Tuesday, December 30, 2008

New Video: Excerpts from Eartha Kitt's Archive Interview

By now you've probably heard that the great performer and legendary songstress (and one of Batman's three "Catwoman"), Eartha Kitt died on Christmas Day, 2008 at the age of 81. The Archive of American Television was privileged to interview Ms. Kitt about her television work in 2002. In memoriam, here are some excerpts from the interview:




Eartha Kitt
(1927-2008) was interviewed for nearly an hour-and-a-half in New York, NY. Kitt briefly talked about her early stage work in New York and abroad, and her opinions regarding a performer’s relationship with the audience. She described appearing on “live” television in New York in the 1950s, on such series as Omnibus and The Ed Sullivan Show. She discussed the difficulties faced by African-Americans regarding their appearances on television. She discussed her work in filmed television, including guest shots on such series as Mission: Impossible, I Spy, and Batman (as one of the more memorable actresses who played “Catwoman”). The interview was conducted by Michael Rosen on October 15, 2002.

Monday, December 29, 2008

US Postal Service to Release Early TV Show Commemorative Stamps in 2009

From today's press release regarding planned stamps for 2009 from the US Postal Service:

Early TV Memories

Block your calendar for Aug. 11 to attend the dedication of the Early TV Memories stamps, scheduled to take place in Los Angeles. For more than half a century, Americans have turned to television for entertainment and information. To those watching in its early days, TV offered the additional excitement of the new. Whether laughing at the first situation comedies, tingling at crime dramas, or identifying with ordinary people who had their day in the spotlight on game shows, audiences were charmed by the novelty of the young medium. Today, memories from television’s “childhood” — often especially vivid — are a pure pleasure.

The Early TV Memories commemorated in the 20 stamp set include: Adventures of Ozzie & Harriet; Alfred Hitchcock Presents; Dinah Shore Show; Dragnet; Ed Sullivan Show; George Burns & Gracie Allen Show; Hopalong Cassidy; The Honeymooners; Howdy Doody; I Love Lucy; Kukla, Fran and Ollie; Lassie; The Lone Ranger; Perry Mason; Phil Silvers Show; Red Skelton; Texaco Star Theater; Tonight Show; Twilight Zone; and, You Bet Your Life.



Monday, December 22, 2008

Harry Friedman-featured in this month's "Emmy"

Harry Friedman, producer of Wheel of Fortune and Jeopardy! among many other iconic programs, was interviewed by the Archive in 2007. His story is featured in this month's EMMY magazine, available now.




UPDATE: 1/1/09 The full article has been posted to the Jeopardy! site.
Read it here.

Detailed description
:
Harry Friedman was interviewed for over two hours in Culver City, CA. Friedman described his early career path and how he came to be a writer on The Hollywood Squares in the 1970s. He talked about producing the late 80s version of the show that featured Joan Rivers as the center square. He spoke in great detail about his long association with the game shows Wheel of
Fortune and Jeopardy! that he began producing in the mid-90s. For Wheel he talked about changes made to the game play through the years, such as the addition of the Jackpot Round and the Mystery Round; as well as the Wheel Watchers Club. For Jeopardy!, he talked about the winning streak of Ken Jennings. The interview was conducted on October 10, 2007.

For more on this and other Archive interviews, visit emmytvlegends.org or our TVLegends youtube channel

Wednesday, December 17, 2008

Producer/Director Alan Neuman Has Died -- Archive Interview Online


We're sorry to report that Archive interviewee, producer-director Alan Neuman passed away on November 23rd, at the age of 84. Alan directed innumerable “live” on-location dramatic, variety, and documentary productions, including NBC’s first televised presidential election coverage and the first show that ever linked four countries together.

Click here to access the entire six-part videotaped interview.


Some interview excerpts are as follows:

On Kate Smith (from part 3):
Kate Smith was a wonderful, remarkable talent. She was a great performer for the theater. When they were traveling she would cut the boys’ hair— she was a barber as well. But I remember the transition. The show became enormously popular. But I remember the girl who cut hair…. Every Friday show, she would sing “God Bless America.” And I’ve probably heard it more than any other person I know has heard it. She had this great voice— big belting voice. And when she sang she filled a room, she filled a hall, she filled anything. She was the one who was always recognized with “God Bless America.” …. In those days, if she walked down the street, they followed her. And she was no beauty. She was not a Marilyn Monroe. But she was Kate Smith. And that meant a great deal.

On the Blacklist (from part 3):
The ad agency would say, the cheese company, or the car company doesn’t want to be in the position of pushing Communism in any shape, manner, or form. They’re out here buying entertainment and we don’t want that. And I could understand their perspective but I wasn’t sympathetic to it…. Who cared if they were a Communist when they were sixteen? It never made much sense…. It literally kept people from functioning, from earning a living…. I found it an abhorrent thing.

On Wide Wide World (from part 4):
I was the first one to do a show in which we linked four countries together— Canada, Mexico, Cuba, and the United States. It was Christmas and we sang “Adeste Fidelis.”…. I had a DC-10, a plane, between Miami and Havana, circling overhead relaying the signal, because that’s what was needed. …. I gave [the Emmy the show won] to the technical supervisor who was responsible for it.

On working with President Herbert Hoover (from part 4):
[NBC President] Pat Weaver called me and said I want you to do [a certain series]. I said I never heard of [that] series. He said that’s why I want you on board— jazz it up a little bit. I said "who’s the guest?" He said Herbert Hoover. I said, "Jazz him up?!".... But I got Hoover to laugh on camera, I got him to tell stories about himself… This is a man that never smiled on camera. I got him to tell the story about the little girl at Mark Hopkins who came over to him and said, "Mr. Hoover, may I have twelve of your autographs?" And he said, “Twelve? Why do you need twelve?" "Because twelve of yours is worth one Willie Mays." To get him to tell that story on himself on camera was I felt an accomplishment.

