Interview with Guernslye Honorés
Do whatever you can to take jobs that are interesting, even if they pay less (or nothing at all.). You never know who you’ll meet and where that opportunity will lead you. The ones that make it all had to start somewhere!
As a part of our series called “5 Things I Wish Someone Told Me When I First Became A Filmmaker”, I had the distinct pleasure of interviewing Melissa Wylie.
She has extensive experience in film, television and animation, working in both development and production. Melissa began her career in network news, working for Nightline, ABC News, and This Week with David Brinkley. More recently, Wylie served as the producer of the drama pilot Judgement, for ABC. Other credits include The Long Road Home, based on Martha Raddatz’s New York Times best-seller, American Horror Story, Portlandia, Tracey Ullman’s State of the Union, and You’re the Worst. She has received three Emmy® nominations for Comedy Central’s Drunk History. Over the past decade, Wylie has worked in scripted comedy and drama for NBC, ABC, FOX, Twentieth, Warner Brothers, Warner Horizon, Universal, HBO, Showtime, Comedy Central, IFC, Nickelodeon, and VH-1. She recently made her directorial debut on a comedy variety pilot and is currently producing ABC’s reboot of The Wonder Years.
Thank you so much for joining us in this interview series! Our readers would love to get to know you a bit better. Can you tell us a bit of the ‘backstory’ of how you grew up?
I grew up in a small town outside of Houston named Pearland. Had a pretty idyllic childhood, and thought that I wanted to be an attorney and work for my uncle. All that changed when I stepped into the darkroom when I was a sophomore in high school.
Can you share a story with us about what brought you to this specific career path?
Always had an interest in photography and got my first camera when I was about eight years old. It was nothing fancy, just a Kodak Instamatic that took 110 film. When I got in to the eighth grade I over exaggerated my 35mm experience, which at the time was basically nothing and secured a spot on the yearbook staff as a photographer. We’d shoot and then give the rolls to a guy in high school who’d develop and process them for us. By the time I got in to HS, I wanted to learn how to develop the film myself and took photography as an elective. I was fascinated with the process and the artistry — and spent every spare moment I had in the darkroom. As soon as I finished my work in all my other classes, I’d go to the darkroom. I ended up winning some national photo awards when I was 14, and my journalism teacher, Nyla Watson said, “if you’re having so much fun with this, think what you could do with movement and sound…” Movement and sound?!! Movement and sound?!! So that one statement changed my life and led me to where I am now. Much to my parent’s dismay I might add. Hollywood seemed like a far away, exotic place — one not suited to this small town girl’s reality. But I was determined, and I’ve managed to do ok. Looking back, it probably made more sense for me to be a DP — but I liked the idea of doing the hiring and firing — something maybe having to do with my having control issues!
Can you share the funniest or most interesting story that occurred to you in the course of your filmmaking career?
There are so many that I can’t repeat! What comes to mind was the time I was producing a feature in Detroit staring Terrence Howard and Cary Elwes. They didn’t just take our wallets. They took our cameras and equipment! That one was hard to bounce back from. Essentially we got robbed at gunpoint during our first rehearsal on set. Loved Detroit though — amazing people and would go back and shoot there any time!
Also, I once worked with a director, who shall remain nameless — who had Chimpatsiphobia, a phobia of chimpanzees. Against all odds, we were given a scene to shoot with a chimp. He was terrified and I think the chimp could sense it. The chimp loved performing for the crew, but didn’t really listen to his trainer. The director was absolutely terrified and tried talking the star out of using the scene. Said star would not have it. Essentially the chimp was supposed to be playing chess with the actor. Pretty simple scene. We had all the safety meetings about what to do (and not do) when you work with animal actors. We do the first take. The chimp wants to play. Crew laughs and thinks the behavior is cute. Director is petrified. Second take, chimp does not listen to his trainer. Would rather perform for the crew. We reset. Director is besides himself. Third take — the chimp whips off his hardhat, chunks it at the camera and climbs into the rafters — the director calls it quits and walks off set. He went out of commission for awhile. We were never in any danger, and I look back and laugh about it. It’s one of my fonder production memories.
Who are some of the most interesting people you have interacted with? What was that like? Do you have any stories?
