Some of the Renaissance production staff (who oversaw the shows Hercules, Xena, Young Hercules, Jack of All Trades and Cleopatra 2525) affectionately nicknamed Eric "Dr. No" since "No" was the most often heard response to any request for extra footage, a more expansive set, more time, or more money.
Eric himself was spoofed on the Hercules episode "Yes Virginia, There Really Is a Hercules" along with the rest of the production staff. But unlike many of his co-workers, Eric got to choose who would play him. He chose Willy de Wit, known by fans of the franchise for playing the role of Zagreus on the Xena episode "A Day in the Life".
Eric tried to talk Executive Producer Rob Tapert out of doing the Hercules episode "Warrior Princess" because he believed, along with Kevin Sorbo, that no woman could ever come between Hercules and Iolaus.
Eric: (on being a producer) I tend to be a very vocal person about my opinions. But that's part of the fun of it.
Eric: I think that you have to alienate a certain small core of the audience every once in awhile in order to grow and expand, but hopefully you also keep your loyal following and add on new people.
Eric: (on the fire-breathing stunt by Lucy Lawless) But, no matter what anyone tells you, it's extremely dangerous. Lucy is very gung ho and likes doing it. If you've talked to her, her adrenaline is always pumping when it happens. It's a great character trait for Xena that we would love to exploit as much as possible, but it's one of those things that makes me, in particular, extremely nervous.
Eric: (during the filming for "Adventures in the Sin Trade") We were up above the snow line and it is absolutely raining for real and Lucy was soaked when she was riding around. I was fortunate enough to sit in my heated office and watch the dailies every day, feeling like a total wimp. I went out to the set occasionally and said, 'Boy, it's cold out here!' and watched everyone looking at me with those "We're going to kill you" eyes.
Eric: (on producing "Xena") But Renaissance probably has some of the most liberal people in the industry in terms of hiring the people and then letting them do their job. Most good directors look to us for guidance anyway and say,'Okay, but what do you want to feel at the end of the scene?' Not to say that it's not on the written page, but there are a hundred different ways to interpret a script and the good ones always want to get absolute clarification of what they're doing. That where they are taking the characters is also where we intend to have them taken
Eric: (on being a Producer for "Xena") One of the major jobs Chloe Smith and I do is work with the directors to lead them into our path, if you will. Each director is going to bring their own vision to the script, but what you try to do on a tv series- and that's why it's a more producer-driven medium than a director-driven medium- is let them do what they do best but within the confines of what the show is.
Eric: There are no cons, only pros about shooting in New Zealand.
Eric: (on "Hercules") I like the shows that break new ground and I will say this, it took me about two years of solid convincing to get Rob Tapert to agree to put Michael Hurst in drag on our show. I feel it's one of my personal triumphs that we were actually able to do that.
Eric: (on the various ways of viewing "Xena") One of the main reasons why I feel we have succeeded, on Xena in particular regarding that very issue, is that everybody can get something out of it. I have friends who are lesbians who have a great time watching it and watching the "subtext". I have heterosexual male friends who like watching it for the beauty factor. I have friends who don't care about either of those things who watch it for the stories. I think it's wonderful to see so many people coming at it from so many different directions and getting something out of it. That's a great tribute to Rob and R.J. in particular who conceive of something and then play with it and continue to mold it in a way that is not going to necessarily alienate people.
Eric: (on the impact of Xena) Talking about breaking new ground, it was really fun to conceive a show where two women are going through life together and don't have to rely on men. Two women can be friendly without being catty. They are independent, and whether you want to call them feminists or not, it provides a very thought-provoking situation. It's great to do that kind of a show. Rob figured the last time we had a prime time female superhero was Wonder Woman, which was totally different. We've paved the way for many shows like us to come down the pike and we've had copycat shows appear.
Eric: (on choosing New Zealand as the location for "Hercules") I came down here, fell in love with the country and the people, then went to work flying back to Los Angeles to try and convince everybody to make it in New Zealand. Once I showed them the pictures and showed them the numbers, they said 'It seems to be the place to go, let's do it.' The rest is history, really.
Eric: (on his work for "Xena" and "Hercules") I guess you could call me the guy. But I'm the guy the studio calls when we're over budget or over schedule or when they're generally annoyed at what they see.
Eric:(referring to producing) In motion pictures and tv the saying goes that you can have any two of three ways- fast cheap, or good. You can never have all three. My feeling is fast is the worst. I'd rather have it cheap and good. Good is the most important and cheap is the second most important. Because everything comes down to money in this business and fast always costs money if you need to do it that way and you still have to have it good. That's my two second producer's credo.