On Maurice Chevalier’s interview for Person to Person (from part 5):
Chevalier had not been permitted to visit this country. He had performed before the German officers. The truth was [he had been given an ultimatum]— “Mr. Chevalier you want to appear before the Frenchmen that we’ve captured, you’ve got to appear before a German camp.” So they gave him that, and he appeared before the Germans, so he could appear before the French. Now we were holding up his visa. He’s a famous French entertainer and we weren’t permitting him to come in. This was during the McCarthy time. I hope that by the story being explained when I did it on Person to Person, it helped, because he was permitted to attend the Academy Awards the following year. [In 1959, producing Person to Person abroad] I informed New York that I was gonna do an entire half-hour [on Chevalier]. They said no. The only ones that ever took a half-hour were Kennedy and Nixon. You’re not gonna take a half-hour— it would break precedent. Why are you taking a half-an-hour? I said because I can’t tell the story in just fifteen minutes. I had visited Chevalier where he had a home. And as I walked up the steps he had a photograph of every woman he had ever been with, all these major stars going on up, ending up with a shrine to his mother that he had outside his bed. And I knew there was no way I was gonna get to any of this without a half-hour at least! He was extraordinary, he was very funny, and it was a delightful half-hour. So what I did is, I shot a half-hour. There was no room for a commercial break in the middle. CBS, when they got the material, was stuck with what I sent them…. There was no commercial break in the middle, they had to give me the whole half-hour— if the man is walking up a staircase you can’t cut away.
Interview description:
Alan Neuman talked about joining NBC as a page in 1947 and his rise through the ranks as stage manager and then director. He described the studios at Rockefeller Center and the early camerawork on such series as Kraft Television Theater. He recalled directing NBC’s first televised presidential election coverage in 1948, anchored by Ben Grauer, which lasted so long that he had Grauer doing calisthenics on the air. He talked about serving as director on such early series as The Three Flames, Mary Kay and Johnny, and Broadway Open House (the forerunner to the Tonight Show). He spoke in detail about his work with Kate Smith and her manager Ted Collins on The Kate Smith Hour. Neuman discussed his work as a producer/director on programs that featured several Presidents of the United States, including Presidents Hoover, Eisenhower, and Kennedy. He talked about the first color remote broadcast done by NBC, for Matinee Theater. He spoke in detail about the series Wide Wide World and Person to Person, for which he served as a producer. Additionally, he talked about the era of the Hollywood Blacklist. B-roll consisted of several photos of Neuman with the presidents he worked with and a photo from the premiere episode of Adlai Stevenson Presents. The interview was conducted by Gary Rutkowski on February 15, 2006.

Monday, December 15, 2008

Archive Interviewee Steve Binder honored!

Steve Binder has been honored by the Caucus for Television Producers, Writers, and Directors for his 26-year long career in variety television directing.

You can watch the Archive's two-part "Living Television" interview with acclaimed producer/director Steve Binder here. He discusses his work on many notable productions including: "The T.A.M.I Show", "Petula", "Elvis: The '68 Comeback Special", "Liza", "Shields & Yarnell", "Diana Ross in Central Park", and many other specials including multiple Emmy Awards shows. Conducted March 4, 2004 by Stephen J. Abramson.

In this interview excerpt Producer/Director Steve Binder discusses the controversy which arose from the 1968 production of Petula Clark's "Petula" special with guest star Harry Belafonte.

Monday, December 08, 2008

Tonight on ABC: A Perennial Favorite: "A Charlie Brown Christmas"

"A Charlie Brown Christmas" airs tonight, celebrating its 43rd anniversary. The timeless classic was the very first Charlie Brown special and Variety noted in its 1965 review that "author [Charles M.] Schulz is in such strong command of his charismatic characters that it would be successful in any medium." Variety also noted that "Snoopy, the wildly hedonistic dog was particularly well-conceived and stole every scene that he was in." The review spoke of the religious nature of the show: ".... Charlie Brown could not get into the spirit of Christmas, and his search for the meaning of the holiday only brought him into jarring contact with the crassness of his playmates. Just when it seemed as though the Scrooges of the world were right, little Linus took his thumb and blanket out of his mouth and briefly narrated the story of the birth of Jesus. The recital had a transforming effect on the tykes and they regrouped joined together by love."

The Archive of American Television interviewed both the special's producer Lee Mendelson and director Bill Melendez (1916-2008), as well as animator Phil Roman.

Bill Melendez on Linus's speech:
"It's one of the things that I get asked [about most] and we get more comment on, about that reading....Schulz said, you know, at one time Linus should come up and tell the real story of Christmas, the biblical story. And I said, no, Sparky, you can’t do that. That would be religious. And we can’t get religion into the shows. You’ll ruin it. Again, he looks up at me with those beady blue eyes of his and he said, 'Bill, if we don’t do it, who will?' I didn’t think that we had to do it anyhow. But I did it, I agreed with that philosophy that we could do it. And get away with it. Because the strip was gentle enough and it would not be taken, it would not be criticized. So, it was Schulz’s idea. And he was right... [it] just appeals to everybody. And no other show has ever done it."

Lee Mendelson on the special's use of music:
"Well, when we had the meeting about A Charlie Brown Christmas, and I say we only had a day for an outline, and [Charles] Schulz wanted to talk about what he felt was the true meaning of Christmas. He said I think we’ve lost that. So we kind of worked backwards from that. We wanted to do the true meaning of Christmas. I wanted to use different kinds of music. We knew we’d use traditional Christmas music, and we would use some Beethoven because Schroeder played Beethoven. But when we did [a previous] documentary we hired a fellow named Vince Guaraldi to do the music on the documentary, and I thought it might be fun to use some of that music on the Christmas show. And we called Vince, and he wrote an opening title song for the show. And I remember I thought maybe we should put some words on it, and I just wrote -- scribbled some words down on an envelope, 'Christmas time is here, happiness...' and so forth, and never thought much about it. And I think the music was critical to it’s acceptance. And we thought of different elements about the Christmas tree and so forth, and put it all down in the outline, and the outline pretty much is the way the show eventually evolved. But I think that the Guaraldi music was crucial to it’s success because that was the first time a cartoon had used jazz, had used adult music. That raised it a certain level."

Thursday, December 04, 2008

Hall of Fame 2008 Inductees

This year the Academy of Television Arts & Sciences will honor Bea Arthur, Dan Burke, LarLinkry Gelbart, Merv Griffin, Tom Murphy, and Sherwood Schwartz as the latest inductees to the Hall of Fame. You can view many of our Archive Interviews online at youtube.com/tvlegends.

In this excerpt from her 2001 interview, Bea Arthur discusses how she got the role of "Maude", working with Norman Lear, becoming a symbol of the women's lib movement, and her feelings on the craft of comedy.

