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fredalan · 3 years

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"Greetings from Gilbert” on Cinemax.

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"Greetings from Gilbert" on Vimeo.

{Shortly after we posted about our Gilbert Gottfried comedy special came the sad news that Gilbert has passed away.}

Cinemax presents “Greetings from Gilbert” aka “Gilbert Gottfried...Naturally”

Thanks to Barbara Kanowitz, Gilbert Gottfried, the comic's comic, became MTV's first comedy star. It might not have propelled him as far as Jim Turner as "Randy of the Redwoods" by John Payson or Dennis Leary's iconic spots from Ted Demme, then again MTV wasn't as big in 1986. But, it did get Gilbert his first TV special.

Fred/Alan started life as a production company for TV shows. We’d never made a show, but we wanted to. After our decision to leave MTV we partnered with producer Buzz Potamkin to come up with a show for the Playboy Channel. Things went south with them after the third episode and we left. The good news is that we got ourselves agents. That’s the ticket, they’ll help us sell our shows.

Well, not really. The good news is they introduced us to Stu Smiley, another young’un who was trying to get things going. Eventually he became a comedy exec at Showtime, then at HBO, then he scored big. But in the meantime, we pitched him shows.

“Make it funnier!” he’d write on our scripts.

And then, one day, Stu gave us our big break. When we finally came up with the right talent, the right idea and the right director, Stu was there for us.

Fred Seibert: After ... ahem... interesting experiences creating a music video show for The Playboy Channel and producing the second Farm Aid concert for VH1, Cinemax's "Greetings for Gilbert" –our first real TV show production– put Fred/Alan, and our soon to be production partner Albie Hecht, on track.

The initial vision Alan and I had for the company was that we’d make TV shows. I was thinking about TV movies because we could own them. But Alan and I didn’t really have the heart for those, so comedies (and TV branding, to pay our bills) became our focus.

In 1986, MTV was in its first moment of maturing success (of course, I guess your age would determine whether you’d agree), with all music videos all the time. The promotion department that I’d started was being run by the expansively creative Judy McGrath who'd put together an incredible team that continually found new ways to express the rebellious, outsider spirit that was rock’n’roll. and, it was in the 80s that comedians and rockers really sealed their alliance that had always been there, but really blossomed during this first national cable TV era.

Writer/producer/director Barbara Kanowitz was one of MTV’s best. And Barbara’s the one who made Gilbert Gottfried famous.

One day, seemingly out of nowhere, an obvious New Yorker, a comedian in a blue tuxedo jacket, burst onto the screen at MTV, in a dozen or so short films. They were hilarious, for sure. But, from my perspective, as the architect of MTV’s “branding” strategy –aka, how to make the “M” famous– Gilbert Gottfried’s riffs weren’t only hilarious, they were on message. The promos banged our branding “promises” into your head without seeming like they were actually messages.

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And Barbara’s directing and editing... the spots were gorgeous.

Barbara Kanowitz: I don’t really remember much about the origination of the spots, Gilbert didn’t have much of a following at that point. I do remember his William Morris agent selling him pretty hard.

I did know that Gilbert would be wearing his infamous blue tuxedo jacket and thought that it would pop against the white cyc (or maybe the white cyc was all we had the budget for – honestly, I don’t remember). Each spot had a marketing message that Gilbert was to espouse on. I asked him to speak to each marketing point the same way in different angles and locations with a locked camera so that we could pop him around the frame in post. Of course, Gilbert never repeated anything more than once, he just went off on tangents – which of course was the beauty of him and those spots.

I worked with Gilbert recently and it was nice to see him, he’s still as funny as ever.

Fred: We saw those spots, and like everyone watching MTV we fell in love with Gilbert. Maybe this would get Fred/Alan into the TV specials business!

Our friend Stu Smiley was a top comedy at HBO/Cinemax, which was then the top TV comedy venue, and he'd had been generous to us in many ways, trying to help us get something going. Without Stu, who knows where we would have been?

Alan Goodman: I always remember all the stuff around the show.

I went to see Gilbert almost nightly in the month leading up to the taping, at Catch a Rising Star or The Improv, to become super familiar with his set and talk about what to use. I never in my life saw a comic blow so hot and so cold. The very first time we saw him was at Caroline's original club on 9th Avenue in the 20s I think. I remember we went with Tommy Schlamme and his wife, and she was gushing after it was over. From his "thank you.. thank you.. no stop! stop!" that started the show until he left the stage, the laughter never stopped for a second. Continuous, deafening laughter. Other times, there'd be crickets.

He got into the habit of coming to the office in the afternoon, and planting himself in my office until it was time to go out. He'd sit there all afternoon telling me jokes. Gilbert doesn't much tell jokes in his act, but he knows a trillion jokes and he would just go non-stop. One day he was telling me how much he dislikes Seinfeld, who was just another guy in the clubs back then. He started imitating Seinfeld, but without the jokes. "Did you ever wonder why a pencil has an eraser only on one end, and not the other? What's up with that?" Again, he wouldn't stop and his impression was spot on. That night at Catch, he couldn't get one laugh. Not one. It was a terrible crowd. Out of nowhere, unannounced and unexplained, he just started doing his joke-less Seinfeld. For me. Because he knew at least one person would be laughing.

When we had wrapped, he continued to come to the office for a few weeks, to sit in my room because he had nothing else to do all day. Eventually I had to tell him I had moved on to other projects. I remember he never stopped by without leaving with a couple of pens, a pad of paper, whatever he could carry out of there.

The reason behind the baby blue dinner jacket is that he had established something of a presence in the fabulous rants Barbara Kanowitz Small had developed with him for MTV. That was his wardrobe for those spots and we wanted to piggyback on the recognition.

