Announcer: This great Hollywood director started his career by creating and developing some of the most popular comedies on TV.

His first film "Doctors In Love", was Demi Moore's first movie role.

He followed that up with the Flamingo Kid starring a young Mat Dylan.

He had great success with the drama Beaches but he's most well known for his successful romantic comedy films like Franky and Johnny, Run Away Bride, The Princess Diaries 1 and 2, Valentine's Day and the mega hit Pretty Woman starring Richard Gere and Julia Roberts Garry Marshall: Hi I'm Garry Marshall - two "r's" in Garry - and welcome to Hollywood's best film directors.

I said that about myself.

I was born in Moscow Russia...No!

I'm kidding, I love Moscow... I was born in the Bronx, New York.

And I was a sickly child and also accident prone.

So when you lie in bed you say "What can I do for a living?"

and Director isn't the first thing that comes up but creating does because, what are you going to do?

You are laying there.

So you start to daydream and oddly enough, many of my early daydreams became films.

So I went to high school and was not notable but I was the sports addict of the high school.

My love of sports has carried over all these years and then, because I have this slight New York accent, my parents sent me out of town to Northwestern university, where I graduated but look how the accent has improved after all of that.

And then after Northwestern I was ready to do something in show business.

I graduated from Northwestern Journalism school and they told me I was no good at that, so that's why I was going into show business.

I was all ready for show business and somebody said "Not Yet, you must go to Korea and defend your country" , so I was there for a few years, honing my skills for people who didn't speak English, but it was really a time when you had to serve your country.

And right out of Korea I went back into show business and tried to get a job.

I was basically a writer, that was my way in and I wrote and wrote and wrote and wrote until they let me come in the business as writer, a comedy writer and then I created a television show and they said because I created a show you can become a Producer and what was the fist thing I did as a Producer?

I hired myself as a director and that was my first directing job in TV.

It got me my Directors Guild card and I was off.

I was very fortunate in my early days in TV.

I was trained very well, I wrote the Dick Van Dyke show, one of the writers and I wrote Lucille Ball at the same time, so I had the benefit of doing the kind of verbal, clever comedy and falling down slapstick, physical comedy from two of the masters: Dick Van Dyke and Lucille Ball.

From there I went on to create my own shows.

Some of them you've never heard of, some of them you might have heard of.

One was 99th in the TV ratings, my first TV show.

"Hey Landlord" Listen to the applause - none.

But I went on and was fortunate enough to combine creative works, a good time slot, a good time in history and some great casting.

So Happy Days was my flagship show, which I'm now doing a musical version for Broadway and touring the country and will be in Europe I hope, will be in London and touring Europe with the happy Days musical starring Fonzy.

We may start in Italy ‘cos Fonzy is pretty Italian.

My other shows were, Mork and Mindy - Robin Williams we found a great star and Laverne and Shirley, which got my sister Penny a job and her and Cindy Williams did Lavergne and Shirley for a while.

My first one really that I didn't create because you don't always have to create it, you sometimes ride on somebody else's coat strings, was The Odd Couple, which we developed for television, Jerry Belson and I developed it for TV and it ran for five years so those were my main hits in TV.

"Joanie Loves Chachi" was iffy, The reason "Joanie loves Chachi" was a big hit in Korea oddly enough, was that Chachi, in Korean, means "Penis" They ran in "Quick, let's turn it into something, it was just one of those odd things but I don't know if thats too risque for your network but that's the truth.

Like many things in life, it's not the way you think.

I thought I'd write a lovely script and somebody would want to make it and I could direct it.

Well I wrote a lovely script with Lowell Gaines, a wonderful screenwriter and nobody wanted it, particularly.

But then they said there was a picture available at ABC films.

I had done very well for the ABC network in television so they kind of liked me and they said "Who knows?

Maybe he can make a movie, let's not give him an expensive one".

So they gave me a low budget kind of film, Doctors in Love.

