Friday Question Day, Veterans Day, and the second-to-the-last weekend for GOING GOING GONE at the Hudson Theatre. The show has been selling out every night. Come join the fun.
And now to your FQ’s:
Adam Chase gets us started.
I've been watching the new NBC show Timeless. The male lead is very attractive and I said to my wife, "they will come up with a reason to get him shirtless very soon." And in the second episode it happened. My question is how is the decision made to put actors in situations where they are shirtless or in a bra and panties? Is there pressure from the network, producers, writers who really want to see the female lead in a bra and panties?
I actually think there’s more pressure to dress provocatively on premium cable channels than broadcast networks. Shows like CALIFORNICATION and even GAME OF THRONES (at the beginning) almost had a mandate to flash a lot of skin.
Personally, I’ve never received a network request to have an actor take off a shirt or an actress dress more suggestively. But I work in comedy. My guess is it doesn’t happen very often (even on Fox). In dramas however, investigations always seem to lead to strip bars. Or maybe that's just a coincidence.
Had I received such a network request I would have refused it. Sorry, but I’m not the guy to go down to the stage and tell an actress we need to see more of her boobs.
Ironically, the few times I’ve done shows where actors take off their shirts, it’s the actors themselves who suggested it.
Stephen Marks asks:
I'm to hung over to look this up but wasn't Joe Buck the name of the Jon Voight character in Midnight Cowboy, or am I wrong?
No, you are right. Joe Buck (the sportscaster) was born (and named) one month before MIDNIGHT COWBOY opened. Now if Anthony Rizzo’s parents had named him Ratzo….
MeTv is running promos with Jamie Farr.He said the episode" Movie Night" was adlibbed but, IMBD lists multiple writers. How much adlibbing went on?
None, with all due respect to Jamie, whom I love. Even on the famous episode, THE INTERVIEW there was no ad libbing. Larry Gelbart and Gene Reynolds “interviewed” the cast members and they ad libbed their answers. Then Larry went back, and shaped their responses, adding jokes, rephrasing, cutting, etc. and produced an actual script. When the episode was filmed, the cast performed the script to the letter.
Louis Burklow asks:
Ken, how did the partnership survive your time as a baseball announcer? I believe David and you were still a team during those years, right? If so, did you only write together during the offseason? If not, how did you work it when he was in L.A. and you were in Syracuse, Baltimore, Seattle, San Diego, etc.?
Most of the time, David and I would split up a script assignment. He would write one act in LA and I’d write the other on the road. Then we put them together, talked on the phone, and did a draft together. David would also come visit me at my various baseball homes and we generally would knock out a script.
But fortunately, the TV production season begins in late summer so I was able to be back for most of it.
When I was calling games for San Diego, things were really easy, which is why I took that job. Jerry Coleman, their Hall-of-Fame lead announcer was doing the CBS Radio game of the week and the Padres needed someone to work weekends. Larry Lucchino, the president of the Padres had been the president of the Orioles when I was calling their games. He remembered and liked me and out of the blue I got a call from San Diego.
So I would either drive down to San Diego for the weekend or hop a plane Friday night for wherever the Padres were on the road.
I did that for three years and would have done it forever, but CBS lost the radio rights to ESPN so Jerry was back full-time and my services were no longer needed.
Two of those years were the most productive and INSANE of my career. In addition to calling Padres games, my series, ALMOST PERFECT got picked up so I was showrunning, writing, and directing that. Plus, I had sold a spec screenplay and was doing rewrites during weekends in hotel rooms.
Sunday morning I had the production office Fed Ex the latest version of the ALMOST PERFECT script to the hotel (today -- one click and it's there). I call the Sunday game, hop on the team charter, and head back to San Diego. During the flight I carefully work out my camera blocking for AP and rewrite another scene of my movie. Once we land, I race over to a commuter airline and take the first flight to Los Angeles. Monday morning I’m back on the stage with the camera crew assigning the shots.
Yes, I was crazy.
HAPPY VETERANS’ DAY. We owe you all a great debt we can never repay.