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Created by dipity on Jan 31, 2010
Last updated: 07/07/10 at 04:32 AM
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Outstanding Supporting Actress in a Miniseries or Movie •House Of Saddam • Shohreh Aghdashloo, as Sajida (winner) •Grey Gardens • Jeanne Tripplehorn, as Jackie O. •Into The Storm • Janet mcteer, as Clementine Churchill •Relative Stranger • Cicely Tyson, as Pearl •The Courageous Heart Of Irena Sendler • Marcia Gay Harden, as Janina Outstanding Supporting Actor In A Miniseries Or A Movie •Grey Gardens • Ken Howard, as Phelan Beale (winner) •Into The Storm • Len Cariou, as Franklin D. Roosevelt •Little Dorrit • Tom Courtenay, as Mr. Dorrit •Little Dorrit • Andy Serkis, as Rigaud •The Librarian: Curse of the Judas Chalice • Bob Newhart, as Judson Outstanding Lead Actor In A Miniseries Or A Movie •Into The Storm • Brendan Gleeson, as Winston Churchill (winner) •24: Redemption • Kiefer Sutherland, as Jack Bauer •Cyrano de Bergerac • Kevin Kline, as Cyrano de Bergerac •King Lear • Sir Ian mckellen, as King Lear •Taking Chance • Kevin Bacon, as ltcol Mike Strobl •Wallander: One Step Behind • Kenneth Branagh, as Kurt Wallander Outstanding Lead Actress In A Miniseries Or A Movie •Grey Gardens • Jessica Lange, as Big Edie (winner) •Accidental Friendship • Chandra Wilson, as Yvonne •Coco Chanel • Shirley maclaine, as Coco Chanel •Grey Gardens • Drew Barrymore, as Little Edie •Prayers For Bobby • Sigourney Weaver, as Mary Griffith
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Jay Sandrich describes his philosophy for Directing as "..move the cameras, dont ever move the actors. Make a scene work, then worry about how youre gonna shoot it." Sandrich is an Emmy-award winning director of such iconic television shows as The Mary Tyler Moore Show, Soap, and The Cosby Show. In his Archive interview, he talks at length about his earliest professional experiences, working as a Second Assistant Director and later First Assistant Director at Desilu on programs including I Love Lucy for much of its latter years, and witnessing the tumultuous off-screen chemistry of its main stars. He acknowledges that his first lucky break was nepotism- being hired by Desilu because Lucille Ball remembered working with his father (Director Mark Sandrich). He also speaks about working with director/producer Sheldon Leonard on programs including The Danny Thomas Show, and The Andy Griffith Show, where his experience working with comic actor Don Knotts inspired him to make sure "laughs came out of the humanity of the character", rather than a laugh track. Next, he describes his experiences working with producer Leonard Stern on the sitcom Get Smart, and his decision to leave that show after realizing he just didn't like producing as much as directing. He teamed up again with Stern on He & She, where he learned the value of collaborative work between a director and writer: "I learned that sometimes you can bring writers in instead of shutting them out like some directors want and things work so much better. I can say as a director 'this scene isn't working' but I can't fix it. I don't have that ability to write the words." Mr. Sandrich details his long-term position as director of The Mary Tyler Moore Show, a break he calls "the luckiest day in my career", and chronicles his directing style and philosophy, as well as the evolving role the women's liberation movement played on the show. He talks about the "disaster run-though" of the show's first episode, the clashes with writer/producer James Brooks on-set, and the challenges of working with actors from very different backgrounds. He talks about the role of the director on a comedy series, and some classic episodes. like "Toulouse-Lautrec is one of my Favorite Artists," "Lou Dates Mary" and "The Last Show." Sandrich praises the managerial style of executive Grant Tinker, and explains how MTM Enterprises came to be formed. Sandrich discusses working on Phyllis, and The Bob Newhart Show. He stresses the importance of casting for any director. He talks about his experiences on the program Soap, which dealt with non-traditional storylines, remarking on that show's controversies "it was like the whole American society was gonna crumble if this show came on the air." On how he chooses a project he says, "with me, its do I like the script? Does it make me laugh?" On directing, he says finding a good writer is key: "Now its up to us to just make it better and not lose what the writer really put there." He discusses at length his work as the director of the popular 1980s-era sitcom The Cosby Show. He talks in detail about how that show was cast, and its origin as being about the "war between parents and kids" as conceived by comedian Bill Cosby. He talks about his role in casting Betty White and Rue mcclanahan in The Golden Girls. He touches on the changes in the role