essentials of storytelling and that extreme violence,
if performed by animated, brightly colored characters, could be fun and
educational. After graduating from Rutgers University with a BA in Mass
Media & Film, Kurt spent several years as an actor in New York City before
earning an MFA from Northern Illinois University in Chicago. In 2001,
he landed a gig on FX’s The Shield where he started as a staff writer on the
fi rst episode and fi nished the last two seasons as an executiveproducer. In
2008, Kurt created the critically acclaimed FX drama series Sons of
, New Zealand Film
and Video Technicians Guild. Paraparaumu, 27 June 2004.
Selkirk, Jamie. Coproducer and supervising editor, Rings; editor, Return. Welling-
ton, 7 December 2004.
Simpson, Jenny. Sponsorship manager, Air New Zealand. Auckland, 23 November
Skaggs, Mark. Executiveproducer, “The Lord of the Rings: The Battle for Middle-
earth” (EA Games, 2004). Los Angeles, 1 September 2004.
Stern, Keith. Owner, CompuWeb, Inc.; webmaster, www.mckellen.com. Los An-
geles, 15 June 2005. www.cucare.com.
Taylor, Hayden. Systems manager, Film New Zealand. Wellington, 9
community can get an original script produced and have a chance of earn-
ing residuals. As a result, many screenwriters have migrated from fi lm to
tele vi sion, drawn by the success of shows with complex narratives and
mature themes, shows where writers exercise greater creative authority.
Both fi lm and tele vi sion today require that writers and directors envi-
sion their material across a range of media, and that they play an active
role in the promotional campaigns. Director Paris Barclay, who is also co-
executiveproducer of Sons of Anarchy, claims
not only need each other, but much of the work of managers
and of culture creators is cultural and economic at the same time.
Indeed, cultural and economic concerns are not necessarily different,
but in the context of media work rather must be seen as constituent
This chapter, together with chapters 3 and 4, addresses the creative auton-
omy of cultural creators within the constituent material practice of making
Star Trek television. Did particular individuals—executiveproducer Rick
Berman, production designer Herman Zimmerman
Aylesworth had nothing to do with the hiring of David O. Selznick, who
replaced William LeBaron at the Gower Street studio. Sarnoff made this
brilliant decision, which quickly led to better pictures and the beginnings of
a formidable stock company, featuring Katharine Hepburn, Fred Astaire,
and others. But then David Sarnoff negated his master stroke, backing
Aylesworth’s successful effort to get rid of Selznick after he had been
RKO’s executiveproducer for only a year and a half. Before the end of the
decade, Selznick would make Gone with the Wind and
the day of the sneak preview. Th e executiveproducer always calls me
in for the running of the picture’s fi nal cut and I am invited to voice my opinion
for or against proposed changes, and I may make suggestions myself.
Th e actual composing of the music is not begun until the fi nal cut of the pic-
ture is ready. But most of my leading themes and general mood motifs suggest
themselves to me on reading the manuscript. Only when the picture has reached
Some Experiences in Film Music 233
the stage of the fi nal cut can I proceed to compose the exact lengths
vice president in charge of the stu-
dio, but this did not mean he intended to make crucial production decisions
for long. The leaders of the “new RKO” promised to bring a top executiveproducer on board quickly. Among the possibilities mentioned were Sol
Siegel, Pandro Berman, William Perlberg, William Dozier, and, of course,
Rumors abounded concerning the future of the organization. To quell
the most dramatic one—that the new order planned to sell off the library
of RKO movies to television and liquidate the studio—the reconstituted
, give Mason credit for the music and McLaughlin credit for the
visuals, and send out the new version as a promo film for Mason and his record.
Would Mr. McLaughlin accept another $500 for this simple, quick use of his film?
McLaughlin smiled and debated. His other sleeve was being pulled anxiously by the
managers of the Smothers Bros., who were debuting as executiveproducers on the
Summer Bros. Show and needed as much prestige as new execs as they could
muster. How would McLaughlin like their blowing up GOD IS DOG to 35mm and
having them release it T