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return to RKO to tell me I was wanted. When I refused to make I Married a Communist,48 he didn't fire me. Mitchum told me that a guy out of the DA's office had told him in a drunken moment that my office, my house, my car, my everything had been bugged to the teeth, and that Howard Hughes had learned about it, and had called his executive producer, Sid Rogell, and said he wanted all the bugs and harassment taken off Nick Ray: " I don't want that boy hurt." And he asked nothing in return. And that was the end of the story of I Married a Communist. I detested

Argos Films (Paris), Oshima Productions FILMOGRAPHY 281 (Tokyo). Executive Producer: Wakamatsu Koji. Script: Oshima Nagisa. Light- ing: Okamoto Kenichi. Cinematography: Ito Hideo (35 mm, Scope, color). Music: Minori Miki and traditional songs sung by Nippon Ongaku Shudan group. Sets and Costumes: Todajusho. Editing: Uraoka Keiichi. Sound: Ya- sudaTetsuo. 104 mm. Cast: Matsuda Eiko (Sada Abe), Fuji Tatsuya (Kichi-zo), Nakajima Aoi (Toku, wife of Kichi), Taiji Tonoyama (beggar), Kobayashi Ranae (old geisha), Seri Meika (servant), Kokonoe Kyoji (professor), Koyama

were considerably older. Some of the writers, however, who began their careers working for Tandem or MTM and went on to become successful writer-producers in the igSos belonged to the "sixties generation." Gary David Goldberg, for example, 172 Notes to Pages 59-62 now the executive producer of Ubu Productions, was a 1965 Brandeis University dropout who worked on the first Bob Newhart Show and on Lou Grant before making the highly successful Family Ties. 8. Larry Gelbart, producer of M*A*S*H, blamed the shoddiness of much television entertainment on the "hand

, perhaps inspired by the confidence that other members of RKO’s leadership team seemed to have in his abilities, Koerner showed no signs of despondency. He continued to work resolutely on the films that would comprise the initial portion of the new season’s 1. “Showmanship in Place of Genius” The Rathvon-Koerner Regime (1942–1945) 2 / Showmanship in Place of Genius releases. They would be his first pictures as RKO executive producer, and he was determined to turn out successful product. During the months of financial decline that led to Schaefer’s resignation

shepherded Vladimir Horowitz’s return to the stage, and for the next decade he was manager to the great pianist. In 1982, back in New York, Gelb went to work for Ronald Wilford, chairman and CEO of Columbia Artists Management Inc. (CAMI). As he remem- bered it, Wilford gave him “an offi ce and a salary, and said, ‘You decide what to do and create your own job.’ And out of that, CAMI Video was born” (Times, Nov. 6, 2004). Between 1988 and 1992, while at CAMI, Gelb was executive producer of the Met’s media department with responsibility for “Th e Metropolitan Opera

, History on Film/Film on History (Harlow, UK: Pearson, 2006); Lynn Spigel, “From the Dark Ages to the Golden Age: Women’s Memories and Tele vi sion Reruns,” Screen 36, no.1 (Spring 1995): 16– 33. 10. “ ‘Pi lot’ Commentary with Executive Producer Dick Clark and Creator and Executive Producer Jonathan Prince,” in American Dreams, dir. Jonathan Prince (Universal Studios, 2004) (DVD, 7 discs), disc 1. 11. Quoted in Mark O’Donnell et. al., Hairspray: The Roots (New York: Faber and Faber, 2003), 92. 12. Caryn James, “For Fall, TV Looks Back, and Back,” New York Times

), Daniel Frisch (production manager, head of a production-service firm, Prague/Los Angeles), Thomas Hammel (producer, executive producer, Los Angeles); Michael Hausman (executive producer, first assistant director, New York); Tom Karnowski (production manager, producer, Los Angeles), Aleš Komárek (production manager, a head of a production-service firm, Prague); Tomáš Krejčí (head of a production-service firm, Prague/Los Angeles); Cathy Meils (former Variety correspondent in Prague); David Minkowski (production manager, head of a production-service firm, Prague

contemporary men and women. Although Yang acknowledges that the series’ premise was formulated to attract coproduction partners in the PRC, another rationale for this cross- cultural drama grew out of his calculation of TTV’s problems in the Taiwan market. At the time, he recalls, “our ratings were low, even for a terrestrial, and it had been two years since TTV had the number-one prime-time drama. First Lady was only my second series [as executive producer], but I was convinced that the reason we were failing was that too many people in the business still see Taiwan from a

, hip, satirical, ensemble sketch comedy show? At the same time Tartikoª was trying to get Dick Ebersol, now executive producer of Midnight Special, to return to Saturday Night Live to save the series. Meanwhile, John Candy and Joe Flaherty of SCTV had each contacted NBC to ask if the network would be interested in the show. In the end, if all parties didn’t get quite what they wanted, they all got what they needed: Midnight Special was canceled, allowing Ebersol to take over Saturday Night Live and making room for SCTV, expanded to ninety min- utes and retitled SCTV

in NBC

. Angels and Demons (Ron Howard). Co-script. Television includes Hack (creator and executive producer of the 2002 series); Suspense (director and executive producer of 2003 telefilm). NOTE DAVID KOEPP 89 1 Bottle is storytelling slang for a story confined in terms of time or space, as in “a ship in a bottle.” McGilligan_Ch06 8/7/09 11:39 AM Page 89