A crazy comedy that had a very strange cache.

I could cast people in it but I also had to use, in the film, these soap opera stars.

Now you recall "A Man and A Woman" a wonderful picture, it was a car featured film, which allowed them to make that film.

In my film I had to put 17 soap opera stars, TV stars into the film.

Which is very possible but the big factor is they didn't tell me when they were coming.

They were all working so they would show up on a given day and I'd be in the middle of telling the story and I'd have to jam in these few people.

And I didn't watch any of these soap operas so I didn't know what any of them did on the soap operas.

I said "what kind of Character..?"

because they wanted something like they played on the soap opera.

So we did.

We had seventeen soap opera stars in that movie, a lot of great characters and it was the launching of a number of TV stars.

Hector Micheal McKean, who was in Lavergne and Shirley and a number of others.

Demi Moore's first ever on film.

She had one line.

She was a soap opera star, I had to put her in!

The people from Seinfeld, the funny guy, Michael Richards, that was his first film so... It was a very hectic time.

I had a wonderful producer who had never produced a movie before.

So it was his first production as a Producer and mine as a movie director.

His name was Jerry Bruckheimer.

He did very well after that.

(laughs) We were a team but he was great to me and he was, he was a good producer and I said "You're in the right field, Jerry?"

We were going to do some other things together but like life, we weren't available at the same time.

But I think Jerry Bruckheimer and Hector Ellizondo were about the best things about that first film.

Garry Marshall: A lot of films came to me in odd ways there was only a few.

One was called "Other Sister" I wanted to make that film.

I wrote that film, I knew the story of that film and I knew the person where it was based you know.

But many come in odd ways.

Because I was very positive and funny in my films, they liked me for certain films that were very dark and sad and depressing.

So originally they called me in on "Beaches" and said "Yeah Garry, this is kind of about two girls and it's really depressing.

One dies and the other mops up after her and it's really a downer.

Why don't you take a look and see if you can make the characters a little more likeable and a little funnier but still keep the essence of the story."

man: "Marker" man2: "Marker" Garry Marshall: Pretty Woman came from the studio and they said "We've got another one that's pretty depressing Garry, maybe you could pep this up a little bit".

Pretty Woman had a different ending.

It was about an older woman who was a prostitute who was on her last laps as a prostitute and she fell in love with this guy and he didn't like her and her he threw the money - he gave her money, it was called the three thousand and at the end she says " I Love you and he says "I don't love you, here's your money" and she threw the money in his face and he smacked her and knocked her in the gutter and the topper was it said she went upstairs to find her room mate OD'ing on drugs, that was the ending.

So they said "Garry, a little lighter touch or something here.

It was a wonderful script by Jonathon F. Lawton.

It was a solid script.

It had humor, it had everything except the ending was a little down and the character was a little older in Johnathon's script and we made it younger with Julia Roberts.

Again we hit the casting right and Richard Gere and her made that picture sail.

woman: "Harper's Bazaar called it Contemporary".

Garry Marshall: Finally on Pretty Woman I had the picture together and they said "We can't call it Three Thousand".

We tested the title Three Thousand and the people thought it was about a hooker on the moon, they thought it was a space movie.

Don't...call it anything but Three Thousand and we called it Pretty Woman.

One of the first things I do in Pre-production is put together a team that might get along.

A cinematographer, a production designer.

They always fight, so you try to get two that can fight and make up quickly, and then I do another odd thing as a director, I count heavily on my second unit director because you know in big car chase scenes and everything, everybody knows there's a second unit but people don't realize how important a second unit is in comedy, because so much of comedy is the reaction.

Not the action, the reaction, so I always get a second unit director.

In my last five pictures, my son Scott Marshall, who's now a director shot second unit for me and he shoots for my sister Penny too.

We have a lot of directors in the family.

