It’s fi tting to conclude this section of interviews with Dick Wolf, for in
many ways he is the exception that proves the rule— a writer/producer that
continues to excel with series tele vi sion, despite the signifi cant changes
wrought by the digital distribution revolution. As mentioned earlier, Wolf
is creator and executiveproducer of three Law & Order series that have
proven exceptionally lucrative in the world of network and cable broadcast-
ing, especially in syndication. This has allowed him to establish Wolf
Films, a production and development
All comedy professionals interviewed are listed below. The authors conducted the
interviews by phone or in-person between July and December 2018.
Name Genre Role Major Media Credits
Cristela Alonzo Stand-up,
Lower Classy (Netflix stand-
up special, 2017 —
Cars 3 (animated film, 2017 —
Cristela (ABC sitcom, 2014–15
W. Kamau Bell Stand-up,
United Shades of America
with W. Kamau Bell
Unless otherwise noted, all of these people worked on all of the television
series from Star Trek: The Next Generation to Star Trek: Enterprise.
Thomas (Tom) Arp, construction coordinator and union local coordinator
Rick Berman, executiveproducer
Robert Blackman, costume designer
Brannon Braga, executiveproducer and scriptwriter
Dan Curry, visual-effects producer
Jonathan Frakes, actor and director
Merri Howard, supervising producer
Robert Justman, associate producer, TOS, TNG
Winrich Kolbe, director
Peter Lauritson, supervising producer, postproduction
Harp, Reggie Williams, Robert
Th ompson, Ray Cherry, Verrane Tucker
16mm black and white, 84 mins.
My Brother’s Wedding (1983; director’s cut 2007)
Charles Burnett Productions, Zweites Deutsches Fernsehen (Milestone Film &
ExecutiveProducer: Gaye Shannon-Burnett
Producer: Charles Burnett
Associate Producer: Brigitte Kramer
Supervising Producer: Earl C. Williams Sr.
Director: Charles Burnett
Screenplay: Charles Burnett
Cinematography: Charles Burnett
Editor: Th omas M. Penick
Executive Editor: Charles Burnett (director’s cut by Charles Burnett and Ed
Paris Barclay, Director- Producer 175
Felicia D. Henderson, Writer- Producer 189
Stanton “Larry” Stein, Partner, Liner Law 200
Patric Verrone, Writer- Producer and Former President,
Writers Guild of America, West 209
Dick Wolf, ExecutiveProducer and Creator, Law & Order 221
Appendix: Interview Schedule 235
About the Editors 243
Creativity and Copyright found its way into print because of
Steven Jenkins, development director of the University of
California Press Foundation. Were this a movie, he’d be our
We are grateful for the generous help and tireless efforts
of the University of California Press team—acquisitions
editor Raina Polivka, and her editorial assistants Elena
Bellaart and Madison Wetzell; senior editor Emilia Thiuri;
developmental editor Ann Donahue; and copy editor Jan
Spauschus—in preparing this manuscript for publication
and getting us to
souls who also delight in capturing bits
of light at rest on things of beauty.
My deepest appréciation to :
Mr. Aubrey Schenck, ExecutiveProducer of the Eagle Lion Studios, who placed
the facilities of the entire plant at my disposal.
Mr. Leslie Vaughn and his Still Department.
Mr. Robert Jones and his Electrical Department.
Mr. Harry Strainge and his Grip Department, all of whom were helpful in getting
the necessary industrial illustrations.
Credits : Kodachromes by Ted Weisbarth.
Production stills by George Hommel and Ted Weisbarth
span, and very few produce for the national television networks that can
reach mass audiences. “Here, house productions last very few years,” acknowl-
edged an executiveproducer of Laberinto Producciones in Colombia.26 While his
production company is twenty years old, his assertion underscores the rarity of
its position. In a similar statement, an executiveproducer from Argos Commu-
nication, Mexico, states that most transnational companies looking to produce a
telenovela would have to select from only a few production houses: “Anybody who
pretends to have