Hollywood is full of brilliant, quirky, and interesting people. My passion is working with comics and comedic actors. I love their depth, their observational skills and often times, their complexities. I’ve been lucky enough to work with some of the most brilliant talent in our business ranging from Chris Rock to Maya Rudolph, Will Farrell, Kristen Wigg, Jack McBrayer, Bob Odenkirk, Jason Alexander, Tony Hale, Jack Black, Aubrey Plaza, Henry Winkler, Tiffany Haddish, Jordan Peele… The list goes on and on. I also find it really fun to work in comedy with actors best known for their dramatic work like Octavia Spencer or Jason Momoa. They don’t just leave the audience wanting more…they leave you [as a creative] energized and thinking of endless projects that you would like to produce with them. And of course I’ve also loved working with people early in their careers, knowing that they would be hugely successful and then watching it happen. Fortune Feimster comes to mind.
None of us are able to achieve success without some help along the way. Is there a particular person who you are grateful towards who helped get you to where you are? Can you share a story about that?
I’ve been very fortunate to work with many amazing people, that have been gracious with their time and in sharing their expertise and experience. Some mentored me and others impacted me by simply allowing me to be in their orbit. When you have the privilege of working with people like Lorne Michaels, Larry David, Oprah Winfrey, John Wells, Lee Daniels, and Lin-Manuel Miranda both your craft and your spirit are elevated.
If I had to think of who I am most grateful to, that would have to be Tracey Ullman and her late husband Allan McKeown who I owe my career to. I had worked as a coordinator on the first season of Tracey Ullman’s State of the Union for Showtime. At the time, I was coordinating the 6th season of Curb Your Enthusiasm. Allan called and left me a message. I’ll never forget it. One of the PA’s said, “I bet they’re going to ask you to produce season two” and I was like “Never! I’ve never done it before so why on earth would they ask me?” But that’s basically what happened. Making the jump from coordinator or production supervisor to producing is colossal. Studios don’t just hand over millions of dollars to someone that hasn’t done the gig yet. So I owe my career to both of them, because I’m not sure I would have ever been given the opportunity. Not only did they see something in me but they were willing to take a chance on a hunch. I’m not sure that would happen in today’s current climate.
Can you please give us your favorite “Life Lesson Quote”? Can you share how that was relevant to you in your life?
It’s from the poem “Don’t Quit” by Edgar A. Guest.
Success is failure turned inside out,
The silver tint of clouds of doubt,
And you never can tell how close you are,
It may be near when it seems afar,
So stick to the fight when you’re hardest hit,
It’s when things seem worst that you mustn’t quit.
I have been on the same path and singularly focused since I was in my early teens. And all I heard from everyone was how impossible my dreams were going to be. I even had one of my bosses tell me “Sometimes dreams change.” No thanks sister, not these dreams. I never paid attention to the noise and the naysayers — at some point your number comes up and it will be your time. You have to decide if the sacrifice is going to be worth it. And for me, it was, and still is.
I also love the California lottery quote “Why Not me?” At least I think it’s from the lottery!
I am very interested in diversity in the entertainment industry. Can you share three reasons with our readers about why you think it’s important to have diversity represented in film and television? How can that potentially affect our culture?
- It’s really important that all viewers are able to see themselves and their life experiences.
- Everybody’s story should be told — including the ones you may not agree with.
- Broadens your perspective and hopefully understanding.
Things are so polarized right now. Just because this is how you’ve been doing something doesn’t mean it’s 1) the only way 2) the right way 3) or the fair way. Be open to new ideas and new experiences and new perspectives. That’s how you grow.
What are some of the most interesting or exciting projects you are working on now?
Just spent the last year working on my directorial debut — I’ve wanted to do a variety show since I got to Hollywood — and it’s something I’ve been discussing with my writing partner for years. He had a very specific take and I said, if you write it, I’ll produce and direct it. Well, he had a little downtime during Covid and wrote it. I’ve never been more excited or more proud of any project that I’ve been involved with. It’s so fresh and so now. I can’t wait for the strikes to end so that we can all go back to the work that we love and so that I can move this amazing project forward.
Which aspect of your work makes you most proud? Can you explain or give a story?
I’ve always been proud of the fact that people and studios can trust me to get a project completed on time and under budget. Creatively however, I am most proud of the project that I just produced and directed. It is the culmination of years of working with the most talented people in the industry. It is quirky, current, and inclusive. It was an absolute joy to work on. And I’m really excited about it!
Ok super. Here is the main question of our interview. What are your “5 things I wish someone told me when I first started” and why.
