Truth or Barris? TV pioneer’s life targeted in ‘Confessions of a Dangerous Mind’

Kirk Baird

Monday, Feb. 3, 2003 | 8:26 a.m.

It's a good time to be Chuck Barris ... though there is that matter of a half-star in Oregon.

"It couldn't be any better if we tried," Barris, 73, said in a recent phone interview from his home in New York. "Maybe the review in Portland could have been slightly better the three stars could have been three and a half. But I have no complaints because, to me, it was an impossible dream that the picture was ever made."

After nearly two decades of exile from Hollywood whether self-imposed or not is debatable Barris returned in the "autobiographical" "Confessions of a Dangerous Mind," which opened nationwide Jan. 24.

In many respects, the behind-the-scenes account of "Confessions'" journey to the big screen is as intriguing as the film itself and certainly more verifiable.

Barris penned "Confessions of a Dangerous Mind" from 1980 to 1981.

The premise of the book, and later the film, is that while Barris was creating zany game shows in the '60s and '70s, he also acted as a CIA assassin while escorting contestant winners on trips abroad.

While an intriguing notion a TV game-show producer reviled by critics receiving medals and covert citations from the CIA the book quickly came and went.

"It disappeared because the reviews were just like from the television side: 'What do you expect from a guy who gave us 'The Dating Game' and 'The Gong Show?' And then it was, like, history."

The book would have remained that way if it weren't for a film producer at Warner Bros., Andrew Lazar, who came across "Confessions" in a friend's bathroom.

Lazar optioned Barris' book and passed it along to screenwriter Charlie Kaufman, who later would earn critical acclaim for scripting "Being John Malkovich" and, more recently, "Adaptation."

"Charlie wrote this brilliant script and then it went through development hell for four or five years," Barris said. "I thought this star was going to do it, that director was going to do it."

Some of the names attached to the project at various times include Mike Myers, Nicole Kidman, Meg Ryan, Renee Zellweger and directors P.J. Hogan ("My Best Friend's Wedding") and Bryan Singer ("X-Men").

"It went through all those names. Everybody wanted to do it. And then it would fall apart," he said. "Until I got to a point where I just forgot about it it's just not going to happen."

Then George Clooney discovered the script.

Clooney originally wanted a small part in the film, and put together the financial backing to make the movie.

When the money dried up, however, Clooney decided if given the opportunity to make "Confessions," he would also direct the film.

Through Clooney's partnership with director Steven Soderbergh, the two worked out an agreement with Miramax. The only problem: Clooney wanted little-known actor Sam Rockwell in the main role, while the studio wanted a more established star.

"And there certainly were bigger people who wanted to do it," Barris said. "But George was adamant. And I was dying. It looked like this was really close and why wouldn't George just concede to just using some bigger name."

But as with most big stars, Clooney got his way and Rockwell was cast. Now Barris cannot imagine anyone else in the role.

"Sam Rockwell came to meet me and I just loved the kid on sight. We hung out for about four months," he said. "Today I can't conceive of anyone playing that part but Sam. He was remarkably good."

As for whether Barris' story is true or not, the CIA has since denounced his claims as ridiculous, while the game show maven remains cleverly coy on its accuracy.

"Everything in the movie is real to the extent that there were those trips to Europe I did go on as a chaperone and all that," Barris said. "Whether I was in the CIA or not ... I never was about to say. I really felt the point that was most important was to go to the movie or read the book and make up your own mind."

Real-life pioneer

While "Confessions" might be a big-screen vindication of sorts to Barris, his ultimate legacy can be seen almost nightly on the Big Four networks in the form of reality TV.

While "American Idol," "Joe Millionaire," "The Bachelorette" and the revamped "Star Search" enjoy boffo ratings, Barris gave birth to the genre.

In the '60s Barris paved the way for reality TV with "The Dating Game," a matchmaking series where a male or female contestant would pose scripted questions to three potential suitors, eventually choosing one for an all-expenses paid trip.

"Many of the relationship shows that are on today were born of 'The Dating Game,' which was the first successful relationship show and highlighted the adult nature of dating and relationships," said Bob Boden, senior vice president programming of the Game Show Network, which owns all of Barris' TV creations.

"It think he's one of the grandfathers and pioneers of reality TV because, at its core, game shows are reality TV."

"The Dating Game" proved so popular, Barris developed "The Newlywed Game," along with other game show/reality fare as "How's Your Mother-in-Law?" "Dream Girl '67" and "Family Game," all five of which, incredibly, appeared on ABC's daytime schedule in 1967.

"His creativity and imagination is almost unsurpassed in the game show world," Boden said. "(Barris) created not only long-lasting, durable shows, but the concept of getting a young audience to watch game shows was largely his responsibility. There had been other dating shows before 'The Dating Game,' but 'The Dating Game' was the first to speak to the youth culture of the '60s and capture that dynamic culture of the era."

Bang a gong

As popular as "The Dating Game" and "The Newlywed Game" remain, it's a low-budget talent show for which Barris is best known. "The Gong Show" first aired in 1976, with Barris (or "Chucky Baby," as he was called on the show) serving as host for most of the program's four-year run in syndication and network daytime.

The premise was simple. Several acts, usually ranging from bad to horrendous to ridiculous, would compete for the highest score among three judges, everyone from regulars Jamie Farr, Jaye P. Morgan and Arte Johnson to Steve Garvey, David Letterman and Steve Martin.

The judges would award up to 10 points to the best act, or bang the gong for the worst, halting the acts midperformance.

In many respects, "American Idol" is a direct descendent of "The Gong Show," Boden said.

"The production values are different, the tone is different, but the basic competition of amateur talent being honestly and brutally judged by a panel is very much related," he said.

Barris acknowledges his authorship in creating today's reality TV craze.

"(Reality TV) evolved like the little fish that came out of the ocean and crawled up the beach. 'The Newlywed Game' became 'The Gong Show' and that show became 'Jerry Springer' and 'Jenny Jones,' " Barris said. "It then became 'Fear Factor' and 'Survivor' and it won't stop. It's going to some other form."

Still, don't count him as fan of the evolutionary results -- "American Idol" in particular.

" 'American Idol' is meanspirited, which is a whole new change. I don't remember wanting to wish for losers ... we were always trying to do things for fun. We were rooting for a couple to win a washing machine or somebody to get a 'Gong Show' trophy and a hundred bucks or something.

"I couldn't do those shows they have today. I couldn't even begin to invent them. They're just not my kind."