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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 executive producer. In 2008, Kurt created the critically acclaimed FX drama series Sons of

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, 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 2004. Skaggs, Mark. Executive producer, “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

(Barry Levinson). Director. 1985 Young Sherlock Holmes (Barry Levinson). Director. 1987 Tin Men (Barry Levinson). Director, script. Good Morning, Vietnam (Barry Levinson). Director. 1988 Rain Man (Barry Levinson). Director. 1990 Avalon (Barry Levinson). Producer, director, script. 1991 Bugsy (Barry Levinson). Producer, director. Kafka (Steven Soderbergh). Executive producer. 1992 Toys (Barry Levinson). Producer, director, script. 1994 Jimmy Hollywood (Barry Levinson). Producer, director, script, actor. Disclosure (Barry Levinson). Producer, director. Quiz Show (Robert

screenwriting 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- executive producer 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 material practice.3 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—executive producer Rick Berman, production designer Herman Zimmerman

bankrupt? 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 executive producer 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 executive producer 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

, script. Cookie (Susan Seidelman). Executive producer, co-script. 1990 My Blue Heaven (Herbert Ross). Executive producer, script. 1992 This Is My Life (Nora Ephron). Director, co-script. 1993 Sleepless in Seattle (Nora Ephron). Director, co-script. 1994 Mixed Nuts (Nora Ephron). Director, co-script. 1996 Michael (Nora Ephron). Producer, director, co-script. 1998 You’ve Got Mail (Nora Ephron). Producer, director, co-script. Strike! / aka All I Wanna Do (Sarah Kernochan). Executive producer. 2000 Hanging Up (Diane Keaton). Producer, co-script (based on Delia Ephron

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 executive producer on board quickly. Among the possibilities mentioned were Sol Siegel, Pandro Berman, William Perlberg, William Dozier, and, of course, Jerry Wald. 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 board issued

, 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 executive producers 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