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"Passion", is the word that comes to mind when talking about the three decades-plus career of John Cummings. John developed his career early, performing on stage and television when "live" really meant live! Thinking a career in front of the camera was his path, John was quickly turned around when he found himself on radio. Moving up the ladder to larger markets, he realized radio lacked something.

Crossing over to distribution of television programs into a new medium called cable, John learned the "business" of the industry from the ground up. By chance and with a little luck tossed in, John stumbled on the rights to a popular children's television program that was being blasted by the Action on Children's Television in Boston, for it content and on-air activity. He re-tooled the program and was successful in syndicating the half hour strip (daily) in 109 U.S. markets. While that show lasted until 1978, there were many other shows that John produced and left his mark on.

Moving from LA to Florida, John teamed up with the Walt Disney Company to work on the Grand Dedication of EPCOT. That one project took him in a direction that lasted twenty two years. John established The Motion Picture Company, Inc. in 1986, after completing the sale of The National Christian Network (which he was a partner) in 1985. MPC based the operation on Disney property and stay at that location until 2001.

The company was two fold, producing projects and suppling specialize camera support equipment to his productions as well as making the gear available to other producers and directors. John was tagged the "producers, producer", understanding the logistics of production and creative elements made him a valuable asset. For ten years, MPC flourished and John seemed to be burning the candle at both ends. Exhausted with the 24/7 production schedule, John restructure the company, slowly reducing the equipment inventory and concentrating on production only.

With a score of films and television projects under his belt and little credit given, John focused on just producing and directing his own projects. Although, the dream would not come just yet. Under contract with Disney Marketing and Media Relations he continued to consulted on logistic, equipment and crew activity for major events, TV programs and in-park productions. John reduced the staff at MPC with aspirations of branching the company to development of its own productions. After a bold move to concentrate on expanding a Hollywood branch, the project development idea would still be placed on hold. Disney exercised their contract and John enthusiastically worked as a producer and opening core team member on two new parks for Disney in California.

Finally, in 2003, John was able to begin development on his projects that were on the drawing board for so many years. Now, MPC is in pre-production of two major film productions, one made-for-tv-movie and representing nine other potential projects. John is overdue to produce quality family oriented productions under his own shingle. With commitments from private equity investment groups, MPC has begun to achieve the goals and dreams it slated eighteen years earlier.

John's leadership, dedication, political involvement, industry awards and continuing support for the motion picture and television business has proven that an "overnight success" is only a phrase, the real success is on the horizon, audiences will enjoy in the coming year.

C.E. Brinkley: Industry Freelance Trade Reporter

Q: What was the hardest production you've work on?

A. That could take weeks to answer! All projects have a level of challenges. I seem to flash back to Central Park, when I headed the broadcast portion for Disney’s launch of Pocahontas. The day of the event, I had to seemlessly come from one live show to another with only 15 seconds between. Good Morning America ended and Regis had to come up, working with two different teams and my group at the same time was intense. My directorial skills were put to a real test, but we managed to make it work. Working in a "jungle" like location was brutal, but successful.

Q. "Jungle like" productions?

A. Anytime you venture from a controlled setting or studio, your level of challenges increase. When MPC provided the equipment for Michael Mann on "Mohicans" we really had issues. Working in the mountains (Chimney Rock, NC) on rainy days was indescribable, I think there's still mud in my boots from that shoot. Then the few productions I headed up in Central Park was interesting, when you leave the location and end up walking into civilization to hail a cab back to the hotel, you forget where you're working.

Q. You left Hollywood in the late '70's, moving to Orlando, was the move successful?

A. I was very successful. I brought 19 million dollars in projects and support to Florida and feel I was a major contributor to the States success in film and TV production growth in the '80's and '90's. The State has been active in supporting my projects with Film Incentive offers.

Q. With that success, why did you come back to Hollywood?

A. I had a personal reason and also felt it was time to get my film projects off the "back burner". Hollywood dramatically changed in the last fifteen years, I'm reacquainting myself to the new players which has been a challenge in a changing environment. I'm still an "East Coast" guy, whether that a good thing or not, I think its a good thing!

Q. In 1980, you partnered with the National Christian Network, why?

A. I needed a place to offer my clients (Disney) a house to edit shows, Orlando only had one place to edit and that was limited. Also, in those days, satellite was new thing and I was fascinated by it. I didn't have much to do with the religious side, other than collect debts from some broadcasters that forgot to pay their bills. I used the facility and soundstage to build my business in Florida. We were making good money and some others got greedy, so we sold the entire facility to Jerry Fawell in 1985.

