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Levinson; director John Longenecker; producers Karen Spiegel and Christopher T. Olsen; the late screenwriter Dick Cusack; and our executive at HBO, Kary Antholis. Their heroic efforts in three different attempts involved many thousands of hours of labor. Making a film about workers is not an easy task against the headwinds of what is seen as commercial in Hollywood, and we cannot thank them enough, even though the attempts were in vain. The latest team is the independent company Either/ Or Films. We thank executive producer Buzz McLaughlin and director Aaron


. Since I live alone, he would call me at least twice a week to check on me and see if I was faring well. If I wasn’t, he would al- ways be there to assist me in whatever way he could. I am the godfather xv of his youngest daughter, Kimberly. For this I am very grateful. She is a joy to my heart. I miss Don dearly. I met violinist and composer William Henderson through George Butler, who used to be an executive producer for Blue Note Records and then later for Columbia Records. Bill was the conductor of the Los An- geles Modern String Orchestra, which consisted of a

, engage with, and/or manage entertainment content. Examples in- clude iTunes, Netfl ix, Google, and Hulu, among many others. Pod Deals Studio deals with renowned executive producers that are given fi nancial and/or administrative support to develop new TV series. These deals take many forms. Profi t Participation A contract deal that gives certain individuals (most of- ten above- the- line labor) the rights to a percentage of profi ts made from the sales of a fi lm or TV program. Proprietary Ser vice In contrast to an open- source ser vice, this ser vice can

189 First and foremost, Felicia Henderson considers herself a writer with a di- verse skill set who has worked successfully on tele vi sion sitcoms and dra- mas as well as feature fi lms, comic books, and stage productions. She also has succeeded as a tele vi sion producer, showrunner, and executive producer, and most recently she has taken turns in the director’s chair. Henderson began her tele vi sion career with tele vi sion comedies such as The Fresh Prince of Bel Air, Family Matters, and Moesha. In 2001 she de- veloped, wrote, and served as executive

multiple sites. However, to engage with media with any theoretical depth is to see the implications of at least more than one, if not many, of these spaces that a given work or genre traverses. This chapter builds on an ethnography of the production unit that cre- ated the seven-hour educational series Childhood, which aired nationally on public television in the fall of 1991, in England in 1992, and in several other countries subsequently, and then entered educational distribution in several formats. Geoff Haines-Stiles, the executive producer of Childhood, collabo

television career as a freelance writer for such shows as Highway Patrol (ZIV Television Programs, 1955– 59), West Point (ZIV Television Programs, 1956–58), and Have Gun Will Travel (CBS Television, 1957–63) and had just graduated to producing his first series, the US Marine Corps drama The Lieutenant (1963–64), made by MGM for ABC. Roddenberry first offered Star Trek to MGM, in the person of executive producer Norman Felton, who oversaw production of The Lieutenant. When Felton expressed no interest, Roddenberry’s agent suggested going to Desilu Productions.16

since that date received several other Academy Award nomina- tions for Best Direction, including Lifeboat (1994), Spellbound (1945), and Psycho (1960). During the last ten years, I have been executive producer on 273 half-hour and 90 one-hour television fi lms broadcast from coast to coast over the facilities of Columbia Broadcasting System and National Broadcasting Company; each of which television fi lms has not only borne my name preceding the title but also a caricature of my likeness which has become a personal trade-mark. Since 1948, I have been accorded

, script. Pretty in Pink (Howard Deutch). Executive producer, script. 1987 Planes, Trains, and Automobiles (John Hughes). Producer, director, script. Some Kind of Wonderful (Howard Deutch). Producer, script. 1988 She’s Having a Baby (John Hughes). Producer, director, script. The Great Outdoors (Howard Deutch). Producer, script. 1989 Uncle Buck (John Hughes). Producer, director, script. National Lampoon’s Christmas Vacation (Jeremiah S. Chechik). Producer, script. 1990 Home Alone (Chris Columbus). Producer, script. 68 JOHN HUGHES McGilligan_Ch05 8/10/09 4:54 PM Page 68

Supervisor: Shirley Ulmer (uncredited) Cast: Rex Ingram (Dr. Gordon), Peggy Howard (Mary), Merritt Smith (George), Erostine Coles (Minister) DVD: Grapevine Video Diagnostic Procedures in Tuberculosis (US 1938) [Motion Picture Service Corpo- ration, b/w, 13min.] Director: Edgar Ulmer, Ph.D. [sic] Cinematography: William Miller Supervisor: J. Burgi Contner DVD: N/A Yankel der schmid / The Singing Blacksmith: (US 1938) [Collective Film Produc- ers, b/w, 105 min.] Director: Edgar G. Ulmer Screenplay: Ben-Zvi Baratoff, Ossip Dymow, David Pinski Executive Producer: Roman Rebush

as the company’s distribution leader. He journeyed west later in February 1947 for meetings at the studio. By then Schary had realigned studio operations, with producers Bert Granet, William Pereira, and Adrian Scott reporting directly to him instead of Jack Gross, who would oversee the efforts of Richard Berger, Nat Holt, Harriet Parsons, and Phil Ryan. Robert Sparks, who had served as executive producer on Honeymoon and Out of the Past, returned to straight producing.2 Sid Rogell remained in charge of the B unit. During the preceding year Peter Rathvon and