bill. Now, a few years later, Ted had heard that I was one of the rising new breed, along with Barry Diller, David Geffen, Michael Eisner, and Terry Semel, so he put me together with John Calley, Warner’s cultured, soft-spoken production head. John had an artist’s eye and ear. Directors loved him, and he was especially tight with Sydney Pollack and Mike Nichols and Clint Eastwood. When I learned that John was a speed-reader, I began shipping him three or four Mort Janklow specials per week. Most had no future on the screen, but John finished every one. I sent him piles of scripts, whatever I
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