Pre-Production you put together your team and then you try to find a location and then you're all set to go and no matter where you are, even on low budget pictures and particularly studio pictures, just when you are ready to go they say "Take a million dollars out", so as a writer it has bode me very well because as a writer, I know how to take a million dollars out of a picture.

For instance in "Beaches", they would not let me shoot at the Hollywood Bowl, this gigantic arena and I needed Bette Midler to be a big star and they said "Are you crazy?

It costs too much, it costs too much" and then I remembered thinking it out and saying "I got it.

Guess what, it's a rehearsal.

Nobody's there, the Bowl is empty.

It's Bette Midler, her band and two guys carrying boards and hammer, they are fixing something.

That's the shot" "OK".

I try to have a happy set because whether a picture's a hit or a miss is so iffy that I feel strongly that the process should be a good process.

Somebody should say "Well, we had some fun on it".

woman: "I was supposed to do that" woman2: "Oh yeah, go ahead" Garry Marshall: I try to cajole a little bit but it's mostly with humor, I yell "cut" and I say "Well if we're going to do it that way, the film is going right to video, so let's just make peace with it".

"What do you mean?

Oh, we'll do it again" So I don't think it's a game and we have silly fun but I think a movies set is a difficult thing.

People work hard, particularly when you are working after midnight, two o'clock in the morning, it's a hard grind to get it all so to keep a lightness in the set is healthy.

I believe in rehearsals.

I always have a table read I get that from my TV days but I like everybody around reading.

I make it a long day, a few hours so they can mingle - "hello how are you..." "Hello.

I'm Mia" Garry Marshall: I get a lot out of the table read and it also gives whoever's putting up the money for the film a chance to hear it see, "Look, they are actually reading things.

I always do it once as written, then I loosen up I say "mess it up a little, go where you want to go" and then I say "Try it my way I got a new way" and we try it a couple of ways.

Sometimes it just bubbles a certain way.

The classic scene in "Pretty Woman" is when Julia reaches for the necklace and he bangs the box.

That was not a scene in the movie, We were going to do it and Julia was a little tired and Richard was busy with something and I said "We are not doing well here, Richard bang the box, do something, wake her up.

Make it a crazy one.

We don't have enough for the gag reel" I told him.

He don't like to do it but I said "We need something for the gag reel" "OK, alright" so he did it she laughed and it was good and we put it in the gag reel but everybody who saw it in the gag reel said "That's great!"

It was so honest, she made such honest laughter that it was just delightful, so they put it in.

Jane Fonda is such a professional person.

She's been doing it for many, many years and she knows how to do it.

She knows how to help the director, she knows how to get into position to where the camera is: "If you go there I'll have to make another shot, I'll be over here" "Good Jane, let's do that".

And Jane is not from the gag reel.

I like gag reels it gives a party, so I said "Jane, you never make a mistake, I have nothing funny.

You know that dog you hang around with?

Can we put the dog in the set or something, so we had some fun.

Jane Fonda: total professional, never lets you down.

Anne Hathaway grew.

I watched her grow, from a nineteen year old girl running in "Princess Diaries", who didn't know too much what was going on to a twenty two year old girl in "Princess Diaries 2" that knew everything going on.

She could have directed the picture herself.

A great contributor and now is a great actress.

She just rose up into a star, a major star.

After one picture she wanted to lose the tiara and move on.

We had another picture with a tiara which she was not so thrilled to do but we did it and it worked out well.

Now she will never wear a tiara again.

She's into other things, other pictures and I truly am very proud of Anne Hathaway, she has done a great job of growing into a star.

Richard Gere and Julia Roberts ride horses very well, but because I am the director and I'm not so good at riding horses, I know nothing about riding horses, I almost broke Julia's jaw.

I had this beautiful shot in my mind in "Runaway Bride" where Richard is riding the horse and Julia's behind him with her arms around him on his shoulder and they are riding.

Well, it doesn't work ‘cos as soon as the horse moves, Richard's shoulder goes up, hits Julia right in the jaw "Whaaaaarrgh" whacked and we had to do it I said "Could you ride a little slower?"

