Q &A
BY DENISE ABBOTT
Hollywood Reporter, Wednesday, May 21st, 1997
The star, co-creator, co-executive producer and writer of 'The Nanny' ruminates on life in the sitcom lane.
Fran Drescher as "The Nanny" is one of the most perfect meetings of star and material on the air today. If Fran Fine isn't the role of a lifetime for Drescher, it is certainly the culmination of two decades of hard work as an actress. Born and raised in Queens, N.Y., the looker with the nasally voice wanted to act from the time she was a child. At 16, she placed second in the Miss Teen New York contest and landed a theatrical agent by telling him she had won first place. Her film career began at 18 with a part in "Saturday Night Fever" as an Italian-American princess who asks John Travolta, "Are you as good in bed as you are on the dance floor?" A series of third-banana roles in good and bad films followed as well as numerous TV pilots. Finally Drescher found her niche in "The Nanny." She not only created the show but produces, writes and contributes to every decision (including wallpaper choices) involved in putting the series on the air every Wednesday night. Simultaneously, she's a partner in a food line that produces Loaf n' Kisses gourmet croutons and is the author of the New York Times best-seller "Enter Whining." Catching up with her at the end of the fourth season of "The Nanny," Denise Abbott for The Hollywood Reporter finds Drescher exhausted but ever eager to talk about "her baby."
The Hollywood Reporter: How much do you and the character of Fran Fine overlap?
Fran Drescher: All of her is in me, not all of me is in her. The character is based on me, my relatives and friends, all the rich and colorful characters I grew up with in Queens. We try to pare off any sophistication I might have acquired over the years and keep her as provincial as I once was. That creates the comic contrast between her and the aristocracy she works for.
THR: You worked in film, television and even had a series prior to "The Nanny." How did those experiences affect how you do things today?
Drescher: I did a pilot every single year and "Princesses" was the only one that finally sold into series-- as limited as it was. I learned from every pilot. One of the reasons I wanted to get behind the scenes is that I watched mistakes being made that could have been fixed, but I didn't have that kind of voice on the project. When "Princesses" ultimately failed, I gave myself five years to get on the inside in a really solid way. Otherwise, I was prepared to ditch it. If I'm going to be in a business, I want some control over it, or I'd rather open a boutique in Massachusetts. I don't need to be doing this if I'm going to have my hands tied at all times. That's the reason I maintained my interest in hairdressing and started the crouton business. I like to be my own boss.
THR: What is your day-to-day involvement with the show?
Drescher: I am consulted on every decision, including personnel. Today, I was shown wallpaper samples for the little girl's bedroom. ("Nanny" co-executive producer) Rob Sternin and I break all the stories you see on the show. I also do all the editing passes. On Thursdays, we rehearse before the cameras, and I get a videotape of that. Even though we're not in costume and makeup, I want to see what the director is doing in terms of the camera. But it's never my way or the highway. Obviously, my opinion counts to a certain degree but I don't want to step on other people's toes.
THR: Of the many hats you wear, which is the least and most fulfilling?
Drescher: They're all fulfilling because it's my baby. Certain things are harder than others. The acting seems easiest, effortless. The character is such a joy that it's almost a relief sometimes to be in her sweet, funny world. But outlining scripts, keeping the stories interesting, the characters rich and the relationships authentic is very difficult. Every week is a struggle. We always end up loving the show we break, but every week it's like giving birth. As the years progress, it gets harder and harder.
THR: What's the toughest thing about Fran, the actress, working for Fran, the producer?
Drescher: Sometimes I get tired and don't feel like putting on the makeup again, again, again. Extra responsibilities come with being the star of a series. I'm the one who has to promote and sell the show. If I do a movie or book, I have to promote those. It gets exhausting. We're having Celine Dion on the show. Now a performance has been canceled, so her schedule has changed and the closest she can get to L.A. is Las Vegas. Will I fly to Las Vegas to do the scene with her? Well, from a producing standpoint she's a big stunt [and may] bring in some rating points. The network always pushes us to get these big stunts. It isn't easy. Big stars are very busy and not rushing to do a sitcom. Getting Celine is a coup. We've already preshot the rest of the show around her because she wasn't going to be available until next week. Now she's not even available. For me, it means flying to Las Vegas to shoot her scene after working all day Friday, then flying home because the next day is the big wrap party. As an actress, I wish I didn't have to do it, but as a producer, I will.
THR: Fran Fine's wardrobe is very interesting. What's your point of view?
Drescher: Peter [Jacobson] (Drescher's husband and series co-creator and co-executive producer) and I always felt since I wear clothes great we shouldn't dress me like a frump or in a uniform. We geared the role like a star vehicle. We even created a long staircase so that I can make an entrance in the clothes. Peter is very into clothes and insistent that the costume department doesn't repeat things or use designers that are too off-the-rack looking. We stay with the latest. I was wearing over-the-knee-high boots, which I still loved. Peter said, "You've worn them two seasons already. I don't want to see them anymore." I ended up with these gorgeous Gucci's that are very a la mode.
THR: Is the fact that someone on a nanny's salary could never afford such a wardrobe inconsequential?
Drescher: She says she shops at Loehmann's. That's how she justifies it. We've also insinuated that sometimes she uses Mr. Sheffield's credit card when she's buying stuff for the kids. That's all part of the show's history.
THR: We've got to touch on your trademark voice. Did people tell you to work on it as you were starting out?
Drescher: In the early days of my career, I got quite a few third-banana roles in movies, so nobody had a problem with it then. During my early 30s, I had a dry spell. I was advised by my manager and agent to make myself a little more diverse by learning how to speak in a normal voice. I went to a specialist who taught me how, but I had to speak very slowly and carefully. I went up for "Winds of War." After the audition, my agent called to see how I had done. The casting director said, "She did great, but she spoke very slowly, and it's only an eight-hour miniseries." I never got any work with my new voice. I was already too established as this quirky New York comedienne to change. What we needed was a vehicle that would exploit my voice's comedic value.
THR: My head is spinning when I consider your schedule. What do you do to refuel?
Drescher: The day after the wrap party I'm going to lay low at a spa for a week-- not speak or do anything. After that, I'll see. I don't think I'll be working this hiatus. I need to focus on reenergizing and taking it slow, reflecting on myself, my needs, my life. I rarely allow myself such a luxury, but I need to do that now.