Tuesday, November 25, 2008

Too Hip for the Room

We know you've been waiting, and now the wait is over! Finally, all 7 parts of our interview with legendary comedian George Carlin have been posted to our youtube channel. Visit youtube/tvlegends or see below.

The new Carlin "It's Bad for Ya" DVD, featuring his HBO standup special and edited segment from this interview & other bonus features, is available now at MPI Home Video.

TV Art Director and Sculptor Dick Stiles Passes

(Above) Dick Stiles (pictured 2nd from left) participates in the unveiling of
the Jim Henson wall sculpture on the Television Academy's Hall of Fame Plaza in 2005.

L to R: Phil Wayne, Sculpture Committee chairman; Dick Stiles, Hall of Fame Sculptor;
Lisa Henson and Dick Askin, former chairman of the Television Academy.


We were truly saddened to learn that Emmy-nominated television art director and sculptor Dick Stiles died Monday of pneumonia and heart failure. Stiles worked tirelessly on the Television Academy's Hall of Fame Sculpture Committee during the past two decades, serving three terms as co-chair as well as sculpting many of the works himself. Along with being an Archive interviewee, Dick was a staunch supporter of the Archive, even giving his time to allow us to chronicle his creation of the Jim Henson wall sculpture (above) at the Television Academy.



In the above clip (part 3 of 3 of his interview), he discusses his work with the Television Academy. His full interview can be seen here.

Interview description:
Television Art Director Dick Stiles spoke about working at CBS' Television City and the introduction of color TV, as well as about the craft of drafting and art direction. He detailed his work on various other productions, culminating in a 27-year career as the art director of "Wheel of Fortune". He also talked about his contributions in the selection and creation of sculptures on the plaza of the Television Academy's headquarters. Mr. Stiles was interviewed June 21, 2003.

Friday, November 21, 2008

Say Kids.. What Time is It?

"It's Howdy Doody Time!" is a 6-DVD box set chronicling the popular 50s children's show which aired on NBC from 1947-1960. The set includes a half-hour featurette with many of the Archive's interviewees, including "Buffalo" Bob Smith, the show's host, Bob Keeshan, who played Clarabell the Clown and Chief Featherman, & E Roger Muir, the show's producer.

Other interviewees who talked about the show include Dominick Dunne (his first job was as a stage manager on the show!), Eddie Kean (writer/ composer), Bill Persky (wrote the "Pigloo" storyline), Heino Ripp (technical director), Herbert Schlosser (Executive at NBC), Ira Skutch (director at NBC), Dick Smith (makeup artist), Denniz Franz (who remembered watching the show as a kid), Ron Howard (who talked about Smith appearing on an episode of "Happy Days"), and Dick Wolf, who as a child was a member of the Howdy Doody peanut gallery!

The DVD is available through Mill Creek Entertainment.

Thursday, November 20, 2008

50 Years Ago Today "Playhouse 90" Presented "Old Man"

On November 20, 1958, Playhouse 90, the preeminent dramatic television anthology of the day, presented William Faulkner's "Old Man," a program for which Variety wrote, "such a word as incomparable must be applied." Archive interviewee Del Reisman, the series story editor, explained, "there were all kinds of stunt shows that were done. In the third or fourth season, John Frankenheimer directed 'Old Man,' it’s a wonderful show, but he virtually flooded the CBS studio."

The show was about a convict (played by Sterling Hayden), who is ordered into a flat-bottomed boat to rescue a pregnant woman (Geraldine Page) during a flood. It was adapted for television by Horton Foote, produced by Fred Coe, and directed by John Frankenheimer.

Variety opined: "Much of the credit for this over-powering story of man's humanity as well as inhumanity to man also must go to Geraldine Page, as the pregnant woman in the tiny rowboat, and Sterling Hayden, the monosyllabic convict who must fullfill his mission amid the swollen waters of the Mississippi."

John Frankenheimer said in his Archive interview: "Fred Coe gave me the script because he loved 'Days of Wine And Roses,' and he said, 'You know, I honest to God don’t know how to do this, but I love this script.' And I read it, and I had been playing around with videotape with the editors. And I read it and I said, well, there’s only one way to do this, Fred. We’ll tape the whole goddamned show. And we got to do it scene by scene, and we got to have a huge [water] tank. Up to that time, nobody had ever cut videotape. So, the editor, a guy named Ross Murray and I just took arbitrary scenes and cut them together with a straight razor blade.... I was totally obsessed on how to do this show. I brought in a Chapman Boom. A Chapman Boom is a huge movie crane that goes 30 feet in the air. Has engines and everything on it. Brought that into the studio, that’s the first time that had ever been done. If fact, the Cameraman who worked the Chapman Boom, Pat Kenney put on a aviator’s helmet, you know, it was that, that kind of a thing."

Click here to view John Frankenheimer's entire Archive Interview.

Friday, November 07, 2008

"Studio One" Celebrates Its 60th Anniversary

Studio One, one of the first and most successful of the live dramatic anthologies of early television, celebrates its 60th anniversary today.

The first Studio One was a presentation of the McKnight Malmar suspenser "The Storm," starring Margaret Sullavan and Dean Jagger (airing November 7, 1948). The show was produced and directed by Worthington C. Miner, who is credited as one of the most significant creative forces in American television's early years.

During the Archive of American Television and Koch Entertainment's panel discussion last night (to launch the debut of "The Archive of American Television Presents" DVD series) at the Television Academy, actress Gloria Stroock reiterated Miner's contribution to both television and Studio One:

"The driving force, as I remember in Studio One, was Worthington Miner, whom we called 'Tony' Miner, all of us. Even though there were other directors and producers he was really the [main] force... It was a magical time. There was so much trust. I never read for anything. They just would call and say 'are you available?' and they'd say 'we have something for you.' And the parts were wonderful."

In their review of "The Storm," Variety gave the show an "A for effort" but admitted it was off to a rocky start. However, before long, the series ranked as the preeminent TV drama, particularly when it aired its eight production, an adaptation of "Julius Caesar," starring William Post Jr. and directed by Paul Nickell. The New York Times' Jack Gould called it "spectacular television" and wrote in his review that CBS "has a real obligation to present a repeat performance" of the show... which they did with Studio One's twelfth show, airing two months later. (Studio One wasn't through with "Julius Caesar" though, and a third version was aired on August 1, 1955, starring Theodore Bikel-- this presentation can be found on the new DVD.)

