), 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
directors, and actors cut their teeth on B pictures before graduating to the
big leagues. B pictures also provided a reliable source of income to the
company. Leased to theaters for a fl at fee, most brought in a small profi t.
In the mid- 1930s, RKO management determined that superintending
a full slate of feature releases was too demanding for one individual. After
that, the studio added an executiveproducer for B fi lms who worked closely
with the production chief but freed him to concentrate on the A pictures.
Both men had considerable resources at
are two adjacent bedrooms, Joyce’s andMartin’s. In one Joyce spreads
out her negligee on a bed. In another Martin sits on his bed and pon-
ders. We’re shown the light under the door of Joyce’s room, and left to
fill in the blanks. John Ford may have feared that showing more would
subject his film to cutting by the censors, even in this supposedly per-
missive pre-Code era. It is also possible that cuts were made at the last
minute, without the director’s consent.20
Produced by Samuel Goldwyn, with Arthur Hornblow Jr. as the un-
Hitchcock on a sketch pad.
Coda: Guilty by Omission
GUILTY BY SUSPICION started out as a film to be produced by Winkler,
scripted by Abraham Polonsky, and directed by Bertrand Tavernier. Tavernier
dropped out when the decision was made to set the story in the United States
rather than France; Polonsky, who remained a major source of information
about the blacklist, eventually dropped out as well when he saw the approach
Winkler was taking, and even refused an executiveproducer credit that would
have paid him a handsome fee. Polonsky's hero, like Berry, was an
inhabitants, referring to
them merely as "non-Jews." From more recent times, a few examples
suffice to demonstrate how the frame of reference functions to withhold
• In the mid-1980s, the executiveproducer of the ABC television program
Nightline acknowledged to an interviewer that the Arab point of view
was underrepresented in comparison with the Israeli viewpoint because,
he said, there was a dearth of "credible Arab guests" who were as inter-
esting from a programming standpoint as Israel's spokespeople. Other
television programs and networks similarly
motion picture soundtrack Verve Forecast, 2005.
23. Th e Great Gatsby: Music fr om Baz Luhrmann’s Film, soundtrack,
executiveproducer Jay-Z with over a dozen primary artist credits (e.g.,
Beyoncé, Fergie, Q-Tip), Interscope, 2013.
24. Koji Kondo, Super Mario Bros. Th eme (“Ground Th eme”), Nintendo,
3.34 Aft er the complete citation has been given once, a frequently cited
source may be abbreviated. Use this system in preference to the
abbreviations op. cit. and loc. cit.
16. Schumann–Brahms Briefe 1:69.
17. Kalbeck, Brahms 1:198.
within the production team.
We did talk to actor Marina Sirtis and producers Wendy Neuss and Merri
Howard, but we were unable to interview designer Louise Dorton thanks to
a last-minute opportunity for us to meet with executiveproducer Rick
Berman, whom everyone had told us we simply must talk to. We talked to
many of the production staff then currently involved in making Enterprise,
but we were unable to interview any of the actors. Because production had
ceased, and they were not involved in filming, the Voyager and DS9 actors
Introduction / 13
two- season commit-
ment for House of Cards. Nobody else would do that, and they all thought
Ted Sarandos, Netfl ix / 143
we were nuts when we did. But I feel much better spending what we did
knowing that I’m going to end up with twenty- six hours of content that at
worst is going to be mediocre, and I highly doubt David Fincher would cre-
ate a mediocre product. So that was the bet. That’s as far as I wanted to bet
creatively. It had the stars attached. It had scripts written. It had a showrun-
ner. It had a bible. It had executiveproducers with great
Can. “I would
take that article as gospel truth,” Jack Boucher said.62
John Boucher was gruff and tough, but he also acted as an informal
adviser to young reporters at the Press. Among them was Jon Katz, who
in 1968 was at the outset of a career that took him to the Philadelphia
Inquirer and Boston Globe, and to the CBS Morning News as executiveproducer. After leaving daily journalism, Katz became a media critic
and commentator on digital media, as well as a prolifi c writer of mys-
teries and nonfi ction.
Katz’s fi rst reporting job was at the Atlantic City