of a director on television, and his belief that the key to good television "is to hire creative people who can write and direct", and then let them do their job without interference. He talks about being proud to have worked in a field where the comedy he helped create often got people through tough times and tough issues. Sandrich says the best advice he ever got about directing came from an actor, Dick Benjamin: that a director needs to know where a line came from, and what was behind it. "Emotion," he says, "is a very strong word in my vocabulary as a director." Jay Sandrich was interviewed in Los Angeles, CA on December 4, 2001; Karen Herman conducted the five-hour interview.. To see the entire interview collection, visit emmytvlegends.org
Jay Sandrich describes his philosophy for Directing as "..move the cameras, dont ever move the actors. Make a scene work, then worry about how youre gonna shoot it." Sandrich is an Emmy-award winning director of such iconic television shows as The Mary Tyler Moore Show, Soap, and The Cosby Show. In his Archive interview, he talks at length about his earliest professional experiences, working as a Second Assistant Director and later First Assistant Director at Desilu on programs including I Love Lucy for much of its latter years, and witnessing the tumultuous off-screen chemistry of its main stars. He acknowledges that his first lucky break was nepotism- being hired by Desilu because Lucille Ball remembered working with his father (Director Mark Sandrich). He also speaks about working with director/producer Sheldon Leonard on programs including The Danny Thomas Show, and The Andy Griffith Show, where his experience working with comic actor Don Knotts inspired him to make sure "laughs came out of the humanity of the character", rather than a laugh track. Next, he describes his experiences working with producer Leonard Stern on the sitcom Get Smart, and his decision to leave that show after realizing he just didn't like producing as much as directing. He teamed up again with Stern on He & She, where he learned the value of collaborative work between a director and writer: "I learned that sometimes you can bring writers in instead of shutting them out like some directors want and things work so much better. I can say as a director 'this scene isn't working' but I can't fix it. I don't have that ability to write the words." Mr. Sandrich details his long-term position as director of The Mary Tyler Moore Show, a break he calls "the luckiest day in my career", and chronicles his directing style and philosophy, as well as the evolving role the women's liberation movement played on the show. He talks about the "disaster run-though" of the show's first episode, the clashes with writer/producer James Brooks on-set, and the challenges of working with actors from very different backgrounds. He talks about the role of the director on a comedy series, and some classic episodes. like "Toulouse-Lautrec is one of my Favorite Artists," "Lou Dates Mary" and "The Last Show." Sandrich praises the managerial style of executive Grant Tinker, and explains how MTM Enterprises came to be formed. Sandrich discusses working on Phyllis, and The Bob Newhart Show. He stresses the importance of casting for any director. He talks about his experiences on the program Soap, which dealt with non-traditional storylines, remarking on that show's controversies "it was like the whole American society was gonna crumble if this show came on the air." On how he chooses a project he says, "with me, its do I like the script? Does it make me laugh?" On directing, he says finding a good writer is key: "Now its up to us to just make it better and not lose what the writer really put there." He discusses at length his work as the director of the popular 1980s-era sitcom The Cosby Show. He talks in detail about how that show was cast, and its origin as being about the "war between parents and kids" as conceived by comedian Bill Cosby. He talks about his role in casting Betty White and Rue mcclanahan in The Golden Girls. He touches on the changes in the role of a director on television, and his belief that the key to good television "is to hire creative people who can write and direct", and then let them do their job without interference. He talks about being proud to have worked in a field where the comedy he helped create often got people through tough times and tough issues. Sandrich says the best advice he ever got about directing came from an actor, Dick Benjamin: that a director needs to know where a line came from, and what was behind it. "Emotion," he says, "is a very strong word in my vocabulary as a director." Jay Sandrich was interviewed in Los Angeles, CA on December 4, 2001; Karen Herman conducted the five-hour interview. . To see the entire interview collection, visit emmytvlegends.org