Richard said "Tell that to the horse.

You want the shot?"

so Julia said alright, let him hit me a few times.

Could you put padding in there because he hits me in the jaw?"

But we got the shot.

It's a short shot mind you.

But they do ride horses and they ride horses in "Pretty Woman" that was cut out but it came back in the DVD.

Julie Andrews curses better than any actress I ever worked with.

She just has a way with the words, all words and because she has this beautiful voice, this beautiful accent, curse words become pretty with her and I had a great time working with her.

Julie Andrews is one of the most helpful people to other actors and beside cursing, teaches them a thing or two.

Always reliable.

man: "Eighty Two Apple, here we go, "Raising Helen" man:"Action" (laughs) Garry Marshall: Kate Hudson is a special actress to me because I directed her mother when Kate was nine years old and I used to hold her on my lap and say "Let's be quiet now, Mummy's going to act.

Let's yell "Action" together.

And we would yell "Action" and then years later I waited for Kate to come out of the trailer "You coming now?

We're ready to shoot".

woman: "Hi, Welcome, Mrs Lancamina" woman2: "Hi, erm...Kate Hudson" Garry Marshall: Kate on film is very delightful, very spontaneous and really a lot of fun to work with.

She has been in the business most of her life and she has a good time.

I did a picture that was a little serious with her and she can run the gamut of emotions very well.

"I'm going to say something and that is that I have had the most incredible time working on this movie" Garry Marshall: My favorite film is "Other Sister" because it is the film of all my films that came out just the way I envisioned it.

There are so many compromises in film, particularly studio films.

I do mostly studio film that once in a while you get a film like "Other Sister" where they left me alone and I did it just the way I wanted and it was, in my opinion, my best film.

It certainly wasn't my most successful, but that was my best film and the others... because I enjoy the process so much were all fun and good processes so even the ones that didn't work, I remember fondly.

It's very interesting, The women love "Beaches" and to be honest, the gay community loves "Beaches".

Their favorite, there was recently a robbery in my friend's house in Indiana and they stole all his DVD's except one, they left "Beaches" and the police said "It was male robbers!"

I get a lot of "Pretty Woman" people all over the world know it when I travel and they know another film.

It was not a big hit and it sounds odd but people talk to me about it in rest rooms, It was a picture called "Nothing In Common" and it was about a father and a son and I can't tell you how many times, as I'm washing my hands, a guy says "I hadn't talked to my father in years until that film.

Thank you for making me talk to my father".

Every kid that's a kid knows "Princess Diaries" all the little ones know Princess Diaries.

And another film I made that was not heralded at all, was called "Exit to Eden".

It was a little bit of a risque film, a little dark.

Men didn't like it at all but women, once in a while I'll get...I wrote a book and I'll be at a book signing and they'll say "Love "Pretty Woman", love "Beaches" and (whispering) I also liked "Exit to Eden"".

It's shameful to like that picture, it too much of a sexy picture, but I would say in general that everybody knows "Pretty Woman" and it's nice that people know your work and in the oddest places.

As I get older I pick A little more carefully films that I really want to make rather than just doing a job.

There was a period where "Yeah?

Well, I can do that and then I can do this and there was always the sense that I'll do this commercial picture and then they'll let me do this, you know.

Nobody wanted me to do "The Other Sister" but I made two hits - "OK, let him do what he wants".

Now I don't think like that, I think "well let's see, let's see if I can do this one.

"That's going to save the world" and all of that.

I don't usually figure I'm going to save the world.

As I said, I dedicated my life to making people laugh, I lighten the load, but along with laughter you can do poignancy, enlightenment and teach people things so, I do pictures now that I really want to do and I hope - it sounds like a strange thing - I hope they talk about it in the lobby.

It's good to say I was so moved by a picture, but what is really pleasurable to me is when people come up to me and say "I had a rotten day, I went to see a film and I laughed".