From Price is Right to Pirates of the Caribbean: An Interview with Jay Wolpert, "Price's" First Producer

From 1956 to 1965, Mark Goodson-Bill Todman's "Price is Right" hosted by Bill Cullen was a daytime television staple. In 1972, when the show was revived in a new format with a new host, Bob Barker, no one knew that Price is Right would become a television institution. From 1972 to 1978, Jay Wolpert was "modern" Price is Right's first producer.

After Price, Jay created and produced his own stable of television game shows, and then went on to become a screenwriter.

I recently spoke to Jay about his long and varied career.

Jay on Getting that First Break in the TV Game Business:

In 1962, I was a student at Queens College (New York) and I needed a part-time job. So I went down and applied at a place I thought was a sock factory --- and it was a TV game show company, Wolf Enterprises. They had a show called "Window Shopping." Because I ran the company's mimeograph machine, they called me "Inkstain."

I then went to work for (producer) Dan Enright, who was "blacklisted" from American television because of the game show scandals (he produced "Twenty One"). He was working on a few shows in Canada. I moved to Montreal and worked for him off and on for about two years (also, in New York and Toronto).

I went back to the States to serve in the Coast Guard Reserve. One night I was watching Jeopardy (the Art Fleming version) and disagreed with a Final Jeopardy answer. I called Merv Griffin Productions to complain. The person on the phone challenged me to do better. Even though I had worked on game shows in Canada, it didn't preclude me from becoming a contestant on the show. I wound up winning the (1969) Tournament of Champions. It was $8500 and a trip to Hawaii. When I came back, I was hired to work for (producer) Henry Jaffe on "The Movie Game." I moved to California.

Jay is Asked How He'd Fare Against Current All-Time Jeopardy Winner Ken Jennings:

I'm not sure, but back in those days contestants were cut off after winning five games. So, there was no way of knowing how good you could've been.

I'll tell you this. I'm not as good at pop culture as I used to be. I think that has to do with getting older. As for other subjects, I'd hold my own.

Jay on Helping Create the Bob Barker Version of Price is Right:

"What show innovations am I most proud of?" I'm most proud of coming up with the idea of thematic showcases, particularly adding humor and short comedy sketches to the showcases. I collaborated on many of these with (current producer) Roger Dobkowitz.

Jay's Favorite Showcase:

We did a Star Wars showcase where a trash compactor played R2D2.

Also, we did an April Fools Day showcase where the showcase opened up and we completely demolished the set. When the debris was cleared away, we gave the contestant a new Cadillac.

Jay Wolpert on Choosing Contestants:

Before Price, there was no game show where contestants were asked to play complex games without pre-screening in order to make sure that they wouldn't be too nervous, or that they'd be able to understand the rules. I was probably the strongest proponent of trusting the people who were lined up to see the show. Picking contestants out of the studio audience was part of the show's spontaneity. I was the one who would pick the contestants.

I didn't look for the contestants that were jumping up and down in the line. They were all jumping up and down. What I looked for was: were they emotionally honest. Would they carry the enthusiasm into the show? It was important to tell the difference between the phonies and the people who couldn't keep it in their pants.

His Current Price is Right Games:

Yes. I created "Golden Road", "Hole-in-One", and "Temptation."

Jay on Creating His Own Game Shows:

(Of all the game shows that he created after leaving Goodson-Todman, his favorite was) "Whew!" I didn't own the show, but I created it. Everything about it was different: the material, the tone, and visually it was made to look like a comic book.

My company was very different. We'd begin the creative process not replicating what was working, but asking the question "What can we do that has never been done before?" As a result, we very frequently didn't score well on research testing, or with focus groups that tend to reward the familiar. But, my philosophy was (and is): the only way to define success is "are you proud of what you did?"

Jay on Launching a Second Career as a Top Screenwriter:

In 1972, I hired Nancy Meyers (screenwriter of "Private Benjamin" and screenwriter/director of "Something's Got to Give") as my assistant (on Price). She worked for me for a year and a half, and left to go to Motown Pictures. Twenty years later, I ran into her at Art's Deli. She said, "Jay, why aren't you writing? If you ever have an idea, come to me."

I pitched three ideas to her, one of which she loved and we sold it to Disney. While it didn't get made, that script was my writer's sample. Later on, it opened the doors that led to me writing "The Count of Monte Cristo" (the 2002 film starring Guy Pearce and James Caviezel).

Jay on "Pirates of the Caribbean":

I was fishing in Cabo and got a call from a Disney executive. They were interested in me as a writer because of The Count of Monte Cristo. They wanted to do a movie based on the amusement park ride "Pirates of the Caribbean"; the tone being "Raiders of the Lost Ark" meets "Zorro."

I said, "I can do that." I was the first of several writers on that project.

Would Jay Ever Go Back into the Game Show Business?:

I don't miss the buyers. I don't miss the testing. If someone wanted to revive a show of mine without the hassle, I might - as long as I didn't have to give up the writing.

You see, when you write a script for the studio, you are the writer, the director, the producer for 12 weeks. Nobody bothers you.

After that, it's another story.

EF:

Thanks, Jay.