Jay Sandrich describes his philosophy for Directing as "..move the cameras, dont ever move the actors. Make a scene work, then worry about how youre gonna shoot it." Sandrich is an Emmy-award winning director of such iconic television shows as The Mary Tyler Moore Show, Soap, and The Cosby Show. In his Archive interview, he talks at length about his earliest professional experiences, working as a Second Assistant Director and later First Assistant Director at Desilu on programs including I Love Lucy for much of its latter years, and witnessing the tumultuous off-screen chemistry of its main stars. He acknowledges that his first lucky break was nepotism- being hired by Desilu because Lucille Ball remembered working with his father (Director Mark Sandrich). He also speaks about working with director/producer Sheldon Leonard on programs including The Danny Thomas Show, and The Andy Griffith Show, where his experience working with comic actor Don Knotts inspired him to make sure "laughs came out of the humanity of the character", rather than a laugh track. Next, he describes his experiences working with producer Leonard Stern on the sitcom Get Smart, and his decision to leave that show after realizing he just didn't like producing as much as directing. He teamed up again with Stern on He & She, where he learned the value of collaborative work between a director and writer: "I learned that sometimes you can bring writers in instead of shutting them out like some directors want and things work so much better. I can say as a director 'this scene isn't working' but I can't fix it. I don't have that ability to write the words." Mr. Sandrich details his long-term position as director of The Mary Tyler Moore Show, a break he calls "the luckiest day in my career", and chronicles his directing style and philosophy, as well as the evolving role the women's liberation movement played on the show. He talks about the "disaster run-though" of the show's first episode, the clashes with writer/producer James Brooks on-set, and the challenges of working with actors from very different backgrounds. He talks about the role of the director on a comedy series, and some classic episodes. like "Toulouse-Lautrec is one of my Favorite Artists," "Lou Dates Mary" and "The Last Show." Sandrich praises the managerial style of executive Grant Tinker, and explains how MTM Enterprises came to be formed. Sandrich discusses working on Phyllis, and The Bob Newhart Show. He stresses the importance of casting for any director. He talks about his experiences on the program Soap, which dealt with non-traditional storylines, remarking on that show's controversies "it was like the whole American society was gonna crumble if this show came on the air." On how he chooses a project he says, "with me, its do I like the script? Does it make me laugh?" On directing, he says finding a good writer is key: "Now its up to us to just make it better and not lose what the writer really put there." He discusses at length his work as the director of the popular 1980s-era sitcom The Cosby Show. He talks in detail about how that show was cast, and its origin as being about the "war between parents and kids" as conceived by comedian Bill Cosby. He talks about his role in casting Betty White and Rue mcclanahan in The Golden Girls. He touches on the changes in the role of a director on television, and his belief that the key to good television "is to hire creative people who can write and direct", and then let them do their job without interference. He talks about being proud to have worked in a field where the comedy he helped create often got people through tough times and tough issues. Sandrich says the best advice he ever got about directing came from an actor, Dick Benjamin: that a director needs to know where a line came from, and what was behind it. "Emotion," he says, "is a very strong word in my vocabulary as a director." Jay Sandrich was interviewed in Los Angeles, CA on December 4, 2001; Karen Herman conducted the five-hour interview.. To see the entire interview collection, visit emmytvlegends.org
Jay Sandrich describes his philosophy for Directing as "..move the cameras, dont ever move the actors. Make a scene work, then worry about how youre gonna shoot it." Sandrich is an Emmy-award winning director of such iconic television shows as The Mary Tyler Moore Show, Soap, and The Cosby Show. In his Archive interview, he talks at length about his earliest professional experiences, working as a Second Assistant Director and later First Assistant Director at Desilu on programs including I Love Lucy for much of its latter years, and witnessing the tumultuous off-screen chemistry of its main stars. He acknowledges that his first lucky break was nepotism- being hired by Desilu because Lucille Ball remembered working with his father (Director Mark Sandrich). He also speaks about working with director/producer Sheldon Leonard on programs including The Danny