News from the Archive

Remembering June Foray

July 27th, 2017
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We’re sad to learn that voiceover artist June Foray has passed away at the age of 99. She began her career in radio before moving into voiceover work, voicing “Granny” in "Tweety and Sylvester" and “Witch Hazel” on Bugs Bunny, among others. Foray is perhaps best known for her work as “Rocket J. Squirrel” and “Natasha” on The Bullwinkle Show, but also contributed to many other animated programs from The Smurfs (as “Jokey”) to How the Grinch Stole Christmas (as “Cindy Lou Who”). 

Below are some selections from her 2000 interview:

On voicing “Rocky” and “Natasha” on The Bullwinkle Show

On voicing “Cindy Lou Who” on How the Grinch Stole Christmas:

On her first animation job:

Watch June Foray’s full Archive interview and read her obituary in The Washington Post.

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Adam West: My Batman

July 18th, 2017
Adam West

I don’t envy kids today. In this age of dark, sometimes morally ambiguous superheroes, it must be difficult at times to know whom to root for in comics and on screen. We’ve seen the most recent version of Superman arrested and in chains, and Batman using our own cell phones to spy on U.S. citizens. You even have the United Nations condemning the actions of The Avengers! How is a seven-year old supposed to grasp such storylines? This is one of the many reasons I’m glad the Batman I grew up with was Adam West.

 

I’m not old enough to have been around to see Batman’s original ABC run, but as a kid I watched it almost every day of my life on WPIX, channel 11 out of New York City. They had a “superhero” lineup each afternoon. “Batman, The Adventures of Superman, and The Lone Ranger, weekdays at 4” (kind of a stretch to call The Lone Ranger a superhero, but we’ll let it go.) Adam West, George Reeves, and Clayton Moore were a veritable Mount Rushmore of decency and American values in those roles. For them, the “right thing” was easy to identify in every situation, and they always took that path. Adam West in particular was a natural at playing that role.

It’s difficult for any actor to carry off wearing any superhero costume, and the batsuit is a particular challenge. Any actor runs a risk of looking silly right off the, uh, bat. Michael Keaton, Val Kilmer, and Christian Bale were actually lucky, as their batsuits were various iterations of black armor and Kevlar. They looked cool as hell. Adam West had to don a costume of blue stretchy nylon and vinyl, with printed on eyebrows, and a yellow utility belt. Against all odds, West wore it very nicely, indeed. It just seemed to belong on him. It was a tribute to West’s complete understanding of how to play this version of that character.

As a seven-year-old, I had no idea that the 1966 ABC television version of Batman was a comedy. To me, at the time, there was nothing funny about Adam West’s earnest portrayal. He was the center of everything good and right. While Batman was the reliable rock that you rooted for, it was the villains you were entertained by. Like Bewitched, Batman assembled a classic group of guest-starring character actors, the likes of whom could not exist today. Julie Newmar was the ultimate Catwoman. No one else who’s played the part has come close. Ok, scratch that. Eartha Kitt, who took over for Newmar in the final season, had a completely different interpretation, and made it her own. I would submit that every single actor who ever played the Joker (until Heath Ledger redefined him) owed a debt to Cesar Romero. Still, as wonderful as these actors were, it was Adam West’s interplay with these characters that made them seem believable, and even like tragic figures, in some cases.

I believe Adam West wasn’t even doing a parody of the comic book version of “Batman,” as much as he was of Dragnet’s Joe Friday. Completely incorruptible, a Boy Scout in a cowl and cape. This was the greatness of his performance. In the insane universe that was the 1966 Batman series, he always played it straight, never winked, never broke. I also think he made for the perfect Bruce Wayne. He was the quintessential philanthropist/playboy with a young ward. 

A quick acknowledgment of one recent on-screen superhero that I believe is a call back to the kind of hero Adam West was playing. Gal Gadot in “Wonder Woman” is a throwback to a simpler time, when good and bad was more well defined in our superheroes. The actress plays her without ambiguity, and Gadot is stunning in the role. 

Rest in peace, Adam West. You gave us Generation-X kids something to strive for, while making the adults laugh. We will not see his like again. He joins George Reeves, Clayton Moore, and Christopher Reeve in that great firmament of actors who played decent, moral role models in the sky. And boy, could we use them now.

- John Dalton

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And the 2017 Emmy Nominees Are...