Studio One would feature some of the legendary stars of old-- Paul Lukas, Franchot Tone, and Burgess Meredith, while providing a venue for some of the newest up-and-comers: Jack Lemmon, Sal Mineo, and Grace Kelly. Among the notable writers whose work was featured on Studio One included: Rod Serling (including "The Arena"), Gore Vidal ("Dark Possession"), Reginald Rose ("Twelve Angry Men"), and Arthur Hailey ("No Deadly Medicine")

Studio One won the Emmy Award for Best Drama series in 1951, and the 1954 presentation of "Twelve Angry Men" won for director Franklin J. Schaffner, star Robert Cummings, and writer Reginald Rose.


Pictured left to right: Archive Director Karen Herman, Barbara Rush, Jack Klugman, Jayne Meadows, Gloria Stroock, Dick Van Patten, and Koch President Michael Rosenberg. At the Academy of Television Arts & Sciences, November 6, 2008.


Monday, November 03, 2008

"Twelve Angry Men" Screening Event This Thursday with guests Jack Klugman, Jayne Meadows, Gloria Stroock, Dick Van Patten, and Barbara Rush

Written especially for Studio One by Reginald Rose and starring Robert Cummings, Studio One's "Twelve Angry Men" (original air date: September 26, 1954) was a classic, Emmy-award winning episode in this anthology series and the inspiration for the Oscar-nominated film.

Join us this Thursday, November 6 at 7:30 PM (at the Leonard Goldenson Theatre, 5220 Lankershim Blvd., N. Hollywood) for a special screening of the newly-remastered episode followed by a panel event on live television moderated by Thomas K. Arnold (Home Media Magazine publisher) with honored guests Jack Klugman, Jayne Meadows, Barbara Rush, Dick Van Patten, and Gloria Stroock.

Click here for more event details, and RSVP by calling 516-484-1000 x400

In addition to celebrating the 60th Anniversary of Studio One, this event will also launch "The Archive of American Television Presents", a new DVD line featuring culturally and historically significant programs from the Golden Age of Television. The "Studio One Anthology" is the first set in this series.

"The Archive of American Television Presents" is a partnership between
 Koch Entertainment and the Academy of Television Arts & Sciences Foundation (home to the Archive of American Television). The collaborative 
mission is to present classic productions from the Golden Age of Television on DVD, restored and 
re-mastered from the best-quality sources.

We hope to see you there!

Saturday, November 01, 2008

Early TV Pioneer and Author Studs Terkel Has Died-- Interview Online

Interview Excerpt:

Studs Terkel was a pioneer in what became known as the "Chicago School" of early television broadcasting. His show, Studs' Place, is described by Tim Brooks and Earle Marsh's The Complete Directory to Prime Time Network and Cable TV Shows as an "affable program of songs and stories." The shows was, in part, improvised by the cast to the point that Terkel says they would run a credit at the end of the show that read "dialogue by the cast." Terkel died at age 96.

Click here to watch his entire Archive interview.

Interview description:

Studs Terkel was interviewed for one-and-a-half hours in Chicago, IL. Mr. Terkel related the history of the “Chicago School” of television (including his relationships with Burr Tillstrom, Fran Allison and Dave Garroway) and spoke in detail about his own program, Stud’s Place and efforts to keep the show on the air after he was blacklisted. After the program went off the air, Terkel became one of America’s premier oral historians and radio interviewers. The interview was conducted by Karen Herman on July 19, 1999.

Friday, October 31, 2008

Archive Staff Spotted!


Halloween greetings from TV 60s, 70s, and 80s... hope your Halloween is fun too!

Thursday, October 30, 2008

Singer/ Actress Estelle Reiner Has Died

Estelle Reiner grew up in the Bronx and had a career on radio as a singer. She was a respected Jazz singer until her death. Estelle was married to comedic legend (and Archive interviewee) Carl Reiner in 1943 and had 3 children. In 1989 she appeared in son Rob Reiner's film "When Harry Met Sally" and delivered the film's most memorable line... "I'll have what she's having!"

In this interview excerpt with Rob Reiner, he remembers growing up in a house filled with humor, and what he learned from both his mother and father.



Click here to view Rob Reiner's complete Archive Interview
Click here to view husband Carl Reiner's complete Archive Interview

Tuesday, October 28, 2008

Producer/Director E. Roger Muir Has Died-- Interview Online

E. Roger Muir, who produced Howdy Doody (as well as such other early NBC series as Geographically Speaking, I Love to Eat, and The Chesterfield Club), has died at the age of 89.

In part four, below, he talks about Howdy Doody:



Click here to view E. Roger Muir's entire six-part Archive Interview.

Interview Description:

E. Roger Muir was interviewed for three hours in Wolfeboro, NH. During his interview, Mr. Muir detailed his early television directing experiences. He discussed his tenure as the producer of Howdy Doody, which he produced throughout the program’s run. He also spoke about the creation of “Gumby,” which debuted on the program. He later went on to head children’s programming at the network. The interview was conducted by Karen Herman on October 20, 1999.

Monday, October 27, 2008

Art Director/Graphic Designer Louis Dorfsman Has Died -- Interview Online

Louis Dorfsman, who designed every aspect of CBS's branding for forty years until his retirement in 1991, has died at the age of 90. In his later years he was the creative director for the Museum of Broadcasting (now the Paley Center for Media).
Mr. Dorfsman was interviewed by the Archive in May of 2000 by the Paley Center's Television Curator Ron Simon.

Below is Part 2 of his interview, where he describes working at CBS.



Additional segments of his interview are available here.

Interview Description:

Mr. Dorfsman talked about his earliest experiences in his field, which included being an assistant for Display Guild, which produced numerous exhibits for the 1939 World’s Fair. He described his long association with CBS, that began in 1946 as a staff director in the art department. Dorfsman described his legendary work in the 1950s for CBS radio, during that medium’s waning days. He described his eventual move to television, becoming the Director of Design for CBS, Inc. He described his influential work at CBS in print and television advertising, and his pioneering use of typography. He talked about the erection of Black Rock, CBS’s headquarters on 52nd Street and his work on the interior of the building, including his cafeteria wall collage. He described the fall television season campaigns at CBS and his well-known campaigns of such shows as The Waltons, which helped boost its ratings. He described his design of two books for CBS, Field of Vision (1962), on football; and a commemorative book on the 1969 moon landing.