I also remember a couple days before the shoot Tommy was very ill. There was some talk that I would have to direct. Thank goodness he recovered, because I would really have fucked this up.

I found a video tape of this show, credited to FRED/ALLEN Inc, on HBO Video in a bargain bin years later, paired on the same tape with his "Norman's Corner" produced by our pals Peter Rosenthal and Steve Oakes, written by an equally unknown Larry David. I have it still shrink-wrapped with the price sticker, $2.95.

This was also the show when I learned that, if the network tells you "We don't pay a lot of money for these comedy experiments, but we leave you alone, you don't get a lot of notes," it means you won't get much money, and you will still get a thousand notes.

I wonder what happened to the LP we made from the special that QMI Music was going to release? Gilbert and I traveled down to Memphis together for the launch party of QMI, and as we were walking through the airport he looked around at the distinctively Southern Christian inhabitants. "Somewhere in this airport is a digital counter," he said, "and when you and I got off the plane it clicked up to three. When we go back to New York, it'll go back down to one."

Albie Hecht: Wowser! - (You know, Gilbert will probably ask us for additional payment!)

"Best set I never built!"

I walked into American Place Theatre and they had a Sam Shepard play which had an amazing Airstream trailer in a desert and I said I’ll take it!" - made the deal to keep it for our show.

"We're always working with first timers!"

Tommy Schlamme who was an amazing film director had rarely done multi-camera shows so of course we chose him to direct since we knew he had great comedic timing and creative pov. Which was true and made this show so successful but when we began shooting and he starting calling the cameras and called for camera 2 - there was dead silence in the truck - and then the TD said "We're on 2 " - without a losing a beat Schlamme says " and stay on 2 -, its a beautiful shot " and for then on he was perfect.

"Working with the unpredictable!"

Gilbert was and is a unique and special talent. When he walked out of the trailer at the top of the show and immediately went to his water pitcher and says "I’m having a glass of water," the audience broke into big laughs and we thought - we're home free - But then he kept repeating it "I’m having a glass of water " - After the third time, i looked at Alan in the truck and said "we're F-ed" - but Al was cool and said "wait for it" and after Gilbert repeating it another 3 times, the audience started roaring and that actually went on for 10 minutes.

Not all of it made the final cut but a big moment ( and learning moment ) !!!

Alan: A story I have told many times is about our ACE Award for the special.

Yes, the Airstream was already there, and it's a small detail but we couldn't move it because we shot during a two-day hiatus of a play that was in theater. The play was coming back, and we were told we couldn't move it. Instead, we built around it. And thanks to the pre-existing Airstream (and some additional dressing by Bob and Jimmy), we got our first ACE Award... for set design!

Fred: “Greetings from Gilbert” was a eureka! moment for us. Alan, Albie and I started to think it was more than a dream. We actually had a future in this business! We started Chauncey Street Productions as our label for the shows we would go on to produce.

Ah, show business!

.....

For some reason the credits for “Greetings from Gilbert” didn’t make it into IMDB. (Yet. We’re fixing that now.) So, for history, here’s the team that got this thing done. Thanks all!

Cinemax presents “Greetings from Gilbert”

Starring Gilbert Gottfried Directed by Thomas Schlamme

Executive Producers: Alan Goodman & Fred Seibert Producer: Albie Hecht

Associate Producer: Jeffrey Alan Beer

Production design: Robert Small Lighting designer: Randy Nordstrom

Art director: David George for RSE Set supervisor: Jim Burns

Camera operators: Manny Gutierrez Juan Barrera John Feher Jim Scurti For The Camera Group

Technical director: John Fortenberry Assistant director: Jeffrey Alan Beer Stage manager: Juli Pari Production coordinator: Rie Koko Post production supervisor: M.B. Hagner

Audio: Randy Ezratty for Effanel Music Show open camera operator: John Hazard Show open audio: Larry Nelson

Make-up: Fran Kolar Wardrobe: Julie Anderson

Still photographer: Elena Seibert

Stagehands: Richie Tattersall Eddie Giffenkranz Chris Fedigan Michael Yoscary Alan Stieb

Videotape editor: John Fortenberry Graphic artist: Sharon Haskel

Audio post production: Ken Hahn/Sync Sound

Fred/Alan Production Manager: Steve Shepard Assistant to the producers: Daria McLean Jessica Wolf

Production assistants: Emily Wolfe Chris Stand Kew Yao Agyapon Hyra Goldberg Jeffrey Dinces

Production interns: Nick Avrameas Jeff Samet Maria Tecson Wendy Loeser Janet Gutyan

Video Remote Facilities: Rebo Associates Lighting Equipment: See-Factor Video post production: Broadway Video

American Place Theatre: Joanna Vedders Alfred Miller Bob Katz

House audio: Peggy Freitag Trailer design: Chris Barreca

Special Thanks: Lucy Aceto Wm. Morris Agency Scott Blakeman Billy McDonough IA Local One Caroline Hirsch Campbell McLaren Peggy Reed Michael Dugan Barbara Kanowitz Judith Mcgrath

Management: Ellis/Simone Management

Live Show Produced in Association with Caroline’s

A PRODUCTION OF FRED/ALAN INC. & SCHLAMME PROD. INC.

A Cinemax Presentation

#Gilbert Gottfried #Cinemax #HBO #Albie Hecht #Alan Goodman #Fred Seibert #Thomas Schlamme #1986 #Chauncey Street

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ropermike · 3 years

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Richard Crane and Ted Hecht in Rocky Jones, Space Ranger - "Pirates of Prah: Chapter III". More pics here.

Rocky is knocked out and tied up, but manages to escape and goes about rounding up the bad guys. This episode was also compiled into a movie called "Manhunt in Space".

