Q & A with Michael Bruno
(Daytime talent manager)

If knowledge is power, talent manager Michael Bruno must be one of the soap opera medium's most powerful people. His client list reads like daytime's version of Who's Who, including Lauren Koslow and Josh Taylor (Kate and Roman, Days of Our Lives), Kin Shriner and Julie Pinson (Scott and Eve, Port Charles), Billy Warlock and Real Andrews (A.J. And Taggert, General Hospital) and many more. The various hats (actor/agent/writer) that Bruno has worn over the years give him a unique overview of the soap world. His ability to recognize talent, anticipate trends and analyze what works (and what doesn't) make him an invaluable resource for soap opera casting directors and executive producers alike.

Bruno recently sat down with us to share his thoughts on a variety of subjects, including audience attrition, Bay City citizens moving to Oakdale, the need for head writers and this year's Emmy telecast.— Michael J. Maloney

Veterans like Crystal Chappell (ex-Maggie, OLTL; ex-Carly, Days) and Colleen Dion (ex-Felicia, B&B; ex-Brett, AW) are returning to shows (GL and AMC, respectively) on a recurring basis. What's up with that?

People come back on recurring status now because it's really tough out there. When producers are looking at their budgets, they'll say, "Let's put these people on recurring." Also, shows have the leg up these days. In many cases, the money's a lot lower for actors and so are the [weekly appearance] guarantees. There's a lot of talent out there that's not finding work. So actors say, "Let me get in there and show them my stuff." The upside is that the actors can leave immediately for other projects, and once the show does come to them with a contract then it's obvious that they really want them.

The daytime audience is dwindling. Why should viewers give Passions and some of the other relatively new shows a chance?

We all need to embrace any new soap to show the networks that there's still money to be made in daytime and that the medium has longevity. We're in a very dangerous situation these days. I really believe two more shows will be canceled, possibly as early as next year. In the next ten years, there could be only 6 soaps as opposed to the '70s when there were 14 or 15. There will always be soap opera, but they will be more Los Angeles-based [shows]. Networks look at talk shows that have just one set and they see that they cost so much less to produce. Soaps are not reaping as much money as they used to. Many longtime favorite actors are being paid so much and they're just not being utilized.

Will Procter & Gamble moving some of its AW characters to ATWT pay off?

It's a really smart move if it's played slowly and not shoved down the viewers' throats. Think of the possibilities of pairing Tom Eplin (Jake, AW) with Maura West (Carly, ATWT), or Lesli Kay Sterling's Molly fighting with Lisa Peluso's Lila? Fans love those kinds of crossovers. I'm not a daily viewer of Y&R or B&B, but when B&B's Brooke goes to Y&R, I'll tune in to see her interact with Victor Newman.

It's not a coincidence that Y&R and GH, the shows that took home the lion's share of the Emmys this year, both have strong head writers and producers. Generally, the shows that are governed by committee don't do as well.

There are so few Kay Aldens, Bob Guzas, and James Reillys (the respective head writers of Y&R, GH, and Passions). That's the number one thing. That's what will kill daytime. We'll always have actors, set designers and other creative people, but we have no writers. (B&B head writer/executive producer) Brad Bell's doing a wonderful job at B&B, but there are no Irna Phillips or Doug Marlands in the making. The money being spent in daytime should be going toward finding and developing writers.

GH's (executive producer) Wendy Riche and Bob Guza and Y&R's (senior executive producer) Bill Bell and Kay Alden and (executive producer) Ed Scott are all strong-willed people. They listen to their audience, but they still go with their guts. On a lot of the other shows, it's a case of too many chefs. There's the network, the advertiser, the producers... You have to have long-term story. ATWT must have known months ago that Andy was going to be the father of Denise's baby. If you plan, then you can tell the story correctly. If all of a sudden a show's writers kill off a character and decide three months later who the killer is, then there's going to be a problem.

Also, casting directors in daytime don't get the credit that they deserve. Mark Teschner and Judy Wilson (GH/PC's and AMC's casting directors) are amazing. They have a lot of passion for what they do. Also, look at how well (B&B casting director) Christy Dooley did in finding Jacob Young, Ashley Cafagna, Mick Cain, and Adrienne Frantz (Rick, Kimberly, C.J., and Amber). Every show wants what she did. It's a winning combination that's the next ten years of B&B. They had cast other younger actors on that show who were fine, but they didn't click. This group also clicks because the story revolves around family. Brad Bell took a risk in getting rid of Kimberlin Brown, Ian Buchanan and Barbara Crampton (ex-Sheila, ex-James and ex-Maggie), but it was still very smart. When you have characters who are islands, as they were, you have to look at how viable they are. You have to ask which characters are not related to the core families. Unfortunately, those are the characters that have to go.

When new producers and writers come onto a show they don't always honor a show's history. They want that elusive new audience.

There is no new audience. It's much easier to get your old audience back. That's the scary thing about AW's cancellation because the re-tooling of that show was going great. Chris Goutman (AW's head honcho, now ATWT's executive producer) was doing a wonderful job. As for history, look at GH being able to show Luke and Laura on the Campus Disco dance floor in a flashback because they have the same actors (Anthony Geary and Genie Francis) still playing the parts. That is worth gold. It strengthens and cements the story. Jill (Farren Phelps, OLTL's executive producer) may have brought on the Rappaports too quickly, but in reality that show has needed a new family. Catherine Hickland (Lindsay) has been such a shot in the arm. Five years from now, it will be so important to have the Rappaports in place. At Y&R back in the early '80s, Bill Bell brought on the Abbotts instead of recasting members of the Brooks family.

How were the Emmys?

They were great. I had a feeling about Susan Lucci (Erica, AMC) winning and, of course, she did. Everyone came together and was very supportive. I thought the speech given by Wendy Riche (GH's executive producer) was great. It's so important that we realize how powerful daytime is in putting impressions into people's minds. Like Wendy said, we have to tell stories that have a positive spin. Look at all the babies on daytime that have died — Amber's on B&B, Jessica's on OLTL and Victoria's on Y&R. They've been great story twists, but shows really need to look at that, especially when the pregnant characters go to full term. Going back to ATWT, the writers pulled off a great twist with Andy being the father of Denise's baby. That was a classic Friday cliffhanger.

Any advice for young actors who want to quit daytime and become the next big movie star?