Q. Among other shows in the '70's you produced , "Bozo's Big Top" was one of your successes . Did the old story about the kid telling Bozo to "bite a big one" really happen?

A. No! We taped the shows, so audiences would have never seen it anyway. I asked Larry Harmon if it ever happened on any of the old local market shows and he told me it didn't, just rumor. We shot 376 episodes from 1973 until 1977. The biggest problem we experienced, was kids getting sick under the hot lights and animal defecating on the set. We did have an exotic bird fly off into the air system...the trainer wasn't to happy about that!

Q. Whatever happened to the show?

A. Bozo...? Clowns faded away and were no longer marketable to a TV audience. We had a great run. We were in 109 major markets at 7:00 to 7:30, Monday through Friday. There were two markets I couldn't air in, Chicago, Bob Bell's show on WGN and Atlanta, where there was a religious "Bozo". The challenge was distributing the show to that many markets. We had to "bike" shows around the country. I created 5 zones. Remember, there was no Satellite, Fed ex, file sharing in those days. We didn't even have fax machines! UPS, Greyhound and commercial airlines were all we had available, my...how times have changed.

Q. At one time you had the largest equipment supply house for camera cranes, dollies, Steadicam and jib arms in the southeast region of the country, what happened to that business division?

A. I got involved in that side only because I didn't have the tools I needed to make my projects in Florida. Disney and I had a wonderful relationship with the gear and I expanded it to serve other producers that came to Florida with their projects. After enormous success, the greed from my vendors and some grips that have little respect for my investment, turned me off. I still have a inner "love" for the right gear to get the job done, but the rental business can be difficult.

Q. Do you still have any gear?

A. Sure! I'm a sucker for a well designed tools. The real plus is understanding the equipment when you produce a project. If you don't know what to use to get the shot, you jeopardize your budget. So, that's why we can come under budget in many cases. Understanding the tools is key to a successful shot. This way you don't "buy" something that sits on a set. We still have some gear in Orlando as well as LA.

Q. You've built three Sound Stage complexes so far in your career, what is the biggest challenge.

A. There's two, noise and air conditioning. Only an audio team can detect dB levels know one else would hear...but they'll show up on your master. If you don't have a cold studio, once you lay in lighting you're the worst guy in the world, these boxes heat up real fast. Building stages are detail projects, things have to be designed into the construction that may never be noticed by a filmmaker. If you don't have them in the design everyone will know. Stages are complicated eventhough there only a big box. Once up and running, it needs to keep working 32 weeks annually to make it profitable, that's a marketing challenge.

Q. What are the goals while you're Chairman of MPC?

A. The goals have never changed. MPC is on its way to become a studio, developing projects or inventory to be marketed on a global landscape. MPC will soon be in an acquiring position with the financial ability to purchase broadcast facilities, transmission vehicles and equipment, standing along to distribute multiple projects. Our developing division should be mirrored as the old studios, making movie shorts and family films on a daily basis without compromising quality. Quality in filmmaking depends on the creative talents and skills of the team members embracing the production, not just the equipment or script. The path for MPC is being cleared as we speak.

Q. Isn't the Studio side risky?

A. In these days of mega studio ownership, its as risky as any other deal, if you don't have your own projects. The Studios own the vehicles, so they don't have to rely on distribution. Theaters are huge "trade out" advertisers on the networks, which looks great on paper as well as, when you want to get your movie in a theater. Everyone works together in a business way. MPC has several projects to make...right now if we had the financial ability, we could be in production with 17 productions...that would put over 1000 people to work and create a multi-million dollar financial base for the company. We know every project may not generate as much as others, but when you balance it out, the profits are huge. The major key element that must never be out of sight is your audience. Without the wonderful viewers and movie supporters, none of us would have a chance. Just because a mega budget is put into a movie, it may still "tank" without grace. Lots of time and research must be put into every production...and we at MPC do that every day...and it will pay off!

Q. What is the future for John Cummings?

A. I'd like to step down from a managing role and just produce and direct the projects we own. I have enough inventory to work steady for about seven to ten years. Once I have that out of my system...a boat off the Florida coast and a few annual trips to Europe! I have to complete the projects I've started, we have a potential of 100 million dollars in fantastic projects that are either in development or soon to go into production. That should keep me busy for the next seven years. I want to build the company up as a major player and have some fun while were doing it. I like the company to go public or be purchased by the right company and continue the developments.

Q. Do you sail?

A. No, I've dedicated 35 years to this business, I don't even know how to bait a hook...I'm a power boat kind of guy. That might be my next career or I may go back to school and study law...we'll see!

Close: Thank you for taking the time and good luck with your projects.

JC: Thank you for the interview, hope to see you on the set!