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fredfilmsblog · 4 years

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Best of Original Cartoons: Oh Yeah! Cartoons [1998-2002]

"Original Cartoons since 1998" seemed to me like a cheeky, tiny joke to throw onto the first season crew party poster for my first series as an indie producer*. And before you know it, here we are in 2020.

Hanna-Barbera Cartoons, the studio I ran, was sold by its owner, Turner Broadcasting, to (now) WarnerMedia, and while I loved working for Scott Sassa and Ted Turner, I didn’t see a great future for myself inside the new behemoth. After a little wrangling, I quit H&B and started Frederator with an exclusive deal at MTV Networks to consult with the programming management and to produce cartoons for Nickelodeon.

My first project was a second big idea cartoon incubator in the mold of What A Cartoon! Nickelodeon had an early lead in changing the way cartoons for kids were made with Nicktoons (where my earlier consulting life had a small role in fomenting), but CEO Herb Scannell and production president Albie Hecht realized the network still had a ways to go with impacting the creative community and welcomed my approach which would expand their reach tremendously. It’s because of Herb and Albie (and CEOs Tom Freston and Judy McGrath) and their faith in what I could do for the company that my career as a producer really took off. Thanks folks!

Oh Yeah! Cartoons would eventually encompass 33 unique and talented creators and 57 original shorts over three seasons. The series would be structured around the original shorts and eventually 36 sequel shorts around selected creators and characters. Many of the creators (Butch Hartman, Bill Burnett, Larry Huber, Rob Renzetti, Pat Ventura, Zac Moncrief, Miles Thompson, John Eng) had worked with me over at Hanna-Barbera, and others came in on their own energy or were recommended by friends.

Most of the creators were making their first solo commercial cartoons ever, and Butch, Larry, Bill and Rob made their first series with the spin offs of their OY! shorts. Big score for them, their careers, and the crews of their shows. Virtually all of the OY! creators went on to senior creative roles at Nickelodeon and the other studios in Hollywood. That might be my most lasting creative legacy, completely aside from the cartoons themselves.

A few specific notes.

Larry Huber had been the supervising producer for What A Cartoon! and was my co-executive producer on Oh Yeah! He’s continued to be an indispensable trusted co-worker on all of of my shorts projects and not a few of our series.

Larry and Bill Burnett –a New York co-worker of mine in advertising before coming to Hanna-Barbera as a writer– went on to create the shorts and series for ChalkZone.

Butch Hartman created quite a few What A Cartoon! shorts but hit the jackpot with The Fairly OddParents from Oh Yeah! Completely aside from the other originals and directing he did on other OY! cartoons.

Rob Renzetti made six stellar originals for Oh Yeah! and his My Life as a Teenage Robot series still gets fan art and letters today.

One of the Oh Yeah! shorts that never got much attention was the adaptation of legendary Harvey Kurtzman’s comic strip Hey Look!, a series of one-page comic book fillers produced between 1946 and 1949 for Timely Comics. Harvey was the first editor of MAD, and created Little Annie Fanny for Playboy. For a quick minute I was the last owner of Kitchen Sink Press, a legendary comix imprint that was renowned for, among other things, reprinting classics. And Harvey was one of publisher Denis Kitchen’s favorites. I asked Vincent Waller, late of Ren and Stimpy, later a key player on SpongeBob SquarePants, to take a stab. He did an amazing job.

Seth MacFarlane got signed to do Family Guy pretty much the same week he handed in his Zoomates pitch. His roommate and creative partner Butch Hartman designed and produced the short while Seth went on to become Seth MacFarlane.

Still (almost completely missing)? Women and Black American creators. Wife and husband, Michelle and Eric Bryan, created the wonderful Skippy Spankerton, but that was still meager out of the 100 shorts I’d produced by 2002 (things would ramp up a lot five years later). Byron Vaughs represented African-American creators, but that would not increase almost at all over the years. A big big miss on my part.

Oh Yeah! Cartoons, my 2nd short cartoon incubator, started me off as an independent producer of cartoons 22 years ago. It’s been an amazing ride, with the honor of working with some of the greatest talents in modern animation.

BTW, here’s an article written at the time of the 1998 series debut on Nickelodeon, written by entertainment reporter Jefferson Graham, originally posted at USA Today.

.....

* Über producer/entrepreneur Norman Lear once said (in paraphrase) “There’s no such thing as an ‘independent’ producer, we’re all dependent producers.” Meaning that if we’re making a show/movie for a major platform, we producers need their money, which means we have to listen to their needs too, not just our own or our creator’s. Norman is right.

#Best of Original Cartoons #Oh Yeah! Cartoons #shorts incubators #Nickelodeon #1998 #1999 #2000 #2001 #2002 #shorts

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april-is · 5 years

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April 2, 2019: Dorothy Wordsworth, Jennifer Chang

Dorothy Wordsworth Jennifer Chang

The daffodils can go fuck themselves. I’m tired of their crowds, yellow rantings about the spastic sun that shines and shines and shines. How are they any different

from me? I, too, have a big messy head on a fragile stalk. I spin with the wind. I flower and don’t apologize. There’s nothing funny about good weather. Oh, spring again,

the critics nod. They know the old joy, that wakeful quotidian, the dark plot of future growing things, each one labeled Narcissus nobilis or Jennifer Chang.

If I died falling from a helicopter, then this would be an important poem. Then the ex-boyfriends would swim to shore declaiming their knowledge of my bulbous

youth. O, Flower, one said, why aren’t you meat? But I won’t be another bashful shank. The tulips have their nervous joie-de-vivre, the lilacs their taunt. Fractious petals, stop

interrupting me with your boring beauty. All the boys are in the field gnawing raw bones of ambition and calling it ardor. Who the hell are they? This is a poem about war.