Monday, October 20, 2008

NEWSFLASH: "The Archive of American Television Presents" DVD Series Launches with "Studio One"

On sale November 11th, KOCH Vision and the Academy of Television Arts & Sciences Foundation officially launches "The Archive of American Television Presents" with the release of 17 digitally-remastered episodes from the distinguished “Westinghouse Presents Studio One” series, which ran on CBS from 1948-1958.

A landmark series of The Golden Age of Television, “Studio One” presented a wide range of memorable dramas and received 18-Emmy nominations (including 5 wins) during its prestigious nine-year run on CBS. Showcasing some of the greatest talents of the era, this live anthology is a treasured part of America's broadcasting history.

"Studio One Anthology" represents the first in a collection of historic programming being released under "The Archive of American Television Presents" brand.

Episodes Include:

Twelve Angry Men, Wuthering Heights, 1984, The Arena, June Moon, Dino, Julius Caesar, Pontius Pilate, The Storm, Confessions of a Nervous Man, The Remarkable Incident at Carson Corners, Dark Possession, The Death and Life of Larry Benson, The Strike, The Medium, An Almanac of Liberty, and Summer Pavilion.

In this collection are rare performances from Eddie Albert, Art Carney, Robert Cummings, Norman Fell, Geraldine Fitzgerald, Lorne Greene, Charlton Heston, Marsha Hunt, Jack Lemmon, Sal Mineo, Elizabeth Montgomery, Leslie Nielsen, Barbara O’Neil, Lee Remick, and Eva Marie Saint, among many others.

Watch the trailer:

Bonus Features:

  • The Paley Center for Media’s “Studio One Seminar”
  • Excerpted interview with director Paul Nickell from The Paley Center for Media’s “Studio One Video History”
  • "Voices from the Archive: Studio One" -- related interview footage from the Archive of American Television with first-hand accounts of those who were a part of the series
  • Studio One historical overview and rediscovery featurette
  • 52-page book featuring written contributions by Gore Vidal, the Archive of American Television and Larry James Gianakos (author of Television Drama Series Programming: A Comprehensive Chronicle)

CLICK HERE FOR MUCH MORE INFORMATION ABOUT THIS HISTORIC RELEASE.

PRESS:

Minneapolis-St. Paul Star Tribune "Here's 'One' For the Ages" by Randy Salas

Cynthia Littleton "On the Air"

Akron Beacon Journal article by Rich Heldenfels

Home Media Magazine on launch event

Thursday, October 16, 2008

Archive Interviewee Edie Adams has Died

We're sad to report that legendary stage, screen and television performer Edie Adams died Wednesday at the age of 81. She was interviewed by the Archive of American Television in 1999. We last saw her in June of 2007 when she helped us celebrate the Archive's 10th Anniversary. Edie truly supported our mission and was very active in making sure that Ernie Kovacs' legacy as a television pioneer were properly preserved. She will be missed.























Here's her full obituary from the CBS News.

Watch her full Archive of American Television interview here.

Below is one of her famous commercials as the Muriel Cigar girl.



Interview description:
Edie Adams was interviewed for four-and-a-half hours in Los Angeles, CA. Ms. Adams chronicled her long and varied career as a singer and actress. She talked about her appearances as a featured singer with the late Ernie Kovacs, on Ernie in Kovacsland which led to her collaboration with him on his groundbreaking NBC shows (produced out of Philadelphia’s NBC affiliate WPTZ): 3 to Get Ready and Kovacs in the Corner as well as (New York shows) Kovacs Unlimited and the various incarnations of The Ernie Kovacs Show. She talked about her Broadway roles in such shows as “Wonderful Town” and “L’il Abner” (for which she won a Tony Award) as well as her appearance as the fairy godmother in Rodgers and Hammerstein’s first musical for television, Cinderella. She also discussed her work in such feature films as Billy Wilder’s The Apartment and Stanley Kramer’s It’s A Mad Mad Mad Mad World. She recalled her many other television appearances such as those on Jack Paar’s morning show as well as commercials for Muriel cigars. She spoke about Ernie Kovacs’ tragic death and her continued work in television and films, including her Emmy-nominated television show Here’s Edie. She also described her work in preserving Kovacs’s legend -- archiving kinescopes and tapes of his programs for future generations. The interview was conducted by Henry Colman on March 11, 1999.

Friday, October 10, 2008

The World Needs More Ernest Borgnine!

Today the Archive interviewed film and television icon Ernest Borgnine at his home in Beverly Hills. It was a fun trip down merriment lane, as Ernie reminisced about his theatrical beginnings at the Barter Theater, to his Broadway turn in "Harvey", which led to bookings on early live dramatic series for Philco Television Playhouse (where he met director Delbert Mann), to eventually being cast as a lead in the Academy-Award-winning film "Marty" in 1955 (and made writer Paddy Chayefsky cry at the first reading!) He discussed working with Bob Aldrich and Sam Peckinpah, and entertained us with tales from his days on "McHale's Navy" with Tim Conway, Gavin MacLeod, and Joe Flynn. He joked how a girl scout group didn't know him from the 200 films he's been in, but when he said "Anyone ever hear of Spongebob Squarepants?" they howled with delight at the realization that they were in the presence of "Mermaid Man". At 91, Ernie kept us laughing with his anecdotes and amazed at his memory for the smallest details. He had much sage advice for actors of all ages, and he's beginning work on a new film in a few weeks, so there will be much more of Ernie to come. Stay tuned for postings about this archive interview going online!

Tuesday, October 07, 2008

"Philco TV Playhouse" Celebrates 60th Anniversary


The Philco TV Playhouse, which ran from 1948-55, establishing itself as one of the shining examples of the best of the dramatic anthologies during the Golden Age of Television, aired its first production on October 3, 1948. That production was an adaptation of the famed "Dinner at Eight," and Variety raved: "It can be hailed as one of tele's major achievements to date, not only in rich, warm-bodied acting, but in the whole concept."

The credit to the success of the series is attributed to legendary producer-director Fred Coe (pictured above with actor Jose Ferrer as "Cyrano"). Coe was known for his cultivation of top writers and directors, many of whom were interviewed by the Archive of American Television in its early efforts to document this period— such as writers Tad Mosel, Horton Foote, JP Miller, David Shaw; and directors: Delbert Mann and Arthur Penn. Other notable Philco writers included Paddy Chayefsky, Robert Alan Arthur, and N. Richard Naish.