Thomas Show, and The Andy Griffith Show, where his experience working with comic actor Don Knotts inspired him to make sure "laughs came out of the humanity of the character", rather than a laugh track. Next, he describes his experiences working with producer Leonard Stern on the sitcom Get Smart, and his decision to leave that show after realizing he just didn't like producing as much as directing. He teamed up again with Stern on He & She, where he learned the value of collaborative work between a director and writer: "I learned that sometimes you can bring writers in instead of shutting them out like some directors want and things work so much better. I can say as a director 'this scene isn't working' but I can't fix it. I don't have that ability to write the words." Mr. Sandrich details his long-term position as director of The Mary Tyler Moore Show, a break he calls "the luckiest day in my career", and chronicles his directing style and philosophy, as well as the evolving role the women's liberation movement played on the show. He talks about the "disaster run-though" of the show's first episode, the clashes with writer/producer James Brooks on-set, and the challenges of working with actors from very different backgrounds. He talks about the role of the director on a comedy series, and some classic episodes. like "Toulouse-Lautrec is one of my Favorite Artists," "Lou Dates Mary" and "The Last Show." Sandrich praises the managerial style of executive Grant Tinker, and explains how MTM Enterprises came to be formed. Sandrich discusses working on Phyllis, and The Bob Newhart Show. He stresses the importance of casting for any director. He talks about his experiences on the program Soap, which dealt with non-traditional storylines, remarking on that show's controversies "it was like the whole American society was gonna crumble if this show came on the air." On how he chooses a project he says, "with me, its do I like the script? Does it make me laugh?" On directing, he says finding a good writer is key: "Now its up to us to just make it better and not lose what the writer really put there." He discusses at length his work as the director of the popular 1980s-era sitcom The Cosby Show. He talks in detail about how that show was cast, and its origin as being about the "war between parents and kids" as conceived by comedian Bill Cosby. He talks about his role in casting Betty White and Rue mcclanahan in The Golden Girls. He touches on the changes in the role of a director on television, and his belief that the key to good television "is to hire creative people who can write and direct", and then let them do their job without interference. He talks about being proud to have worked in a field where the comedy he helped create often got people through tough times and tough issues. Sandrich says the best advice he ever got about directing came from an actor, Dick Benjamin: that a director needs to know where a line came from, and what was behind it. "Emotion," he says, "is a very strong word in my vocabulary as a director." Jay Sandrich was interviewed in Los Angeles, CA on December 4, 2001; Karen Herman conducted the five-hour interview.. To see the entire interview collection, visit emmytvlegends.org
Jay Sandrich describes his philosophy for Directing as "..move the cameras, dont ever move the actors. Make a scene work, then worry about how youre gonna shoot it." Sandrich is an Emmy-award winning director of such iconic television shows as The Mary Tyler Moore Show, Soap, and The Cosby Show. In his Archive interview, he talks at length about his earliest professional experiences, working as a Second Assistant Director and later First Assistant Director at Desilu on programs including I Love Lucy for much of its latter years, and witnessing the tumultuous off-screen chemistry of its main stars. He acknowledges that his first lucky break was nepotism- being hired by Desilu because Lucille Ball remembered working with his father (Director Mark Sandrich). He also speaks about working with director/producer Sheldon Leonard on programs including The Danny Thomas Show, and The Andy Griffith Show, where his experience working with comic actor Don Knotts inspired him to make sure "laughs came out of the humanity of the character", rather than a laugh track. Next, he describes his experiences working with producer Leonard Stern on the sitcom Get Smart, and his decision to leave that show after realizing he just didn't like producing as much as directing. He teamed up again with Stern on He & She, where he learned the value of collaborative work between a director and writer: "I learned that sometimes you can bring writers in instead of shutting them out like some directors want and things work so much better. I can say as a director 'this scene isn't working' but I can't fix it. I don't have that ability to write the words." Mr. Sandrich details his long-term