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
return to RKO to tell me I was wanted.
When I refused to make I Married a Communist,48 he didn't fire me.
Mitchum told me that a guy out of the DA's office had told him in a
drunken moment that my office, my house, my car, my everything
had been bugged to the teeth, and that Howard Hughes had learned
about it, and had called his executiveproducer, Sid Rogell, and said
he wanted all the bugs and harassment taken off Nick Ray: " I don't
want that boy hurt." And he asked nothing in return.
And that was the end of the story of I Married a Communist.
and to develop and market the products of its creative genius pro-
vided an economic base that allowed it to become a largely self-
Joan Cooney likes to say luck played an important part in the
Workshop's ultimate success. But luck was a marginal factor in her
choice of David D. Connell for the critical role of the project's
executiveproducer. Earlier, Cooney received an offer of help
from Michael Dann, at the time the programming chief of CBS-
TV. "You'll need an executiveproducer," he told her. "Let me
help you find one." Dann
metaphors—dialed into New York, we appointed him gen-
eral manager of Channel 13. He immediately placed Jack Willis,
The Great American Dream Machine's co-executiveproducer, in
charge of public-affairs programming, and Robert Kotlowitz, the
recently resigned managing editor of Harper's, in charge of cul-
tural programming. With a team in place, and Ford's $2 million
in hand, the way was open to turn our collective vision into visual
The new team benefited from an early start that Christopher
(Kit) Lucas had made before he was replaced as program director
. "The Sentiment of Honour in Kabyle Society." In Honour and
Shame: The Values of Mediterranean Society, edited by Jean G. Peristiany,
19 1 -242 . Chicago: University of Chicago Press, 1966.
Bragg, Melvyn, editor and presenter. "Lean and Bolt." The South Bank Show.
London Weekend Television. Production. David Thomas, producer and di-
rector. Nigel Wattis, executiveproducer, 1990.
. "Peter O'Toole." The South Bank Show. London Weekend Television
Production. Frances Dickenson, producer and director. Nigel Wattis, execu-
tive producer, 1992.
Brownlow, Kevin. David
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 executiveproducer 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
• In the mid-1980s, the executiveproducer 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
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-
executiveproducer, 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
. "Did they tell you double or triple time?" asks the
executiveproducer. " 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-