Delbert Mann said of Coe in his Archive interview, "he was my guardian, he was my father figure, he was my mentor, my guide, my teacher. Everything I learned about directing I learned from Fred Coe."

Philco would go on to stage many notable shows (and in 1951 would alternate with Goodyear TV Playhouse, which likewise staged quality productions, such as "Marty"). Among Philco's most significant productions were: "An Inspector Calls" with Walter Abel (aired: 11/21/48), "Cyrano de Bergerac" with Jose Ferrer (aired: 1/9/49), "What Makes Sammy Run?" with Jose Ferrer (airdate: 4/10/49), "Macbeth" with Walter Hampden (aired: 5/1/49), "The Trip to Bountiful" with Lillian Gish (aired: 3/1/53), "A Young lady of Property" with Kim Stanley (aired: 4/5/53), "The Rainmaker" with Darren McGavin (aired: 8/16/53), "Othello" with Torin Thather and Walter Matthau (aired: 9/6/53), "The Mother" with Cyril Ritchard (aired: 4/18/54), "Middle of the Night" with Steven Hill and Eva Marie Saint (aired: 9/19/54), "The Death of Billy the Kid" with Paul Newman (aired: 7/24/55), and "A Man Is Ten Feet Tall" with Sidney Poitier (aired 10/2/55).

Tuesday, September 30, 2008

"My Three Sons" Debuts on DVD Today

My Three Sons, the popular sitcom starring Fred MacMurray, which, following its long 1960-72 run, found a further audience in syndication, has been released in a Volume One DVD. Although it never cracked the top ten in yearly ratings, this wholesome series received consistently high ratings throughout its run. The show garnered just three Emmy nominations: Outstanding Directing (Peter Tewksbury, 1961), Actor in a Supporting Role (William Demarest, 1968), and Single Performance by an Actress (Irene Hervey, 1969).

The show now lives on through DVD, as does its memorable animated titles and saxophone theme song!

The Archive has interviewed several of the behind-thhe-scenes contributors to the series including directors Fred de Cordova (half way through part 4), and Gene Reynolds (end of part 4 and beginning of part 5), as well as actress Doris Singleton (end of tape 5), who played recurring character Margaret Williams.

Wednesday, September 24, 2008

40 Years Times "60 Minutes"

The stopwatch still ticks for 60 Minutes, which first aired forty years ago today.

The newsmagazine has not only been a critical success, but also a popular one. According to The Complete Directory to Primetime Network and Cable TV Shows by Tim Brooks and Earle Marsh, 60 Minutes was the #1 rated show for the 1979-80 season as well as 1982-83 season, and a three-year run between 1991-1994 (besting Home Improvement, Roseanne, and Seinfeld in this period).

Created by legendary producer Don Hewitt, the original correspondents were Mike Wallace and Harry Reasoner. Focusing on the show's "magazine" format, Variety opined on the show's premiere that "it should easily build a larger following than either Look or Life across the nation."

Many highlights from the series entire run (including the opening of the first show) are available for viewing on the CBS News website: 60 Minutes— 40 Years At the Top (1968-2008).

Also among the program's notable contributors who have been interviewed by the Archive of American Television through the years, include: Wade Bingham, Ed Bradley, Andy Rooney, Morley Safer, Lesley Stahl, and Joseph Wershba.

Thursday, September 18, 2008

60th Primetime Emmy Awards this Sunday!

Congratulations to Archive Interviewees on their Emmy wins and nominations! 


In the Creative Arts category, Tim Conway (for Outstanding Guest Actor-- 30 Rock), Roy Christopher (for Outstanding Art Direction-- 80th Annual Academy Awards), and Sheila Nevins (for Outstanding Children's Program-- Classical Baby, and Exceptional Merit in Non-Fiction Filmmaking-- White Light/Black Rain) all won Emmy Awards!
Watch the 60th Annual Primetime Emmy Awards this Sunday, Sept. 21 on ABC! Among the Archive Interviewee nominations:
Phylicia Rashad (for Outstanding Lead Actress-- A Raisin in the Sun)
Robert Halmi, Sr. (for Outstanding Miniseries-- Tin Man)
William Shatner (for Outstanding Supporting Actor in A Drama-- Boston Legal)

Also that night, see winners announced from the voter's choice for your favorite TV Comedy and Drama moments!

Wednesday, September 10, 2008

Vote for your Favorite TV moment!

Carol Burnett channels Scarlett O'Hara, Sammy Davis Jr. plants a kiss on Archie Bunker.. as does Mulder on Scully.. Who Shot JR is finally revealed.. and it's Suzanne Pleshette at a B&B in Vermont...! Vote for your favorite TV moment! Visit emmys.abc.com to cast your ballot for the most memorable comedy or drama episode. Winners will be announced during the live Primetime Emmy telecast September 21 on ABC!

Wednesday, September 03, 2008

Peanuts Animator Bill Melendez Has Died

Bill Melendez, who was the animator for the classic Peanuts television specials, including A Charlie Brown Christmas and It's the Great Pumpkin, Charlie Brown, has died at the age of 91. In his early career, he worked on numerous Walt Disney animated features from the 1940s.

His Archive interview will be online soon and can be seen at Academy headquarters.

Interview Description:

Bill Melendez spoke about his early years at Walt Disney Studios and later at Warner Bros., where he animated cartoons featuring popular characters including Bugs Bunny and Daffy Duck. He also discussed his work for United Productions of America and John Sutherland Productions. Next, Mr. Melendez described his early collaboration with comic strip artist Charles M. Schulz on commercials featuring the Peanuts characters, and explained how that became a career-long partnership on over fifty animated Peanuts television specials. He discussed in detail some of those projects, including A Charlie Brown Christmas and It’s the Great Pumpkin, Charlie Brown. He also touched on the various Peanuts feature films and television series, including the animated miniseries This is America, Charlie Brown. Finally, Mr. Melendez spoke of other projects he has produced through his production company, including the animated The Lion, The Witch and The Wardrobe, as well as animated specials featuring comic strip characters Garfield and Cathy.

Tuesday, September 02, 2008

MSN Entertainment Celebrates 60 Years Of Emmy

MSN and the Academy of Television Arts & Sciences are presenting classic clips from 60 years of the Primetime Emmy Awards. Additionally, Emmy winners who have been interviewed by the Archive of American Television share their stories about their Emmy-winning work and their experiences on Emmy night.