Also: The Dover Bitch, Anthony Hecht // Tantalus in May, Reginald Shepherd

On this day in… 2018: A Small Needful Fact, Ross Gay 2017: What We Need, David Budbill 2016: Husky Boys’ Dickies, Jill McDonough 2015: Why Some Girls Love Horses, Paisley Rekdal 2014: The Fox, Faith Shearin 2013: You Can’t Have It All, Barbara Ras 2012: Road Trip, Kurt Brown 2011: Onset, Kim Addonizio 2010: February, Margaret Atwood 2009: Domestic, Carl Phillips 2008: A Birthday, W.S. Merwin 2007: Words for Love, Ted Berrigan 2006: At the Trial of Hamlet, Chicago, 1994, Sherman Alexie 2005: The Waking, Theodore Roethke

#jennifer chang #spring #re: wordsworth #response poems

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byneddiedingo · 2 years

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Farley Granger and Robert Walker in Strangers on a Train (Alfred Hitchcock, 1951)

Cast: Farley Granger, Ruth Roman, Robert Walker, Leo G. Carroll, Patricia Hitchcock, Kasey Rogers, Marion Lorne, Jonathan Hale, Howard St. John, John Brown, Norma Varden, Robert Gist. Screenplay: Raymond Chandler, Czenzi Ormonde, Whitfield Cook, based on a novel by Patricia Highsmith. Cinematography: Robert Burks. Art direction: Ted Haworth. Film editing: William H. Ziegler. Music: Dimitri Tiomkin.

Strangers on a Train and North by Northwest (1959) are the best of Alfred Hitchcock's "wrong man" thrillers, in which the protagonist is suspected of a crime he didn't commit and spends most of the film trying to prove his innocence. They have something else in common: Both involve seduction scenes that take place on a train, except that in the latter film the seduction, of Roger Thornhill (Cary Grant) by Eve Kendall (Eva Marie Saint), is conventionally heterosexual. It's the gay subtext that marks Strangers on a Train from the very beginning, when we watch the feet of Guy Haines (Farley Granger) and Bruno Antony (Robert Walker) as they board the train and eventually bump up against each other in the club car. It's Bruno's flamboyance, especially the gleaming white of his brown-and-white spectator shoes, that we notice first, before we see his lobster-patterned tie and the gold tie clasp that proclaims his name. Even the straightest viewer gets it: Bruno is cruising. And he lights upon the handsome athlete, Guy. Bruno is blatant, and he's more than a bit obnoxious, as he invades Guy's space and continues to talk after Guy has signaled that he'd be happy to be left alone with his book. Yet somehow Guy, who on the surface of it seems the kind of man who would brush Bruno aside swiftly, lets himself be talked into having lunch in Bruno's compartment. Only when Bruno makes his shocking tit-for-tat murder proposal does Guy make his exit. I think that Hitchcock is suggesting that Guy is at least intrigued by the possibility of hooking up with another man. Guy's sexuality is brought into question by his marriage to the promiscuous Miriam (Kasey Rogers, then billed as Laura Elliott) and by the obvious motive of political ambition that has led him to the daughter of a senator, Anne Morton (Ruth Roman), who looks older than he does. (Roman was, in fact, three years older than Granger.) Hitchcock goes about as far as he can under the Production Code in making his characters gay, but even this little helps heighten the paranoia that's haunting Guy. It was 1951, after all, when homosexuality was still considered "deviance" and ferreting it out became an obsession of the FBI and other watchdog groups. That said, Strangers on a Train works even if you prefer to ignore subtext and see Guy and Bruno as a conventional hero and villain. Walker's performance is one of the best in any Hitchcock film, and his failure to be nominated for it by the Academy remains a marked injustice. Strangers received only one nomination, a deserved one: for Robert Burks's cinematography, the first of 12 collaborations with Hitchcock. Also overlooked were editor William H. Ziegler and special effects creator Hans F. Koenekamp, who gave us one of the most exciting scenes in the movies: the runaway merry-go-round. Hitchcock was deservedly proud of the film, having fought with his first choice as screenwriter, Raymond Chandler, who retained credit after he was fired and the script was rewritten, under Hitchcock's guidance, by Czenzi Ormonde and the uncredited Ben Hecht and Alma Reville, who followed an initial adaptation by Whitfield Cook of Patricia Highsmith's novel. Roman's casting is the film's major weakness: The studio forced Hitchcock to cast her, and he made no attempt to turn her into a real actress. She quickly exhausts her limited supply of anxious looks, practically the only ones the screenplay gives her; perhaps only the fear of getting lipstick on her teeth kept her from actually biting her lip. But the film launched what some think was Hitchcock's greatest decade, culminating in the amazing trifecta of Vertigo (1958), North by Northwest, and Psycho (1960).

#Strangers on a Train #Alfred Hitchcock #Farley Granger #Robert Walker

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snarkyoracle · 5 years

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Best Drama *WINNER “Game of Thrones” (HBO) “Better Call Saul” (AMC) “Bodyguard” (Netflix) “Killing Eve” (AMC/BBC America) “Ozark” (Netflix) “Pose” (FX) “Succession” (HBO) “This Is Us” (NBC)

Lead Actress, Drama *WINNER Jodie Comer, “Killing Eve” Emilia Clarke, “Game of Thrones” Viola Davis, “How To Get Away With Murder” Laura Linney, “Ozark” Mandy Moore, “This Is Us” Sandra Oh, “Killing Eve” Robin Wright, “House of Cards”

Directing for a Drama Series *WINNER Jason Bateman, “Ozark” Lisa Brühlmann, “Killing Eve” David Benioff and D.B. Weiss, “Game of Thrones” (“The Iron Throne”) Adam McKay, “Succession” David Nutter, “Game of Thrones”(The Last of the Starks”) Daina Reid, “The Handmaid’s Tale” Miguel Sapochnik, “Game of Thrones” (“The Long Night”)

