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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

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

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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

essentials of storytelling and that extreme violence, if performed by animated, brightly colored characters, could be fun and educational. After graduating from Rutgers University with a BA in Mass Media & Film, Kurt spent several years as an actor in New York City before earning an MFA from Northern Illinois University in Chicago. In 2001, he landed a gig on FX’s The Shield where he started as a staff writer on the fi rst episode and fi nished the last two seasons as an executive producer. In 2008, Kurt created the critically acclaimed FX drama series Sons of

screenwriting community can get an original script produced and have a chance of earn- ing residuals. As a result, many screenwriters have migrated from fi lm to tele vi sion, drawn by the success of shows with complex narratives and mature themes, shows where writers exercise greater creative authority. Both fi lm and tele vi sion today require that writers and directors envi- sion their material across a range of media, and that they play an active role in the promotional campaigns. Director Paris Barclay, who is also co- executive producer of Sons of Anarchy, claims

not only need each other, but much of the work of managers and of culture creators is cultural and economic at the same time. Indeed, cultural and economic concerns are not necessarily different, but in the context of media work rather must be seen as constituent material practice.3 This chapter, together with chapters 3 and 4, addresses the creative auton- omy of cultural creators within the constituent material practice of making Star Trek television. Did particular individuals—executive producer Rick Berman, production designer Herman Zimmerman

bankrupt? Aylesworth had nothing to do with the hiring of David O. Selznick, who replaced William LeBaron at the Gower Street studio. Sarnoff made this brilliant decision, which quickly led to better pictures and the beginnings of a formidable stock company, featuring Katharine Hepburn, Fred Astaire, and others. But then David Sarnoff negated his master stroke, backing Aylesworth’s successful effort to get rid of Selznick after he had been RKO’s executive producer for only a year and a half. Before the end of the decade, Selznick would make Gone with the Wind and

vice president in charge of the stu- dio, but this did not mean he intended to make crucial production decisions for long. The leaders of the “new RKO” promised to bring a top executive producer on board quickly. Among the possibilities mentioned were Sol Siegel, Pandro Berman, William Perlberg, William Dozier, and, of course, Jerry Wald. Rumors abounded concerning the future of the organization. To quell the most dramatic one—that the new order planned to sell off the library of RKO movies to television and liquidate the studio—the reconstituted board issued