Click here to access dozens of clips posted on MSN.

Below are three of the video pieces: Doris Roberts discusses her work on Everybody Loves Raymond and her Emmy acceptance speeches, Joseph Barbera talks about pitching Huckleberry Hound and what winning the Emmy meant to him, and Tim Conway & Harvey Korman talk about their work together and comedic Emmy appearances.

Emmy Archive: Doris Roberts
Emmy Archive: Doris Roberts


Emmy Archive: Joseph Barbera
Emmy Archive: Joseph Barbera


Emmy Archive: 'The Carol Burnett Show'
Emmy Archive: 'The Carol Burnett Show'

Friday, August 29, 2008

Archive Interviewee Jerry Lewis Discusses the MDA Telethon

The 43rd annual Jerry Lewis Labor Day Telethon to benefit the Muscular Dystrophy Association will be broadcast live from Las Vegas on Sunday, August 31. “I’ll never wave the white flag in the fight against muscular dystrophy and other muscle-wasting diseases,” Lewis has said. “Not only is the Telethon a chance to help put an end to these debilitating diseases, but it’s also a way to inform and educate the public, while having a darn good time.” Last year's telethon ended with a record-setting $63.8 million in donations and pledges. A new feature of this year’s broadcast is the Jerry Lewis Telethon Online Auction at www.mda.org/auctions.

Jerry Lewis was interviewed in October 2000 by the Archive of American Television where he talked about his long association with the annual event.

On doing a telethon with Dean Martin in 1949:
We did a telethon for two hours with the mail carriers in 1949. Then we went to Carnegie Hall in 1950. He did the six-hour telethon with me there… We did MDA from ‘50 to ‘52, and then there was a hiatus. I didn’t do another one till after we split up. But he was very helpful and he understood it was something I had to do and he was very supportive.

On going national with the telethon:
In 1950, Dean and I did the first telethon out of WNEW New York. That was the flagship. The flagship meaning they also had stations in New Jersey and Connecticut… Then we were on hiatus from ‘53 to about ‘57. And in that, in the interim Dean and I had split up, and then I was doing the telethon local New York, New Jersey, and Connecticut from ‘57, ‘58, ‘59. Then in 1960 I started to travel to get stations, because we were on three stations, New York and two, whatever that was. By 1960 I was already getting seventy stations, ninety stations. ‘61, ‘62, I’m into a hundred and four stations. ‘66, we went national. I had taken those years to put everybody in place and then finally get them to go with us, when we went national. So we were the first telethon to ever go in color, the first telethon to go coast-to-coast, and by the time we went into 1970 I had 213 stations. We moved the telethon in 1973 to Las Vegas for the first time. And this last year [1999] was my fiftieth year. It’s hard to believe that I’ve been doing it for 50 years. But the thing that is so magnificent is that the television medium helped me generate a billion seven hundred million dollars in these last 38 years, because twelve years I didn’t raise two hundred thousand dollars.

On the hope for a cure:
And God-willing, again, because of television, we’re going to find a cure. We’re into DNA now, we’re into genetic engineering, which is certain to give us information. And now I’m being told by the clinicians and the researchers and the lab people, you’re going to see the cure in your lifetime. I mean, it’s incredible.

On special moments on the telethon through the years:
Jack Benny came on and destroyed the audience. I had introduced him and he walked on and he looked right in the camera and he thought for a minute, he looked in the camera again. He looked around, and he said, "I don’t guarantee that I’m going to make a pledge." And we were destroyed! Everybody was hysterical. And he leaned on that for about another minute of just staring. I’ll never forget what that man did with one thought. “Cheapest man in the world,” he’s not going to make a pledge. The Ritz Brothers came on and did the act that they did in vaudeville forty years before, and it was spectacular… I had the hundred and twenty Russian Bolshoi ballet. A hundred and twenty coming right at the center camera, one at a time. One at a time. And about after a hundred and three I was in it. I did my thing. I’ll tell you one thing that I could never ever forget. Mary Passalacqua was a victim of neuromuscular disease, and I went to the hospital to see her in San Francisco, hoping that she would be better. And she was, she was skeleton-like. She was dying so badly. And we funded a thing called plasmapheresis, which flushes the bad blood out and puts new blood in, and she had been given the last rights when I arrived there. When I arrived there she was the epitome of what hero worship is, because she saw me and she, she practically came alive. And then I left, I said good-bye, never though I’d see her again, and then I get a letter from her two months later. Thanks so much for visiting me: it made the difference. I’m doing well. I’m fine. And P.S. my dream is to one day dance with you. I read the letter on television in front of eighty million people. And then I pointed to the curtain and there she came. She walked out and she and I danced dead center of that stage. There wasn’t a dry eye in the house. She’s alive and well because of our funding the plasmapheresis syndrome. And that’s probably one of the most unforgettable things, because I was trembling so, trying to dance and be cool. It was so important to her and to everyone else that was a victim. It was a special moment for people in trouble.

On his 1976 reunion with Dean Martin on the telethon:
The other great moment that’s pretty close emotionally was when Frank [Sinatra] decided to bring Dean on and have us embrace, and stop the twenty years of silence, because it was twenty years we hadn’t talked. And Frank worked it out. He worked it out so that everyone in that studio, every member of my staff— nobody knew Dean was coming on. The only one that knew it was Ed McMahon. So I could never have heard about it. It was such a total surprise. And when you look at the footage and you see the look on my face and the look on his face you see two men that love one another. It was an incredible moment. It was great television.

On the instituting of “ You’ll Never Walk Alone” as the telethon’s closing song:
In 1950 I had the occasion to go to Chicago and visit a twelve-year-old little boy who was suffering from spinal atrophy. And they had operated on him and put a shunt in his spine so he could sit up. And when he saw me he said, I got to tell you something. I just love what you do, and, and you know, you should have a theme song. Twelve years old. I said, what do you mean, a theme song? You should have a song for all of us kids. Your kids. I said, a song like what? He said, “You’ll Never Walk Alone.” And it was like I was hit between the eyes with a bullet. What? Of course, I know that lyric, I know where he’s coming from. But he was a very bright twelve-year-old little boy. Speaking for all of the kids that were in trouble. I dedicated it to him on Telethon ‘50. I’ve done it for fifty years.

Link to information about the 2008 MDA telethon.

The entire five-part Archive of American Television interview can be viewed by clicking here.