Lead Actor, Drama *WINNER Billy Porter, “Pose” Jason Bateman, “Ozark” Sterling K. Brown, “This Is Us” Kit Harington, “Game of Thrones” Bob Odenkirk, “Better Call Saul” Milo Ventimiglia, “This Is Us”

Supporting Actress, Drama *WINNER Julia Garner, “Ozark” Gwendoline Christie, “Game of Thrones” Lena Headey, “Game of Thrones” Fiona Shaw, “Killing Eve” Sophie Turner, “Game of Thrones” Maisie Williams, “Game of Thrones”

Writing for a Drama Series *WINNER Jesse Armstrong, “Succession” David Benioff and D.B. Weiss, “Game of Thrones” Emerald Fennell, “Killing Eve” Peter Gould and Thomas Schnauz, “Better Call Saul” Jed Mercurio, “Bodyguard” Bruce Miller and Kira Snyder, “The Handmaid’s Tale”

Supporting Actor, Drama *WINNER Peter Dinklage, “Game of Thrones” Alfie Allen, “Game Of Thrones” Jonathan Banks, “Better Call Saul” Nikolaj Coster-Waldau, “Game of Thrones” Giancarlo Esposito, “Better Call Saul” Michael Kelly, “House of Cards” Chris Sullivan, “This Is Us”

Variety Talk Series *WINNER “Last Week Tonight With John Oliver” (HBO) “The Daily Show with Trevor Noah” (Comedy Central) “Full Frontal With Samantha Bee” (TBS) “Jimmy Kimmel Live!” (ABC) “Late Late Show with James Corden” (CBS) “Late Show with Stephen Colbert” (CBS)

Director for a Variety Series *WINNER Don Roy King, “Saturday Night Live” Alex Buono and Rhys Thomas, “Documentary Now!” Derek Waters, “Drunk History” Paul Pennolino, “Last Week Tonight With John Oliver” Jim Hoskinson, “The Late Show With Stephen Colbert” Sacha Baron Cohen, Nathan Fielder, Daniel Gray Longino and Dan Mazer, “Who Is America?”

Variety Sketch Series *WINNER “Saturday Night Live” (NBC) “At Home With Amy Sedaris (TruTV) “Documentary Now!” (IFC) “Drunk History” (Comedy Central) “I Love You, America With Sarah Silverman” (Hulu) “Who Is America?” (Showtime)

Writing for a Variety Series *WINNER “Last Week Tonight With John Oliver” “Documentary Now!” “Full Frontal With Samantha Bee” “Late Night With Seth Meyers” “The Late Show With Stephen Colbert” “Saturday Night Live”

Best Limited Series *WINNER “Chernobyl” (HBO) “Escape at Dannemora” (Showtime) “Fosse/Verdon” (FX) “Sharp Objects” (HBO) “When They See Us” (Netflix)

Lead Actress, Limited Series or TV Movie *WINNER Michelle Williams, “Fosse/Verdon” Amy Adams, “Sharp Objects” Patricia Arquette, “Escape at Dannemora” Aunjanue Ellis, “When They See Us” Joey King, “The Act” Niecy Nash, “When They See Us”

Television Movie *WINNER “Black Mirror: Bandersnatch” (Netflix) “Brexit” (HBO) “Deadwood: The Movie” (HBO) “King Lear” (Amazon Prime) “My Dinner With Hervé” (HBO)

Lead Actor, Limited Series or TV Movie *WINNER Jharrel Jerome, “When They See Us” Mahershala Ali, “True Detective” Benicio Del Toro, “Escape at Dannemora” Hugh Grant, “A Very English Scandal” Jared Harris, “Chernobyl” Sam Rockwell, “Fosse/Verdon”

SEE ALSO

Jharrel Jerome dedicates first Emmy win to ‘Exonerated Five’ Writing for a Limited Series, Movie or Drama *WINNER Craig Mazin, “Chernobyl” Russell T Davies, “A Very English Scandal” Ava DuVernay and Michael Starrbury, “When They See Us” Brett Johnson and Michael Tolkin, “Escape at Dannemora” (“Episode 7”) Brett Johnson, Michael Tolkin and Jerry Stahl, “Escape at Dannemora” (“Episode 6”) Steven Levenson and Joel Fields, “Fosse/Verdon”

Supporting Actor, Limited Series or TV Movie *WINNER Ben Whishaw, “A Very English Scandal” Asante Blackk, “When They See Us” Paul Dano, “Escape at Dannemora” John Leguizamo, “When They See Us” Stellan Skarsgård, “Chernobyl” Michael K. Williams, “When They See Us”

Directing for a Limited Series *WINNER Johan Renck, “Chernobyl” Ava DuVernay, “When They See Us” Thomas Kail, “Fosse/Verdon” (“Who’s Got the Pain”) Stephen Frears, “A Very English Scandal” Ben Stiller, “Escape at Dannemora” Jessica Yu, “Fosse/Verdon” (“Glory”)

Supporting Actress, Limited Series or TV Movie *WINNER Patricia Arquette, “The Act” Marsha Stephanie Blake, “When They See Us” Patricia Clarkson, “Sharp Objects” Vera Farmiga, “When They See Us” Margaret Qualley, “Fosse/Verdon” Emily Watson, “Chernobyl”

Reality Competition Program *WINNER “RuPaul’s Drag Race” (VH1) “The Amazing Race” (CBS) “American Ninja Warrior” (NBC) “Nailed It!” (Netflix) “Top Chef” (Bravo) “The Voice” (NBC)

Lead Actress, Comedy *WINNER Phoebe Waller-Bridge, “Fleabag” Christina Applegate, “Dead to Me” Rachel Brosnahan, “The Marvelous Mrs. Maisel” Julia Louis-Dreyfus, “Veep” Natasha Lyonne, “Russian Doll” Catherine O’Hara, “Schitt’s Creek”

