Search Results

You are looking at 71 - 80 of 171 items :

  • "executive producers" x
Clear All

), 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 executive producer. 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

in NBC

, we all agree on the importance of the site. “we’re all part of the same heritage” Janet Davies is the host and executive producer 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

writers, 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 executive producer 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- credited executive producer

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 executive producer 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 knowledge. • In the mid-1980s, the executive producer 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, executive producer 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, 1985. Short Titles 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. citations and

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 executive producer 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 were

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 executive producers 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 executive producer. 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