just did it. You’d ask a simple question about a person’s American dream, and when they answered, suddenly you were in the middle of their life. It was a blueprint for all I’m still doing. What was “Perpetual People Puzzle”? “Great American Dream Machine” was a big success — they tried to translate that into commercial TV.... I think it lasted only one episode. Was it harder for a woman? Much harder. You had to give up your life in many ways. You had to work all the time. You had to stay late and prove that you were the same as any guy. Salaries were low. And in the middle of it all, you try to be mother, to be a wife, not get too fat. I was cute, skinny, tall, so it was assumed I had no brains. You’re always fighting some battle. First there’s sexism, then ageism. I’m still working very hard. It never is easy. Maybe life isn’t easy. As someone said to me, we’re all on a boat called “life,” and there’s a slow leak. Any advice? Yes, get a life jacket! JUNE 14, 2016 VARIETY.COM 146 As president of documentary films at HBO, Sheila Nevins is a major force in the nonfiction world, shepherding work that has earned 31 Peabodys, 21 Oscars, and 59 Emmys. This month, “Suited” and “How to Let Go of the World” join her roster of works at the premium cabler. Nevins was first mentioned in Variety on June 21, 1972, as a producer of ABC’s nonfiction “Perpetual People Puzzle.” It was an unsuccessful attempt to translate PBS’ 1971-72 variety show “The Great American Dream Machine,” on which she also worked, to commercial TV. “Dream Machine” consisted of comic/thoughtful bits, with no host and no narration. Aside from giving Nevins a start, it introduced TV viewers to Albert Brooks, Linda Lavin, Studs Terkel, and Andy Rooney, among others. • Visit VarietyUltimate.com for every issue of Variety from 1906 to the present. Educational and research institutions, please call (323) 617-9555. ILLUSTRATION: MICHAEL HOEWELER; PHOTO REFERENCE: JIMI CELESTE/AP
WINNER AFI TELEVISION PROGRAM OF THE YEAR WINNER PEABODY AWARD WINNER CRITIC’S CHOICE AWARD BEST COMEDY WINNER BEST COMEDY ROTTEN TOMATOES 100% FOR YOUR CONSIDERATION “IT FEELS LIKE THE FUTURE. ” “ THE YEAR’S BEST COMEDY. ” “A GEM OF DEEP HILARITY. ONE OF THE BEST SHOWS OF 2015.” AZIZ ANSARI
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