Lead Actor, Comedy *WINNER Bill Hader, “Barry” Anthony Anderson, “Black-ish” Don Cheadle, “Black Monday” Ted Danson, “The Good Place” Michael Douglas, “The Kominsky Method” Eugene Levy, “Schitt’s Creek”

Director for a Comedy Series *WINNER Harry Bradbeer, “Fleabag” Alec Berg, “Barry” (“The Audition”) Mark Cendrowski, “The Big Bang Theory” Bill Hader, “Barry” (“ronny/lily”) Daniel Palladino, “The Marvelous Mrs. Maisel” (“We’re Going to the Catskills!”) Amy Sherman-Palladino, “The Marvelous Mrs. Maisel” (“All Alone”)

Writing for a Comedy Series *WINNER Phoebe Waller-Bridge, “Fleabag” Alec Berg and Bill Hader, “Barry” Maya Erskine, Anna Konkle and Stacy Osei-Kuffour, “Pen15” Leslye Headland, Natasha Lyonne and Amy Poehler, “Russian Doll” (“Nothing in This World Is Easy”) David Mandel, “Veep” Josh Siegal and Dylan Morgan, “The Good Place” Allison Silverman, “Russian Doll” (“A Warm Body”)

Supporting Actress, Comedy *WINNER Alex Borstein, “The Marvelous Mrs. Maisel” Sarah Goldberg, “Barry” Sian Clifford, “Fleabag” Olivia Colman, “Fleabag” Kate McKinnon, “Saturday Night Live” Betty Gilpin, “GLOW” Marin Hinkle, “The Marvelous Mrs. Maisel” Anna Chlumsky, “Veep”

Supporting Actor, Comedy *WINNER Tony Shalhoub, “The Marvelous Mrs. Maisel” Alan Arkin, “The Kominsky Method” Henry Winkler, “Barry” Tony Hale, “Veep” Anthony Carrigan, “Barry” Stephen Root, “Barry”

Guest Actor, Comedy *WINNER Luke Kirby, “The Marvelous Mrs. Maisel” Matt Damon, “Saturday Night Live” Robert De Niro, “Saturday Night Live” Peter MacNicol, “Veep” John Mulaney, “Saturday Night Live” Adam Sandler, “Saturday Night Live” Rufus Sewell, “The Marvelous Mrs. Maisel”

Guest Actress, Comedy *WINNER Jane Lynch, “The Marvelous Mrs. Maisel” Sandra Oh, “Saturday Night Live” Maya Rudolph, “The Good Place” Kristin Scott Thomas, “Fleabag” Fiona Shaw, “Fleabag” Emma Thompson, “Saturday Night Live”

Best Comedy *WINNER “Fleabag” (Amazon Prime) “Barry” (HBO) “The Good Place” (NBC) “The Marvelous Mrs. Maisel” (Amazon Prime) “Russian Doll” (Netflix) “Schitt’s Creek” (Pop) “Veep” (HBO)

Guest Actor, Drama *WINNER Bradley Whitford, “The Handmaid’s Tale” Michael Angarano, “This Is Us” Ron Cephas Jones, “This Is Us” Michael McKean, “Better Call Saul” Kumail Nanjiani, “The Twilight Zone” Glynn Turman, “How To Get Away With Murder”

Guest Actress, Drama *WINNER Cherry Jones, “The Handmaid’s Tale” Laverne Cox, “Orange Is the New Black” Jessica Lange, “American Horror Story: Apocalypse” Phylicia Rashad, “This Is Us” Cicely Tyson, “How To Get Away With Murder” Carice van Houten, “Game of Thrones”

Structured Reality Program

*WINNER “Queer Eye” (Netflix) “Antiques Roadshow” (PBS) “Diners, Drive-Ins and Dives” (Food Network) “Shark Tank” (ABC) “Tidying Up With Marie Kondo” (Netflix) “Who Do You Think You Are?” (TLC)

Unstructured Reality Program *WINNER “United Shades Of America with Kamau Bell” (CNN) “Born This Way” (A&E) “Deadliest Catch” (Discovery Channel) “Life Below Zero” (National Geographic) “RuPaul’s Drag Race: Untucked” (VH1) “Somebody Feed Phil” (Netflix)

Reality Host *WINNER RuPaul, “RuPaul’s Drag Race” James Corden, “The World’s Best” Ellen DeGeneres, “Ellen’s Game of Games” Marie Kondo, “Tidying Up With Marie Kondo” Amy Poehler and Nick Offerman, “Making It”

Variety special (live) *WINNER “Live in Front of a Studio Audience: Norman Lear”(ABC) “The 76th Annual Golden Globe Awards” (NBC) “The 61st Grammy Awards” (CBS) “The Oscars” (ABC) “RENT” (FOX) “72nd Annual Tony Awards” (CBS)

Variety Special (taped) *WINNER “Carpool Karaoke: When Corden Met McCartney Live From Liverpool” (CBS) “Hannah Gadsby: Nanette” (Netflix) “Homecoming: A Film by Beyoncé” (Netflix) “Springsteen On Broadway” (Netflix) “Wanda Sykes: Not Normal” (Netflix)

Informational Series or Special *WINNER “Anthony Bourdain: Parts Unknown,” (CNN) “Comedians in Cars Getting Coffee” (Netflix) “Leah Remini: Scientology and the Aftermath” (A&E) “My Next Guest Needs No Introduction With David Letterman” (Netflix) “Surviving R. Kelly” (Lifetime)

Directing for a Reality Program *WINNER Hisham Abed, “Queer Eye” Patrick McManus, “American Ninja Warrior” Nick Murray, “RuPaul’s Drag Race” Ken Fuchs, “Shark Tank” Bertram van Munster, “The Amazing Race”

