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the organizers of the series was publicist Jim Eigo, who had been a devotee of loft concerts in the 1970s and obses- sively collected fl yers and ephemera.23 In the years that followed, Eigo would also be involved in two CD releases that paid further tribute to the loft s. In 1999, he produced the fi rst reissue of the classic Wildfl owers recordings, documenting the Studio Rivbea Summer Festival in 1976. Th e following year, he served as executive producer of a box set of recordings made in the 1950s–60s loft of painter David X. Young.24 Th e trend of using

movement in 1933, saying later that surrealism “was successful in its details and a failure in its essentials.”25 Buñuel feared that some members of the group who had chosen to seek publicity and celebrity (Eluard, Breton, Dalí) were in fact betraying surrealist principles. They had suc- cumbed to “the total separation of life from art”; rather, they were doing “art for art’s sake,” ignoring the political principles that had originally gov- erned their philosophy.26 Buñuel was recruited in 1935 by the company Filmófono as executive producer for several musical comedies

Cliff Work began to produce more pop u lar pictures. From 1939 on, Universal became a solid if unspectacular profi t center. Under Aylesworth, RKO undertook a careful assessment of its theater operations, but Merian Cooper did not, as expected, implement unit- independent production at the studio. Louis B. Mayer of MGM adopted this model following the illness of his renowned executive producer Ir- ving Thalberg in 1932 and the arrival of David Selznick on the lot in 1933. But Cooper evidently decided he could carry the load, and Kahane an- nounced that the 1933

that he somehow be involved with the second film, so he and George Lucas share presentation credits. George also allowed us to use, at cost, the facilities at Sprockets, his post- production facility, for the mix, which was invaluable; and he and Fran- cis will serve as presenters for Naqoyqatsi. George is acting as our co- executive producer, helping us put together the package for the new film. If I call someone, that's one thing. If Francis Coppola or George Lucas does, it's quite a different thing, and I'm very fortunate to have their patronage. It was

Mousing, no falsifi ed transcripts, no under-the-table payments.”38 Th e combustible semiretiree’s vitriol found an even larger platform when he published an excerpt of I Never Played the Game, his third memoir that he coauthored with SportsBeat staff er Peter Bonventre, in TV Guide’s September 1985 issue. Th e book savaged his ABC colleagues, including Arledge, whom he cast as a power-hungry narcissist. “He takes the title of executive producer of telecasts he has little or nothing to do with,” Cosell charged. “Th e more people Arledge controls, the better he

never panned out—despite Ulmer’s having prepared three scripts— within weeks of arriving in New York, Ulmer was back in Europe on what was initially thought to be a short trip with Kaufman, scouting Independence Days | 237 locations and discussing other television ideas. Yet instead of limiting himself to the collaboration with Kaufman, which eventually petered out, he found additional employment at Munich-based Eichberg- Film, a company run by executive producer Carol Hellman, brother of Marcel, where he was hired on a one-year contract as head of produc

cable television during Holy Week. Killing Jesus attracted 3.8 million viewers with its first airing on Palm Sunday in 2015 alone, and it was even nominated for Primetime Emmy and Critics’ Choice awards in that same year. Thanks to the National Geographic branding and a historical narration at its conclusion, the movie appears to its viewers as a legitimate scientific inquiry into the history of Jesus. Christopher Menaul served as the movie’s director, with Scott and O’Reilly acting as executive producers. In his “Behind the Scenes” remarks on costumes, Menaul

. "Did they tell you double or triple time?" asks the executive producer. " D o you have the clap down?" another assistant producer asks. We demonstrate. We are starting to enjoy the clapping, silly as it is. She repeats how important our energy is. If we're good, she tells us, we might win a prize. This woman stands next to us for most of the taping, showing us with her hands when to clap, saying things like " just clap first, then cheer when Rose Marie comes on." A male producer comes over and says, "You're not watching a show, okay, this is a work- out

S T O PA G E S 1 9 3 – 1 9 4 / 2 9 5 4. This is true of Pokémon in its cartoon iteration, where Pikachu is Satoshi’s main monster. In the game version, however, Pikachu is only one of 151 poké- mon, and a player’s attention is far more decentralized away from any particu- lar pokémon. I address the issue of Pikachu at greater length later in the chap- ter. 5. Of course, the names do sound Japanese, though none is an actual place in Japan. 6. This figure was given me by Kubo Masakazu, executive producer in the character business planning section of Shōgakukan

, and the editor builds the movie. Then when it’s time to show the finished piece to the executive producers, the producer walks into the room—slamming the door in the editor’s face—and takes credit for being a genius. Editors don’t get the credit they deserve. MacDonald: The overall structure of The Same River Twice is similar to the structure of The Tourist. The material that you’d collected as a freelancer has no way to develop in The Tourist; it’s a part of your past that’s not de- veloping now. For that film to work, you had to find a story—the story of the