but was not a wrestling person.
They specifically did not want somebody who came from that old wrestling mentality.
I went home, and I told my wife I was going to throw my name in the hat for the job. It would be a tremendous opportunity for my career. “And you know what? The fact that they’re going to hire someone to come in and make it look more like a television show than wrestling in the sixties means maybe we have a chance. I’m going to stick it out for a while, whether I get the job or not.” 4
Running the Show
From Disadvantage to Edge
A Leap Off the Top Rope
Applying for the executive producer’s spot was a big leap. I thought there was a very slim chance that I’d get the job. I had only one real advantage—I wasn’t a wrestling guy.
Looking back now, I realize that because of my experience in the AWA, I also had a pretty good understanding of the business in general. There weren’t many aspects of the wrestling business that I hadn’t touched in one way or another. I came in to the AWA with a sales and marketing background. I had developed corporate sponsorships with some large and sophisticated companies. I had a lot of insight into the advertising side of things and understood where the revenue came from. I understood demographics and how syndication worked. I’d promoted events, and understood what it took to promote a live event. Hell, I’d even built my own interview sets!
And I was a talent. I had all of the important bases covered, without having the disadvantage of being a “wrestling guy.” 82
CONTROVERSY CREATES CASH
But I didn’t have that perspective then. Frankly, I thought they would see me simply as a second- or third-string announcer. I didn’t think in their minds I’d be qualified.
I called Bill Shaw’s office, and I said, I understand that you’re going to be looking for an executive producer. I’d like to be considered. I’d like to come in and meet you and tell you what I think it will take to turn WCW around.
After I hung up, I was convinced he wouldn’t even bother to interview me. But about a week or two later he called and said,
“Okay, Eric, come on up.”
The first thing I did was tell Bill about the kids’ game show. I explained that I wasn’t trying to sell him the show, but wanted to explain that it was the type of thing the brand needed to shore up the demo.
Whether the idea was good or bad, I think he was impressed that I was coming at WCW’s problems from a different angle of attack. I wasn’t thinking like a wrestling guy. I was thinking like a television guy who understood wrestling.
I impressed him enough that I was soon under consideration. There were three or four people inside and outside the company they were looking at. David Crockett, who was part of the Crockett family, and Keith Mitchell, the head of production, were among the WCW con-tenders I knew about. There was at least one other person from the outside up for the job as well, though I was never told any of the names.
I had three or four meetings with Bill Shaw as the interview process continued into the summer. One day Bill called me to his office to talk again. To be honest, I didn’t really think I was going to get the job. But I was so excited to have gotten this far in the interview process that I made up my mind that no matter what, I was sticking with WCW. I respected Bill and wanted to work for him in any capacity.
“Congratulations, Eric,” he said when I walked in. “You’re the new executive producer.”
I almost swallowed my tongue.
RUNNING THE SHOW
83
My Job Was TV
As executive producer, I was in charge of everything we saw on television, with the exception of the wrestlers. Bob Dhue came in as executive vice president, overseeing the creative and business sides of the WCW. Accounting, live events—all of those departments reported up to him, as did the wrestlers.
Bob was a very likable guy, with a charming personality. He also had the attention
They specifically did not want somebody who came from that old wrestling mentality.
I went home, and I told my wife I was going to throw my name in the hat for the job. It would be a tremendous opportunity for my career. “And you know what? The fact that they’re going to hire someone to come in and make it look more like a television show than wrestling in the sixties means maybe we have a chance. I’m going to stick it out for a while, whether I get the job or not.” 4
Running the Show
From Disadvantage to Edge
A Leap Off the Top Rope
Applying for the executive producer’s spot was a big leap. I thought there was a very slim chance that I’d get the job. I had only one real advantage—I wasn’t a wrestling guy.
Looking back now, I realize that because of my experience in the AWA, I also had a pretty good understanding of the business in general. There weren’t many aspects of the wrestling business that I hadn’t touched in one way or another. I came in to the AWA with a sales and marketing background. I had developed corporate sponsorships with some large and sophisticated companies. I had a lot of insight into the advertising side of things and understood where the revenue came from. I understood demographics and how syndication worked. I’d promoted events, and understood what it took to promote a live event. Hell, I’d even built my own interview sets!
And I was a talent. I had all of the important bases covered, without having the disadvantage of being a “wrestling guy.” 82
CONTROVERSY CREATES CASH
But I didn’t have that perspective then. Frankly, I thought they would see me simply as a second- or third-string announcer. I didn’t think in their minds I’d be qualified.
I called Bill Shaw’s office, and I said, I understand that you’re going to be looking for an executive producer. I’d like to be considered. I’d like to come in and meet you and tell you what I think it will take to turn WCW around.
After I hung up, I was convinced he wouldn’t even bother to interview me. But about a week or two later he called and said,
“Okay, Eric, come on up.”
The first thing I did was tell Bill about the kids’ game show. I explained that I wasn’t trying to sell him the show, but wanted to explain that it was the type of thing the brand needed to shore up the demo.
Whether the idea was good or bad, I think he was impressed that I was coming at WCW’s problems from a different angle of attack. I wasn’t thinking like a wrestling guy. I was thinking like a television guy who understood wrestling.
I impressed him enough that I was soon under consideration. There were three or four people inside and outside the company they were looking at. David Crockett, who was part of the Crockett family, and Keith Mitchell, the head of production, were among the WCW con-tenders I knew about. There was at least one other person from the outside up for the job as well, though I was never told any of the names.
I had three or four meetings with Bill Shaw as the interview process continued into the summer. One day Bill called me to his office to talk again. To be honest, I didn’t really think I was going to get the job. But I was so excited to have gotten this far in the interview process that I made up my mind that no matter what, I was sticking with WCW. I respected Bill and wanted to work for him in any capacity.
“Congratulations, Eric,” he said when I walked in. “You’re the new executive producer.”
I almost swallowed my tongue.
RUNNING THE SHOW
83
My Job Was TV
As executive producer, I was in charge of everything we saw on television, with the exception of the wrestlers. Bob Dhue came in as executive vice president, overseeing the creative and business sides of the WCW. Accounting, live events—all of those departments reported up to him, as did the wrestlers.
Bob was a very likable guy, with a charming personality. He also had the attention
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