Best Short Form Comedy or Drama Series *WINNER “State of the Union” “An Emmy for Megan” “Hack Into Broad City” “It’s Bruno” “Special”

Outstanding Actor, Short Form Comedy or Drama Series *WINNER Chris O’Dowd, “State of the Union” Patton Oswalt, “An Emmy for Megan” Jimmy Fallon, “Beto Breaks the Internet” Ed Begley Jr., “Ctrl Alt Delete” Ryan O’Connell, “Special”

Outstanding Actress, Short Form Comedy or Drama Series *WINNER Rosamund Pike, “State of the Union” Ilana Glazer, “Hack Into Broad City” Abbi Jacobson, “Hack Into Broad City” Jessica Hecht, “Special” Punam Patel, “Special”

Short Form Nonfiction or Reality Series *WINNER “Creating Saturday Night Live” “Fosse/Verdon (Inside Look)” “Pose: Identity, Family, Community (Inside Look)” “RuPaul’s Drag Race’s: Out of the Closet” “RuPaul’s Drag Race’s: Portrait of a Queen”

Short Form Variety Series *WINNER “Carpool Karaoke: The Series” “Billy on the Street” “Gay of Thrones” “Honest Trailers” “The Randy Rainbow Show”

Directing for a Variety Special *WINNER Thom Zimny, “Springsteen on Broadway” Ben Winston, “Carpool Karaoke: When Corden Met McCartney Live From Liverpool” Beyoncé Knowles-Carter and Ed Burke, “Homecoming: A Film By Beyoncé” James Burrows and Andy Fisher, “Live in Front of a Studio Audience: Norman Lear’s ‘All in the Family’ and ‘The Jeffersons’” Glenn Weiss, “The Oscars”

Writing for a Variety Special *WINNER Hannah Gadsby, “Hannah Gadsby: Nanette” Adam Sandler, “Adam Sandler: 100% Fresh” Amy Schumer, “Amy Schumer: Growing” Matt Roberts, “Carpool Karaoke: When Corden Met McCartney Live From Liverpool” Beyoncé Knowles-Carter, “Homecoming: A Film By Beyoncé” Wanda Sykes, “Wanda Sykes: Not Normal”

The complete list of 2019 Emmy winners Best Drama *WINNER “Game of Thrones” (HBO) “Better Call Saul” (AMC) “Bodyguard” (Netflix) “Killing Eve” (AMC/BBC America)

#EMMYS #EMMYS 2019 #PRIMETIME EMMYS #The complete list of 2019 Emmy winners #tv

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80smovies · 7 years

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Switching Channels

#Switching Channels #Ted Kotcheff #Kathleen Turner #Burt Reynolds #Christopher Reeve #Ben Hecht #Charles MacArthur #Jonathan Reynolds

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fred-frederator-studios · 7 years

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Frederator’s 20th Anniversary: 1998-2001

I promised to post a few Frederator highlights looking back from our 20th year.

Our first few years were dominated by figuring out how to be independent again. After five years with Hanna-Barbera and working for Turner Broadcasting running Hanna-Barbera, figuring out how to get my own thing going took a little while.

1998 was the year we debuted our first cartoon show, Oh Yeah! Cartoons on Nickelodeon. When we wrapped the season, the party poster had a last minute tongue in cheek joke that inadvertently set the promise for Frederator Studios: “Original Cartoons since 1998.”

Frederator itself existed completely to the beneficence of Herb Scannell and Albie Hecht at Nickelodeon and Tom Freston and Judy McGrath at Nick's parent, MTV Networks. We’d all worked together for a decade before I decamped to Hanna-Barbera, and when Ted Turner sold his company they kindly asked me back to make cartoons and consult on programming issues at their company.

On the first day it was just me and Stephanie Stephens in a temporary conference room in North Hollywood. Our building was right next to what would soon be a notorious bank robbery shootout, and within weeks we were joined by my Hanna-Barbera collaborator Larry Huber, and a teenage Alex Kirwan in his first full time production job, both ready to tackle Oh Yeah! (Steve Hillenburg was in the same space as us, working hard on some pilot about a sponge.) Within the year, Eric Homan had had it at Warner Bros. Animation Art and joined up for what’s turned out to be an amazing partnership, first to help develop properties from our short lived time at the helm of the Kitchen Sink Press, and then onto more cartoon-y pursuits.

Oh Yeah! was my second cartoon shorts incubator, taking up where the Hanna-Barbera back-to-the-future experiment, Cartoon Network’s What A Cartoon!, left off. All together the shorts featured 34 original creators and 99 original cartoons. Right from the go it spawned two hit series, Larry Huber's and Bill Burnett's ChalkZone and Butch Hartman's The Fairly OddParents, quickly followed by Rob Renzetti’s My Life as a Teenage Robot. Several of the other creators stayed in Frederator's circle of talent for the next two decades.

1999

Frederator looked everywhere for creators. During our first years, most worked in the Los Angeles animation industry, and many came from right within the Oh Yeah! crew. Mike Bell was a writer on Dave Wasson's Tales from the Goose Lady and went on to create Super Santa and The Forgotten Toybox; Tim Biskup was a Season 1 background designer. Co-executive producer Larry Huber had worked in the cartoon business since the 1960's. Alex Kirwan had been a high school student who won a contest we had at H&B. I was lucky that many –Hartman, Burnett, Moncrief, Thompson, Renzetti, Ventura, Eng, MacFarlane– came over with me from Hanna-Barbera. On the other hand, Pennsylvania based David Burd worked with me at MTV back in the day.

This season we also got introduced to our first tween creator, 12 year old John Reynolds on his Terry and Chris short, with a story, design, and directing assist from Butch Hartman. A grown up John has become a member in good standing in the Los Angeles animation industry.