position as director of The Mary Tyler Moore Show, a break he calls "the luckiest day in my career", and chronicles his directing style and philosophy, as well as the evolving role the women's liberation movement played on the show. He talks about the "disaster run-though" of the show's first episode, the clashes with writer/producer James Brooks on-set, and the challenges of working with actors from very different backgrounds. He talks about the role of the director on a comedy series, and some classic episodes. like "Toulouse-Lautrec is one of my Favorite Artists," "Lou Dates Mary" and "The Last Show." Sandrich praises the managerial style of executive Grant Tinker, and explains how MTM Enterprises came to be formed. Sandrich discusses working on Phyllis, and The Bob Newhart Show. He stresses the importance of casting for any director. He talks about his experiences on the program Soap, which dealt with non-traditional storylines, remarking on that show's controversies "it was like the whole American society was gonna crumble if this show came on the air." On how he chooses a project he says, "with me, its do I like the script? Does it make me laugh?" On directing, he says finding a good writer is key: "Now its up to us to just make it better and not lose what the writer really put there." He discusses at length his work as the director of the popular 1980s-era sitcom The Cosby Show. He talks in detail about how that show was cast, and its origin as being about the "war between parents and kids" as conceived by comedian Bill Cosby. He talks about his role in casting Betty White and Rue mcclanahan in The Golden Girls. He touches on the changes in the role of a director on television, and his belief that the key to good television "is to hire creative people who can write and direct", and then let them do their job without interference. He talks about being proud to have worked in a field where the comedy he helped create often got people through tough times and tough issues. Sandrich says the best advice he ever got about directing came from an actor, Dick Benjamin: that a director needs to know where a line came from, and what was behind it. "Emotion," he says, "is a very strong word in my vocabulary as a director." Jay Sandrich was interviewed in Los Angeles, CA on December 4, 2001; Karen Herman conducted the five-hour interview.. To see the entire interview collection, visit emmytvlegends.org
Vintage, or at least several years old, spots for the departed Norwest Bank, made funny by the incomparable Mr. Newhart and his classic phone routine.
韓流スター・俳優Jisung【지성 (チソン)】の可愛いシーンやダンスシーンを集めました。 Song : LOVE Singer : Mr.Children
韓流スター・俳優 チソン【Jisung（지성）】の、 デビューから現在までをコレクションしました。 Song : Sign Singer : Mr.Children
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
n this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
n this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
n this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
n this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
In this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
In this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
In this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
In this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
In this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
In this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
In this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
In this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In his 14-part (each 30-minute segment is posted separately) oral history interview, legendary director/producer John Rich talks about his start in TV as a stage manager for NBC, where he worked on "The Colgate Comedy Hour". He got his start as a director on "The Ezio Pinza Show". He talks about shows he directed including: "I Married Joan", "The Ray Bolger Show", "Our Miss Brooks", "Gunsmoke", "The Dick Van Dyke Show", "Gilligan's Island", "The Brady Bunch", and "All in the Family", which he also produced. He also discusses directing pilots for "Maude", "The Jeffersons", "Barney Miller", and "The Bob Newhart Show". Mr. Rich also discusses executive producing "Benson" and "macgyver". To access all segments, visit channel playlists or go to tvinterviewsarchive.blogspot.com
In this 13-part (each 30-minute segment is posted separately) oral history interview, legendary network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo's Circus and Family Classics. He explains his move to CBS in New York, where he quickly worked his way up, first as head of daytime programming, (where he revitalized the Saturday morning lineup), and later as the Vice President of Programming where he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie's Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three's Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his move to NBC as President and CEO in 1978. There, he oversaw the development of programs including Diff'rent Strokes, The Facts of Life and Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. This is part of a multi-segment oral history interview. For all interview segments visit channel playlists or go to tvinterviewsarchive.blogspot.com
