cases decided by judges, not
juries. This is because of widespread public belief that eve-
ryone from Hollywood lies, cheats, and steals to achieve
their goals and then tells whatever lies are necessary to
cover up their crimes.
The fact that the case, despite the filmmakers’ lawyer’s
best efforts, was tried in Missouri and before a jury, real-
ized the lawyer’s worst fears. It received front-page cover-
age during a long trial—undoubtedly because the famous
writer Michael Crichton was one of the writers and pro-
ducers and Steven Spielberg was executiveproducer
ways too numerous to reckon. If this
were a film, they would all get executiveproducer credits. As it is, all I can offer
here is my deepest gratitude and affection.
I’d also like to add a special word of thanks to Ms. Akua Mansah, who has
spent the better part of eight years as our children’s caregiver during the days
(and sometimes nights), while my wife and I pursued our respective careers. Rais-
ing three small children while trying to write, teach, and manage all the other
obligations of an academic in today’s university is a challenge even with help, but
hijackers had actu-
ally been on the planes. And, fi nally, there was $167,000,000,000 in
gold in vaults below the World Trade Center, only a fraction of which
had been recovered—presumably offering a motive.11
Two years after the fi rst version, when Loose Change Final Cut
appeared, there were signifi cant additions to the credits. Alex Jones,
perhaps the country’s premier purveyor of conspiracy theories, was
now listed as executiveproducer, and David Ray Griffi n as script con-
sultant. Motifs of government cover-up and the implication that the
-based games have been designed and produced by the
largest publisher of video games in the world, Electronic Arts. The first two,
“The Lord of the Rings: The Two Towers” and “The Lord of the Rings: The
Return of the King,” hit store shelves about a month before the respective
parts of the film appeared in theaters. (The games’ names appear in quota-
tion marks to diªerentiate them from the italicized film titles.) According
to Mark Skaggs, the executiveproducer of the later game “The Battle for
Middle-earth,” “We’ll continue to make games as long as people want to buy
Cinema, ed. Ying Zhu and
Stanley Rosen (Hong Kong: Hong Kong University Press, 2010).
7. Ibid.; Marc Gareton (executive vice president, Warner Bros. Entertain-
ment), interview with Aynne Kokas, March 1, 2012, Los Angeles, CA.
8. Sophie Hardach and Ian Ransom, “Shanghai to Be Shot in Thailand after
China Ban,” Reuters, March 19, 2008, www.reuters.com/article/2008/03/19
9. Janet Yang (executiveproducer of Disney High School Musical: China),
interview with Aynne Kokas, October 21, 2011, Los Angeles, CA.
10. Michael Keane
be allowed to make suggestions, not movies. Unfortunately, Bischoff didn’t
understand the assignment.
Bischoff sported the credentials to be a functioning executiveproducer.
During some twenty-five years in Hollywood, he had worked for several
studios in different capacities and produced more than one hundred pic-
tures, including The Charge of the Light Brigade, Kid Galahad, The Roaring
Twenties, You’ll Never Get Rich, and A Night to Remember. Initial instruc-
tions from C. J. Tevlin ordered him to oversee the physical production of Jet
., 148. “My pitch to”: Munk, Vanity
422 • No t e s t o c h a p t e r e l e v e n
2. “access was more”: Mead, New Yorker (Oct. 22, 2007): 144. Volpe is said to
have cast a jaundiced eye on Gelb’s work at the Met from the start. In 1992, he
replaced Gelb’s executiveproducer position with a radio network producer and a
television producer: “I didn’t need an executiveproducer. Guess why? I was the
executiveproducer.” In 2006, Gelb created the position of director of media and
presentations, to which he appointed Mia Bongiovanni. “occasionally directed
with nine weeks in Los Angeles for interiors and another week of second-
unit work in New York. John Landis and George Folsey, Jr. were slated
as executiveproducers and Michael and Kathy Fitzgerald, assisted by
Prince Alessandro Tasca di Cuto, were announced as “line” producers.
Ted Pedas’s Circle Theaters—an eight-screen movie theater chain in the
Washington, D.C. area—were cited as the source of financing, and Mc-
Carthy added that English actor Rupert Everett was cast in the part of the
According to Tasca, the initial budget was $6 million
), Golden Girls (7), and
Miami Vice (9).
5. Both shows were produced by the Fred Silverman Company, with Silverman ( per-
haps proving himself after all) serving in the capacity of executiveproducer.
6. I include the Emmys because they are perhaps the best-known television award, but
their status as an award that industry workers give themselves makes them questionable in
their partiality. Both the Peabody awards and those given by the Television Critics Associa-
tion have historically honored television shows that exemplify creative excellence and are
free from industry
, we all agree on
the importance of the site.
“we’re all part of the same heritage”
Janet Davies is the host and executiveproducer of 190 North, an enter-
tainment and lifestyle program on ABC TV Chicago. It is a top- rated
178 | Chapter 11
program in its time slot, and Davies has been nominated for forty- nine
regional Emmys and has won a Silver Dome Award from the Illinois
Broadcasters Association. Davies visited us at the Illinois State Museum
as we were pro cessing artifacts at the end of the second field season. The
crew recorded several hours of interviews