- Go spend a year working for an agency or management company — so you understand how deals are made on the rep side. By the time I figured out I needed to I was too far ahead in my career to take steps backwards.
I feel like that’s a huge hole in my knowledge base sadly even now. Also, it would have allowed me to move up with my peers (i.e. you’re all assistants together — you get promoted and move on to various aspects of the industry.) - Do whatever it takes to go to one of the big film schools. There were only two of my peers that I went to college with that moved to LA — neither of which stayed. So when you’re trying to do shorts and make smaller projects
with your friends and need all kinds of favors, going to school at UCLA or USC would have been very helpful. - Do whatever you can to take jobs that are interesting, even if they pay less (or nothing at all.). You never know who you’ll meet and where that opportunity will lead you. The ones that make it all had to start somewhere!
- Don’t be precious with your material. You can rewrite and rewrite and rewrite waiting for perfection — which will never happen. Get a draft done — get some notes from people that you trust. I always tell writers —
it makes perfect sense to you because it’s in your head and you came up with it — but if it’s not on the page and I don’t understand what you’re doing — you have to address it. You don’t want to give a buyer any reason
to say no, which is the easy answer. If they’re gonna pass, make it hard for them to say that no! - Make time for life events and your friends and family. The work will always be there — and a show can live without you for a few days. I still struggle with this — but I’m further along on my career path and it’s easier to
make those choices. However, looking back, I regret missing my girlfriend’s 40th birthday Hawaiian cruise (still so sorry Melinda), my 2nd row tickets to see Tina Turner and Lord Huron playing at the Santa Barbara Bowl.
Lord Huron I might add, was last year so I still struggle with those choices.
When you create a film, which stakeholders have the greatest impact on the artistic and cinematic choices you make? Is it the viewers, the critics, the financiers, or your own personal artistic vision? Can you share a story with us or give an example about what you mean?
I’m going to answer this coming from the TV side, since that’s mainly where most of my career has been. From a writing perspective, it’s my own personal artistic vision, without a doubt. Write what you know, and service the story you are telling. My partner and I always try to come up with fresh ideas in this ever changing market and don’t ever chase what’s popular. That will get you no where.
As a producer, however, the money dictates everything in television. It’s not about the artistry — it is always about the bottom line. So being rigid and not making smart financial decisions will get your show cancelled faster than you’d ever think possible. I think that’s one of the harshest realities for new (and old) showrunners to hear — but always try to give them choices and let them know there are ways to make your vision happen, it might not just involve 500 extras and shooting in outer space.
You are a person of great influence. If you could start a movement that would bring the most amount of good to the most amount of people, what would that be? You never know what your idea can trigger. 🙂
I would like to see every person who has enjoyed any level of success in any field, set aside part of their time to mentor others. It would be amazing if a general topic of conversation among folks was “who are you mentoring? Tell me about them!” It would of course be even more wonderful if those being mentored were from underrepresented communities in any given field. Let’s help others get past barriers to entry. Let’s stop building walls and build bigger tables.
We are very blessed that some of the biggest names in Business, VC funding, Sports, and Entertainment read this column. Is there a person in the world, or in the US whom you would love to have a private breakfast or lunch with, and why? He or she might see this. 🙂
If I could only choose one person it would be Adam Sandler. I am in awe of his career. He is a comedic genius, his dramatic work is off the charts and he is a brilliant businessman. Adam is both respected and genuinely liked by every person I know in the industry. I think that speaks volumes about how he conducts business. I know that I could learn a lot from him.
How can our readers further follow you online?
X (formerly Twitter): @melleth13
Instagram: Melleth
This was very meaningful, thank you so much! We wish you continued success!
About the interviewer: Guernslye Honoré, affectionately known as “Gee-Gee”, is an amalgamation of creativity, vision, and endless enthusiasm. She has elegantly twined the worlds of writing, acting, and digital marketing into an inspiring tapestry of achievement. As the creative genius at the heart of Esma Marketing & Publishing, she leads her team to unprecedented heights with her comprehensive understanding of the industry and her innate flair for innovation. Her boundless passion and sense of purpose radiate from every endeavor she undertakes, turning ideas into reality and creating a realm of infinite possibilities. A true dynamo, Gee-Gee’s name has become synonymous with inspirational leadership and the art of creating success.
Melissa Wylie: 5 Things I Wish Someone Told Me When I First Became A Filmmaker was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.