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221 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 executive producer 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

Conversations about the Digital Future of Film and Television

211 All comedy professionals interviewed are listed below. The authors conducted the interviews by phone or in-person between July and December 2018. Table C-1 Name Genre Role Major Media Credits Cristela Alonzo Stand-up, scripted comedy Performer, producer Lower Classy (Netflix stand- up special, 2017 — performer) Cars 3 (animated film, 2017 — cast) Cristela (ABC sitcom, 2014–15 — executive producer, creator, cast) W. Kamau Bell Stand-up, satirical news, documentary Stand-up comic, TV host, producer United Shades of America with W. Kamau Bell

193 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, executive producer Robert Blackman, costume designer Brannon Braga, executive producer 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 & Video, 2007) Executive Producer: 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, Executive Producer and Creator, Law & Order 221 Appendix: Interview Schedule 235 Glossary 237 About the Editors 243 Index 245


ix 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 executive producer. 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. J. A. Hollywood xvii My deepest appréciation to : Mr. Aubrey Schenck, Executive Producer 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 executive producer 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 executive producer 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