, New Zealand Film
and Video Technicians Guild. Paraparaumu, 27 June 2004.
Selkirk, Jamie. Coproducer and supervising editor, Rings; editor, Return. Welling-
ton, 7 December 2004.
Simpson, Jenny. Sponsorship manager, Air New Zealand. Auckland, 23 November
Skaggs, Mark. Executiveproducer, “The Lord of the Rings: The Battle for Middle-
earth” (EA Games, 2004). Los Angeles, 1 September 2004.
Stern, Keith. Owner, CompuWeb, Inc.; webmaster, www.mckellen.com. Los An-
geles, 15 June 2005. www.cucare.com.
Taylor, Hayden. Systems manager, Film New Zealand. Wellington, 9
the day of the sneak preview. Th e executiveproducer always calls me
in for the running of the picture’s fi nal cut and I am invited to voice my opinion
for or against proposed changes, and I may make suggestions myself.
Th e actual composing of the music is not begun until the fi nal cut of the pic-
ture is ready. But most of my leading themes and general mood motifs suggest
themselves to me on reading the manuscript. Only when the picture has reached
Some Experiences in Film Music 233
the stage of the fi nal cut can I proceed to compose the exact lengths
, give Mason credit for the music and McLaughlin credit for the
visuals, and send out the new version as a promo film for Mason and his record.
Would Mr. McLaughlin accept another $500 for this simple, quick use of his film?
McLaughlin smiled and debated. His other sleeve was being pulled anxiously by the
managers of the Smothers Bros., who were debuting as executiveproducers on the
Summer Bros. Show and needed as much prestige as new execs as they could
muster. How would McLaughlin like their blowing up GOD IS DOG to 35mm and
having them release it T
since that date received several other Academy Award nomina-
tions for Best Direction, including Lifeboat (1994), Spellbound (1945), and Psycho
During the last ten years, I have been executiveproducer on 273 half-hour and
90 one-hour television fi lms broadcast from coast to coast over the facilities of
Columbia Broadcasting System and National Broadcasting Company; each of
which television fi lms has not only borne my name preceding the title but also a
caricature of my likeness which has become a personal trade-mark.
Since 1948, I have been accorded
Supervisor: Shirley Ulmer (uncredited)
Cast: Rex Ingram (Dr. Gordon), Peggy Howard (Mary), Merritt Smith
(George), Erostine Coles (Minister)
DVD: Grapevine Video
Diagnostic Procedures in Tuberculosis (US 1938) [Motion Picture Service Corpo-
ration, b/w, 13min.]
Director: Edgar Ulmer, Ph.D. [sic]
Cinematography: William Miller
Supervisor: J. Burgi Contner
Yankel der schmid / The Singing Blacksmith: (US 1938) [Collective Film Produc-
ers, b/w, 105 min.]
Director: Edgar G. Ulmer
Screenplay: Ben-Zvi Baratoff, Ossip Dymow, David Pinski
ExecutiveProducer: Roman Rebush
relationship with the SIFF expanded public
understanding of the co-production process. Ang Lee’s actions as a direc-
tor established an important precedent, but David Lee’s essay promoted
the event to the public. Like the Sino-US industry forums, David
Lee’s essay on co-production in China was a marketing tool. David Lee’s
role as a facilitator of Sino-US co-production deals positioned him as a
storyteller both within the fi lmmaking process and about the fi lmmaking
james schamus: screenwriter as comprador
James Schamus, executiveproducer and screenwriter of
doing the looping here and I couldn’t be in London and here, so I had
to not use Bernard Herrmann. I didn’t know who the hell to use then. Noel
Marshall, who’s the executiveproducer on the movie— he’s Bill Blatty’s agent or
manager— suggested Lalo Schifrin and I knew Lalo 15 years ago. I met Lalo when
he fi rst came to this country, when he was Dizzy Gillespie’s pianist, and he was a
The Annotated Friedkin 369
really great guy and I liked him and I knew he had great experience and integrity
as a musician, quite apart from these movie scores that he was