![]() ![]() Following that particular train of thought, one could and should also question why the narrative of a producer’s influence on film tends to center the relationship between them and the director. Regarding cinema, this is especially true, seeing as it’s one of the more intrinsically collaborative artforms-making blanket statements on the dynamic of its makers would be a fool’s errand. ![]() In any form, essentialism is never a good school of thought to bring into historical considerations or art criticism. Those two have escaped the vilifying fate of the David and Goliath archetype, but they’re certainly not the only ones who deserve to be spared. Arthur Freed too, for no individual did more to define the midcentury musical than MGM’s very own music man. Val Lewton is another example of a producer some might rightfully call an auteur, his RKO horror movies having a long-lasting legacy, even beyond those helmed by Jacques Tourneur. Van Dyke, 1938) being completed according to his vision after the producer had met an untimely end in 1936. Thalberg’s influence managed to last beyond death, with The Good Earth (Sidney Franklin, 1937) and Marie Antoinette (W.S. And they were his films more than they were anybody else’s, so strong was his control over their making. For as much as one might bristle at the tales of Thalberg’s iron-fisted disputes with Stroheim, his productions marked an era of American Film History. Maybe it’s even been too influential, robbing the figure of the producer of a more benign reputation, of authorial intent altogether. The celebration of a director’s authorial voice, theorized to significant effect in the postwar years, has shaped some of this historical narrative. How many cinephiles have dreamed of seeing what Erich von Stroheim’s version of Greed (1924) would have been without the judicious cuts of Irving Thalberg? That’s just one example out of many, a story that has repeated itself countless times within the Hollywood industry and elsewhere. Considering the wealth of tales about producers butchering great artists’ visions, flattening complicated art into disposable Pablum, it’s easy to see why this David and Goliath archetype has persisted. ![]() ![]() From the early days of cinema to modern times, many stories have been told and re-told about the clash of producers and directors the money men fighting the creative commerce in contention with art. To cast producers in the role of the antagonist is one of film history’s most pervasive quirks. Although even that could be triggering, we suppose, if you disagree with our rankings.Essay Part of Issue #8: The Soul's Interior, The Divine Hand It’s a countdown of soaps’ all-time greatest couples. To distract ourselves from this worrisome development, let’s look, why don’t we, at the below photo gallery. The last time that the shows were shut down was in 2020, owing to the coronavirus pandemic. SAG-AFTRA is looking for many of the same concessions. Writers, whose strike is now in its second month, are asking producers for, among other things, increased residuals on streaming content, an end to “mini rooms” that greatly reduce the number of writers working on a project and restrictions on the use of artificial intelligence. (Well, maybe Days of Our Lives, which tapes what seems like years in advance.) So all the vote means, for now, is that if a deal isn’t struck, the actors will strike.Īnd while The Young and the Restless, The Bold and the Beautiful, General Hospital and Days of Our Lives could continue to air new episodes indefinitely with their regular writers picketing, there’s no way that they could do so without their casts. And SAG-AFTRA’s contract doesn’t expire until the end of the month. SAG-AFTRA won’t even begin to negotiate with the Alliance of Motion Picture and Television Producers until later this week. Mind you, that does not mean that a strike is happening. On June 5, SAG-AFTRA, the union that represents TV and movie performers, announced that its members had voted to authorize a strike with a whopping 97.91 percent in favor. Relatively Speaking: Who’s Who in 50+ of Soaps’ All-Time Greatest Families ![]()
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