The Life of a ninja made in mr bundy;s class bored........... Newhart
BUY on Amazon: www.amazon.com John Landis directed this hilarious documentary of the great Don Rickles. Starring Billy Crystal, robin willaims, Robert deniro, Sarah Silverman, Bob Newhart, Clint eastwood, Chris Rock, and many more
BUY on Amazon: www.amazon.com John Landis directed this hilarious documentary of the great Don Rickles. Starring Billy Crystal, robin willaims, Robert deniro, Sarah Silverman, Bob Newhart, Clint eastwood, Chris Rock, and many more
BUY on Amazon: www.amazon.com John Landis directed this hilarious documentray on Don Rickles. Stars include robin williams, chris rock, sarah silverman, clint eastwood, bob newhart, and billy crystal
Beautiful Korean stars (before & after)/(Child to Present)PART II Moon geun young (Autumn in My Heart, Tale of Two Sisters, My little Bride, Innocent Steps, Love Me Not) Sun ye, So hee, Sun mi( Wonder girls, Tell me, Irony, Il wol ji ga) kim tae hee (Love Story in Harvard, Stairway to Heaven, Tale of the nine tail fox, The Restless, The fight) Nam sang mi ( Sweet spy, The time between dog and wolf, She is On Duty) Bae seul gi ( Tomboy, Love Letter, Bokgo dance / bokko dance, Strong Woman) Lee na young (Ireland, Our Happy Times / Maundy Thursdays, Ruler of Your Own World / Willfully) Kim ok bin ( Dasepo Naughty Girls, Hanoi Bride, Over The Rainbow, Hello Mr. God / How are you Mr. God) Kim min jung ( Ireland, Fashion 70's, newheart) Han ye seul ( NONSTOP 4, Couple or Trouble / Fantacy couple, The Legend of the Nine Tailed Fox) Boa (My name, Moto, My sweetie, Spark, ID: Peace B, Sara, No.1, Waiting, Alantis Princess, Tree, Girls on top, amazing kiss) Hwang shin hye ( Match Made In Heaven) Chae rim (Oh Phil Sung, all about eve / AAE, Dal Ja's Spring, kaist) Sung yu ri( Snow Queen, One Fine Day, Fin.kl, Hong Gil Dong, Prince first love) Jeon ji hyun (My Sassy Girl, windstruck, Daisy, The Uninvited, Steal My Heart, Happy together) Jessica, Seo hyun (Girls' Generation SNSD) Son ye jin (A Moment to Remember, summer scent, The classic, Alone in Love) Kim hee sun( Sad Love Story / Sad sonata, Tomato, The Myth) Kim hyun joo (Glass Slippers / Glass Shoes Springtime / Days of Youth, Insoon is Pretty) Yoon eun hye ( Goong / princess hours, coffee prince, The Vineyard Man) Lim eun kyung (Nonstop, TTL, Bodyguard) Jo yoon hee ( Taste Sweet Love) Oh yeon soo ( JUMONG, Second propose) Na hye mi ( highkick) Kim hye soo( Did We Really Love?, NO GOOD faimly, The War Of Flowe) Kan mi yeon ( Baby vox, Old Woman, Kiss) Kim jung hwa ( Snow White / Taste Sweet Love, Something About 1%) Soo jin ( Sugar, X-man, Loveletter) Park ji yoon (Sunginshik / ADULT CEREMONY, Hwan Sang / Illusion, Steal away, Precious love, Swan, I'm a man) Dana, Sunday(CSJH / TSZX, The Club, One More time OK?, Dancer in the rain) Soo ae ( 9 End 2 Outs, Love letter, That Year Summer, EMPEROR OF THE SEA, Family) Kang sung yeon ( King and the Clown)
BUY on Amazon: www.amazon.com John Landis directed this hilarious documentary of the great Don Rickles. Starring Billy Crystal, Robert deniro, Sarah Silverman, Bob Newhart, Clint eastwood, Chris Rock, and many more...
WHAT IS FAKE RADIO?!? "Fake Radio" is a troupe of talented actors, comedians and guest stars who re-create old radio scripts from the 1930's - 1950's on a live stage. We perform the exact transcripts from original radio broadcasts along with all of the original advertisements as well! That means all of our events are family safe: there's no violence, no sexual situations, and no indecent language. Just good, clean fun from another era, spiced up a bit for today's modern crowds! PAST GUEST STARS INCLUDE: Jeff Garlin ("Curb Your Enthusiasm"), Mark mckinney ("The Kids in the Hall"), John Lynch ("The Drew Carey Show", "Fargo"), Marica Wallace, ("The Simpsons" & "The Bob Newhart Show"), Deborah Wilson ("madtv"), Tom Kenny ("Mr. Show" & The voice of spongebob Squarepants"), Denny Siegel ("Whose Line is it Anyway?!?"), Maria Bamford (her own "Comedy Central" special), Cathy Ladman ("The Aristocrats" and numerous appearances on "The Tonight Show") and more...
Sorry to post this so late but I just found out about it. There's going to be a big youtube meetup this Sunday in Chicago at Navy Pier by the Bob Newhart statue from 11am - 1pm. If anyone from the area can make it out I'll be playing some tunes and I'll totally dig meeting you. So try to make it out! For more details check out: www.youtube.com Rock on!
In Mr. Mitchells class 1st period, 3rd-to-last day of school.
mr. hall
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