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102 3. Running the Room Showrunning in Expanded Television Truly creative people refuse to be constrained, when you try to put them in a box, they simply refuse to go into that box. FX president john landgraf1 A showrunner (or show runner) is a person responsible for overall and day-to-day operation of a television series—a position more often credited as executive producer. A showrunner’s duties often combine those traditionally assigned to the head writer, executive producer, and script editor. In some films, directors have creative con- trol of a

sense at their particular level of operation. Executive producer Rick Berman spoke of the atypicality and benefits of the Star Trek “family”: “One of the great things about Star Trek is, because it’s a franchise that has such a force to it, we have been able to do what few people in television can do, which is to maintain a family of people. We have people here, many people, who have been with us for fifteen years. We get to have a wonderful working relationship.” He described how this worked in the case of costume designer Robert Blackman, then in his

relationship with the SIFF expanded public understanding of the co-production process. Ang Lee’s actions as a direc- tor established an important precedent, but David Lee’s essay promoted the event to the public. Like the Sino-US industry forums, David Lee’s essay on co-production in China was a marketing tool. David Lee’s role as a facilitator of Sino-US co-production deals positioned him as a storyteller both within the fi lmmaking process and about the fi lmmaking process. james schamus: screenwriter as comprador James Schamus, executive producer and screenwriter of

. He had worked very closely with Charlie Koerner, and the two men discussed the complexities of running a studio more extensively than any other pres- ident–executive producer combination in company history. It was also his good fortune to have assumed control in a magical year; rentals from RKO releases poured in at unprecedented levels. Yet before long Rathvon began to appreciate the wisdom of an old Spanish proverb: “It is not the same thing to talk of bulls as to be in the bullring.” Occupying the hot seat at the studio was all-consuming; despite plenty

/ Creatives paris barclay: Social media consumes about 10 percent of my time as executive producer of Sons of Anarchy. That is a big chunk, considering that time is incredibly valuable. I have a Twitter account, but I also have to monitor Kurt Sutter’s [Sutter is an executive producer and writer] Twitter account. Every once in a while his tweets stir things up— both online and off— always exciting for the media. But that’s part of the show’s promotion. I don’t think it would be as successful if he didn’t do that. He probably spends 20 percent of his time actually

doing the looping here and I couldn’t be in London and here, so I had to not use Bernard Herrmann. I didn’t know who the hell to use then. Noel Marshall, who’s the executive producer on the movie— he’s Bill Blatty’s agent or manager— suggested Lalo Schifrin and I knew Lalo 15 years ago. I met Lalo when he fi rst came to this country, when he was Dizzy Gillespie’s pianist, and he was a The Annotated Friedkin 369 really great guy and I liked him and I knew he had great experience and integrity as a musician, quite apart from these movie scores that he was

this film. The Coen brothers’ film holds up on its own merits. Thus, what we have explored above is how the script gains in “extra” pleasures for those who bring a background in Homer and Sturges to their viewing experience and how these sources have truly inspired these eclectic inde- pendent American screenwriters/filmmakers. Film Credits O Brother, Where Art Thou? (2000). Production company: Buena Vista Pic- tures, together with Universal Pictures, Touchstone Pictures, Studio Canal, and Working Title Films (UK). Executive producers: Eric Fellner and Tim Bevan

. Liner notes to Ella Fitzgerald: The 75th Birthday Celebration. The Original Decca Recordings. Decca GRD-2–619, 1993. Mosaic Records. Liner notes to The Complete Verve/Clef Charlie Ventura and Flip Phillips Studio Sessions. 6-CD set. Mosaic Records MD6 182, 1999. 448 | Selected Bibliography Schaap, Phil. Liner notes to Bird: The Complete Charlie Parker on Verve. Verve Records V 837 141–2. Copyright 1998 PolyGram Records. Verve Records. Liner notes to The Complete Billie Holiday on Verve, 1945–1959. Originally produced by Norman Granz. Executive producers

Philosophy (Princeton: Princeton University Press, 2002). 188 We like a storm. Immanuel Kant, Critique of Judgment, bk. 2, sec. 28, “Nature as Might.” 190 The order of art itself. E. M. Forster, “Art for Art’s Sake,” from Two Cheers for Democracy (London: Edward Arnold, 1951), 98–104. 193 They “resonate” with it. New York Times, Arts, May 18, 2002, 8. A few years later, the 9/11 connection could be made more candidly. According to Jonathan Prince, the show’s creator and one of its executive producers, “The 60s really began with the assassination of J. F. K, just as our era

you otherwise.2 The only man at the studio holding the title of vice- president would be Joseph Breen. Schaefer, perhaps concerned about Breen’s lack of production experience, went ahead and hired Sol Lesser as executive producer in charge of “the studio’s A product.”3 Lesser by that time had managed to obtain his release from the United Artists commitment. Within the new power struc- ture, Breen would have overall responsibility for RKO fi lm production with Sol Lesser supervising the high- budget fi lms and Mac McDonough running the B unit.4 George Schaefer