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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

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 executive producer, 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. I detested

Argos Films (Paris), Oshima Productions FILMOGRAPHY 281 (Tokyo). Executive Producer: Wakamatsu Koji. Script: Oshima Nagisa. Light- ing: Okamoto Kenichi. Cinematography: Ito Hideo (35 mm, Scope, color). Music: Minori Miki and traditional songs sung by Nippon Ongaku Shudan group. Sets and Costumes: Todajusho. Editing: Uraoka Keiichi. Sound: Ya- sudaTetsuo. 104 mm. Cast: Matsuda Eiko (Sada Abe), Fuji Tatsuya (Kichi-zo), Nakajima Aoi (Toku, wife of Kichi), Taiji Tonoyama (beggar), Kobayashi Ranae (old geisha), Seri Meika (servant), Kokonoe Kyoji (professor), Koyama

, and to develop and market the products of its creative genius pro- vided an economic base that allowed it to become a largely self- supporting institution. 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 executive producer. Earlier, Cooney received an offer of help from Michael Dann, at the time the programming chief of CBS- TV. "You'll need an executive producer," 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-executive producer, 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 reality. 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, executive producer, 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 executive producer 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 knowledge. • In the mid-1980s, the executive producer 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- 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

. "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