inactive (in part because of its success), although
it managed to reconstitute itself for the documentary. Still, WMA was hav-
ing difficulty meeting the broadcast deadlines.
Eventually Rachel Perkins, a Sydney-based Aboriginal filmmaker (whose
work I discuss below) and executiveproducer of the series, called in Pat Fiske,
an experienced and sympathetic white documentary filmmaker, to help
WMA complete the piece on schedule, in only three weeks and on a small
budget. The working style required by such constraints was a source of fric-
tion; what in the dominant culture
Daniel Frisch (production manager, head of a production-service firm, Prague/Los Angeles), Thomas
Hammel (producer, executiveproducer, Los Angeles); Michael Hausman (executiveproducer, 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
and to develop and market the products of its creative genius pro-
vided an economic base that allowed it to become a largely self-
Joan Cooney likes to say luck played an important part in the
Workshop's ultimate success. But luck was a marginal factor in her
choice of David D. Connell for the critical role of the project's
executiveproducer. Earlier, Cooney received an offer of help
from Michael Dann, at the time the programming chief of CBS-
TV. "You'll need an executiveproducer," he told her. "Let me
help you find one." Dann
metaphors—dialed into New York, we appointed him gen-
eral manager of Channel 13. He immediately placed Jack Willis,
The Great American Dream Machine's co-executiveproducer, in
charge of public-affairs programming, and Robert Kotlowitz, the
recently resigned managing editor of Harper's, in charge of cul-
tural programming. With a team in place, and Ford's $2 million
in hand, the way was open to turn our collective vision into visual
The new team benefited from an early start that Christopher
(Kit) Lucas had made before he was replaced as program director
, having served as
Charles Koerner’s assistant, starting in 1944. Following Koerner’s death,
Dozier worked for Peter Rathvon for a few months in 1946, then moved to
Universal-International, where he was associate head of production. After
his stint at Universal he joined Samuel Goldwyn for a time before accepting
the position of executiveproducer of dramatic programs and later director
of network programs for CBS Television. Tom O’Neil must have been
impressed that CBS veterans O’Shea and Dozier understood the brave new
192 / An Untoward Turn of Events
. New York: New York University Press, 2005.
Chapman, Gary, and Tony Rankin. A Student’s Guide to the Five Love Lan-
guages: True Love Waits. Nashville, Tenn.: LifeWay Press, 2003.
Chevapravatdumrong, Cherry. “Prick Up Your Ears,” television episode of The
Family Guy directed by James Purdom. New York: Twentieth Century Fox,
November 19, 2006.
Cole, Sean. “With This Ring: Pledging Abstinence.” Radio broadcast on
Inside Out, Anna Bensted, executiveproducer. Boston: WBUR, 2004. www
Condit, Celeste. Decoding Abortion
Media Arts West; 40 minutes, color
Lawrence and Anna Halprin: Inner Landscapes, 1991
documentary directed by Joan Saªa; produced by KQED-TV, San
Francisco; 60 minutes, color
Positive Motion: Challenging AIDS through Dance and Ritual, 1991
documentary directed and produced by Andy Abrahams Wilson; 37
Embracing Earth: Dances with Nature, 1995
directed and produced by Andy Abrahams Wilson; creator and executiveproducer: Anna Halprin; art director: Eeo Stubblefield; music: Norman
Rutherford; 23 minutes, color
C H R O N O L O G Y O F W O R K S
. "The Sentiment of Honour in Kabyle Society." In Honour and
Shame: The Values of Mediterranean Society, edited by Jean G. Peristiany,
19 1 -242 . Chicago: University of Chicago Press, 1966.
Bragg, Melvyn, editor and presenter. "Lean and Bolt." The South Bank Show.
London Weekend Television. Production. David Thomas, producer and di-
rector. Nigel Wattis, executiveproducer, 1990.
. "Peter O'Toole." The South Bank Show. London Weekend Television
Production. Frances Dickenson, producer and director. Nigel Wattis, execu-
tive producer, 1992.
Brownlow, Kevin. David
approach. Then the show you invested so much of your
time and creative energy into doesn’t get the joy of a real online commu-
nity, especially across social media. Since 2007 I think that’s been the big-
gest change in the digital space. Today it’s not just about creating digital
content, which is still important, but also about building an online com-
munity around your content brand.
How do you cultivate an online community for content?
An executiveproducer [EP] needs to own the brand and be able to leverage
it to promote the show and build community. The EPs