2000-2001

Frederator Studios took a short break while I moved my family to New York from Los Angeles. Eric Homan took the plunge with me and we leapt into the brave new world that was the consumer internet, when I became president of MTV Networks’ online division with MTV.com, Nick.com, ComedyCentral.com among others.

But cartoons cannot be stopped! Frederator's Nickelodeon cartoons took their next steps with the start of series production based on Butch Hartman's Oh Yeah! short, The Fairly OddParents and Bill Burnett’s and Larry Huber’s ChalkZone (March 22, 2002). Debuting March 30, 2001, FOP would go on to a record run of 16 years (as of 2018) and counting.

Critically, this was the period it dawned on me that I no longer had it in me to be a good corporate employee. But the internet bug had hit squarely and I saw Frederator's future. Quickly, we set up shop as Frederator/New York with computer engineer and visionary Emil Rensing, and trolled around for some work.

We set ourselves up as frederator.kz out of Kazakhstan. It seemed less, um, common.

Little noted, and against the advice of counsel, was the addition to our team of a self taught engineer intern, high school freshman David Karp.

Frederator limited edition postcards

This period was where we started our tradition of Frederator limited edition postcards. The first three series (the “series” designation didn’t actually start for a few years) were the Oh Yeah! seasons, and a few non-series snuck in there too. One of the Frederator/NY clients was MTV's new acquisition, the former Nashville Network they'd rebranded as TNN: The National Network. We threw some Frederator t-shirts along with David Ramage when he went across the country proving the channel was indeed national.

More to come...

Artwork from the top: Frederator’s first announcement illustrated and designed by Arlen Schumer, color by Patrick Raske; Oh Yeah! posters by Hatch Show Print, Nashville; Oh Yeah! Cartoons limited edition sericel, creative direction by Eric Homan; Oh Yeah! postcard, Series 3, 2000.

#Frederator #20th anniversary #Oh Yeah! Cartoons #1998 #1999 #2000 #2001

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film-tv101 · 4 years

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Thursday, May 16, 1929|Honoring movies released from August 1, 1927 - 1928

OUTSTANDING PICTURE

WINNER

WINGS

Paramount Famous Lasky

NOMINEES

THE RACKET

The Caddo Company

7TH HEAVEN

Fox

UNIQUE AND ARTISTIC PICTURE

WINNER

SUNRISE

Fox

NOMINEES

THE CROWD

Metro-Goldwyn-Mayer

CHANG

Paramount Famous Lasky

SPECIAL AWARD

youtube

WINNER

THE CIRCUS

Special Award

THE JAZZ SINGER

Special Award

CINEMATOGRAPHY

youtube

WINNER

SUNRISE

Charles Rosher

SUNRISE

Karl Struss

NOMINEES

THE DEVIL DANCER

George Barnes

THE MAGIC FLAME

George Barnes

SADIE THOMPSON

George Barnes

ART DIRECTION

WINNER

THE DOVE

William Cameron Menzies

TEMPEST

William Cameron Menzies

NOMINEES

SUNRISE

Rochus Gliese

7TH HEAVEN

Harry Oliver

ACTOR

WINNER

EMIL JANNINGS

The Last Command

EMIL JANNINGS

The Way of All Flesh

NOMINEES

RICHARD BARTHELMESS

The Noose

RICHARD BARTHELMESS

The Patent Leather Kid

ACTRESS

WINNER

JANET GAYNOR

7th Heaven

JANET GAYNOR

Street Angel

JANET GAYNOR

Sunrise

NOMINEES

LOUISE DRESSER

A Ship Comes In

GLORIA SWANSON

Sadie Thompson

DIRECTING (DRAMATIC PICTURE)

youtube

WINNER

7TH HEAVEN

Frank Borzage

NOMINEES

SORRELL AND SON

Herbert Brenon

THE CROWD

King Vidor

DIRECTING (COMEDY PICTURE)

WINNER

TWO ARABIAN KNIGHTS

Lewis Milestone

NOMINEES

SPEEDY

Ted Wilde

WRITING (ORIGINAL STORY)

WINNER

UNDERWORLD

Ben Hecht

NOMINEES

THE LAST COMMAND

Lajos Biro

WRITING (ADAPTATION)

WINNER

7TH HEAVEN

Benjamin Glazer

NOMINEES

THE JAZZ SINGER

Alfred Cohn

GLORIOUS BETSY

Anthony Coldeway

WRITING (TITLE WRITING)

WINNER

Joseph Farnham

NOMINEES

THE PRIVATE LIFE OF HELEN OF TROY

Gerald Duffy

George Marion, Jr.

Fun Facts

The First Oscar Presentation and Banquet Held in the Blossom Room of the Hollywood Roosevelt Hotel

Wings was the only silent film to win an Academy Award for Best Picture.

Guests of members were invited to attend at a slight charge of $5 to their hosts.

Douglas Fairbanks, the president of the Academy, made the official award presentations.

The Academy statuette was designed in 1928 by MGM’s art director, Cedric Gibbons. Sculptor George Stanley was paid $500 to execute the original statue from Gibbons’ design.

The first year, awards could be for a single achievement, for several achievements, or for the whole body of work during the year.

For the first and only time, the Academy gave awards for both dramatic direction (Frank Borzage for 7th Heaven) and comedy direction (Lewis Milestone for Two Arabian Knights).

In 1927, the average cost of a movie ticket was 25 cents.

Special Award

To Charles Chaplin, for acting, writing, directing and producing The Circus.

Special Award

To Warner Bros., for producing The Jazz Singer, the pioneer outstanding talking picture, which has revolutionized the industry.

#Oscars #1929 #1st academy awards #movies

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