Additionally, Archive interviewee Eddie Foy III also spoke about working with Jerry Lewis on the MDA Telethons (six minutes into part 10 of his interview).

Interview Description:

Jerry Lewis was interviewed for nearly two-and-a-half hours in San Diego, CA. Mr. Lewis described his rise to stardom and his work on early television, including hosting The Colgate Comedy Hour with his partner, Dean Martin. Mr. Lewis spoke of his many accomplishments in the entertainment industry and his major work in television, including his annual telethons for the Muscular Dystrophy Association. The interview was conducted by Sam Denoff.

Tuesday, August 26, 2008

TV Golden Age Writer Tad Mosel has Died


Tad Mosel, one of the group of writers who came to define the Golden Age of Television in the 1950s, has died at the age of 86. Among Mosel's most well-known teleplays were: "The Out-of-Towners" (for Studio One), "The Five Dollar Bill" (for Studio One), and an adaptation of "The Petrified Forest" (for Producers' Showcase). He was Emmy-nominated in 1977 for his work on the miniseries The Adams Chronicles. He received a WGA nomination for his feature film screenplay of Up the Down Staircase.

Mosel won the Pulitizer Prize for drama for the play "All the Way Home" an adaptation of James Agee's A Death in the Family.

Tad Mosel was one of the Archive's earliest interviewees. Click here to view his entire 13-part interview.

"A golden age is a flowering, plain and simple, historically, artistically, it is a flowering. It is not a zenith, it is never been considered a zenith. It is a flowering and that is what television was doing in the fifties, it was flowering. They say we've got a new golden age, well you can't have another golden age, you only get one.... it was a decade of opportunity. Never to my knowledge, at any point in the history of this country was there such a chance for talent. As I said if you could write, you couldn't help but get discovered. Hanging on was another matter, but you could get discovered, same with actors, it used hundreds of actors every week. Never anywhere at anytime was there so much work for creative people. And that's pretty golden, I always say there was gold dust in the air." — Tad Mosel (from part 12 of his Archive interview)


Interview description:
Tad Mosel was interviewed for six-and-a-half hours in Concord, NH. He spoke about the challenges and thrills of writing for Fred Coe and David Susskind on live dramas including The Philco/Goodyear Playhouse, Playhouse 90, and Studio One. He spoke about many of his plays including his first original television play, "Ernie Barger is 50," which appeared on Philco. The interview was conducted by Michael Rosen on October 18, 1997.

Tuesday, August 19, 2008

TV's Most Memorable Moments - Vote online!

The 60th Primetime Emmy Awards are soon approaching, and many of our Archive interviewees have been honored with nominations this year. Visit emmys.com/abc to watch and vote on your favorite comedy and dramatic moments from classic television shows. The audience favorites will be revealed on the Emmy Awards telecast on September 21 on ABC.

The Many Layers of Julia Child


The National Women's History Museum exhibit, Clandestine Women: The Untold Stories of Women in Espionage, highlights the story of an unlikely operative, Julia Child.

It has recently been brought to light that decades before becoming a famous chef, Julia Child, in 1944, worked for the OSS. She helped the U.S. spy agency develop shark repellent, used to combat German U-boats during World War II.

The exhibit can be seen at the Women in Military Service for America Memorial at Arlington Cemetery.

Julia Child was interviewed by the Archive of American Television on June 25, 1999

From Part 1 of her Archive interview: “The OSS began to recruit people to go to the Far East. And I knew eventually I’d get to Europe, at that point I’d only been to Tijuana, and I was anxious to go to Europe some time, but I knew I’d probably never get to the Far East, so I volunteered. And again, the only thing open was in the files. So, I went, I joined up and we had a long ocean voyage. We all met in Long Beach, California. It was said we were not supposed to tell anyone where we were going or what we were doing and it was all so secret. And then we got to this departure thing and there was a great big sign on it saying U.S. Military Departure for the Far East. And we went, there were, I think we had twelve women going over to join the OSS detachment, and we, all twelve in a cabin for two, sailed to, by way of Australia, to India, and we got off at Bombay. I remember sitting out in the harbor at dawn, this kind of mist and you could smell this strange kind of odor of incense and I don’t know what. It was, and I thought, gosh, what have I got myself into here.”

Click here to access Julia Child’s entire Archive interview.

Friday, August 15, 2008

50th Anniversary of the Beginning of the Quiz Show Scandals

A year before Charles Van Doren and Herb Stempel squared off on Twenty-One, a contestant on the quiz show Dotto discovered that the program he was on was rigged. As related in Jeff Kisseloff's The Box: An Oral History of Television 1920-1961, on August 15, 1958 Dotto contestant Edward Hilgemeier, Jr. walked into the office of Assistant New York District Attorney Joseph Stone, with his complaint about the quiz show's rigging, the first spark that ignited the quiz show scandal flame.

Quiz shows were a popular genre in the 1950s— The $64,000 Question became the #1 show of the 1955-56 season, temporarily knocking out I Love Lucy from the top spot.

Twenty-One, premiering in September 1956, was as much a drama as it was a quiz show— with contestants facing off against each other while in individual isolation booths. When college instructor Charles Van Doren and bookish intellectual Herb Stempel competed with each other, it made for riveting television. But after their appearances, Stempel exposed the rigging and Van Doren, who had become a national celebrity, lost his credibility with the American public (detailed in the critically-acclaimed 1994 feature film Quiz Show).

Charles Van Doren, has recently told his story in a feature in The New Yorker, "All the Answers."

The Archive of American Television interviewed several direct participants who discussed the "Quiz Show Scandals," including Herbert Stempel. Click here to access Herbert Stempel's entire three-part interview.

Interview description:
Mr. Stempel talked about his early years, where he discovered that he could retain large amounts of information from materials that he read. He discussed how in 1956, he wrote a letter to the producers of the new quiz show Twenty-One and was quickly invited to become a contestant on the popular program. He revealed how producer Dan Enright choreographed the entire production by creating his “nerdy” look and secretly providing Stempel with the answers to specific quiz questions. Mr. Stempel talked about his repeated appearances on the show, and his orchestrated defeat by Charles Van Doren – before which he was promised a job on the show and other benefits. When the job did not come through, Mr. Stempel approached the authorities, further igniting what became known as the “Quiz Show Scandals.” Mr. Stempel talked about his testimony and his ultimate return to private life, where he continues to work for the New York transportation system.