July 13th, 2017
69th Primetime Emmy Awards

The 2017 Primetime Emmy Award season began today with the official nomination announcement at 8:30 AM PST! Congratulations to all the nominees for the 69th Primetime and Creative Arts Emmy Awards and a special congratulations to our interviewees who were nominated this year:

Hank Azaria for Outstanding Guest Actor In A Drama Series (Ray Donovan

Anthony Bourdain for Outstanding Informational Series Or Special (Anthony Bourdain: Parts Unknown) and Outstanding Writing For A Nonfiction Program (Anthony Bourdain: Parts Unknown)

James L. Brooks for Outstanding Creative Achievement In Interactive Media Within A Scripted Program (The Simpsons)

Mark Burnett for Outstanding Reality-Competition Program (The Voice) and Outstanding Structured Reality Program (Shark Tank)

Nancy Cartwright for Outstanding Character Voice-Over Performance (The Simpsons)

Joseph DeTullio for Outstanding Production Design For A Variety, Nonfiction, Reality Or Reality-Competition Series (Saturday Night Live)

Robert Dickinson for Outstanding Lighting Design/Lighting Direction For A Variety Special (59th Grammy Awards, The Oscars, 70th Annual Tony Awards)

Kelley Dixon for Outstanding Single-Camera Picture Editing For A Drama Series (Better Call Saul)

Elise Doganieri for Outstanding Reality-Competition (The Amazing Race

Vince Gilligan for Outstanding Director For a Drama Series (Better Call Saul), Outstanding Drama Series (Better Call Saul)

Julian Gomez for Outstanding Picture Editing For A Structured Or Competition Reality Program (The Amazing Race)

Ron Howard for Outstanding Directing For A Limited Series, Movie Or Dramatic Special (Genius), Outstanding Limited Series (Genius), Outstanding Documentary or Nonfiction Special (The Beatles: Eight Days A Week - The Touring Years)

Felicity Huffman for Outstanding Lead Actress in a Limited Series or Movie (American Crime)

Allison Janney for Outstanding Lead Actress In A Comedy Series (Mom)

Al Jean for Outstanding Creative Achievement In Interactive Media Within A Scripted Program (The Simpsons)

David E. Kelley for Outstanding Limited Series (Big Little Lies), Outstanding Writing For A Limited Series, Movie Or Dramatic Special (Big Little Lies)

Lisa Kudrow for Outstanding Structured Reality Program (Who Do You Think You Are?)

Steven Levitan for Outstanding Comedy Series (Modern Family)

Judith Light for Outstanding Supporting Actress In A Comedy Series (Transparent)

James Lipton for Outstanding Informational Series Or Special (Inside the Actors Studio)

Christopher Lloyd for Outstanding Comedy Series (Modern Family)

Julia Louis-Dreyfus for Outstanding Lead Actress In A Comedy Series (Veep)

William H. Macy for Outstanding Lead Actor In a Comedy Series (Shameless)

Jonathan Murray for Outstanding Reality-Competition Program (Project Runway) and Outstanding Unstructured Reality Program (Born This Way)

Sheila Nevins for Exceptional Merit In Documentary Filmmaking (Bright Lights: Starring Carrie Fisher And Debbie Reynolds)

Keith Raywood for Outstanding Production Design For A Variety, Nonfiction, Reality Or Reality-Competition Series (Saturday Night Live)

John Shaffner for Outstanding Production Design For A Narrative Program (Half-Hour Or Less) (The Big Bang Theory)

John Singleton for Outstanding Documentary Or Nonfiction Special (L.A. Burning: The Riots 25 Years Later)

Jeffrey Tambor for Outstanding Lead Actor In A Comedy Series (Transparent)

Bertram Van Munster for Outstanding Reality Competition (The Amazing Race

Akira Yoshimura for Outstanding Production Design For A Variety, Nonfiction, Reality Or Reality-Competition Series (Saturday Night Live)

The full list of nominees can be found here.

The Creative Arts Emmys will be held on September 9th and 10th and the Primetime Emmys Telecast will be on September 17th on CBS - be sure to tune in!

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Ron Friedman: A TV Writer’s Journey

July 10th, 2017
Ron Friedman

When I was asked to conduct an interview with writer Ron Friedman I was thrilled. Mr. Friedman’s name didn’t immediately ring a bell with me, but I’d enjoyed the challenges of my three previous interview experiences (which included my all-time hero Garry Shandling) and any chance to sit down and talk to someone on camera about their television career was exciting to me. Ron had an impressive and unbelievably prolific and diverse career. His IMDB page astounded and intrigued me. 

Ron began his career as a television writer with The Victor Borge Show, and soon after became something of a journeyman sitcom writer. His ‘60's credits included My Favorite Martian, Get Smart, The Andy Griffith Show, Bewitched, I Dream of Jeannie, and many other shows from the WNEW and WPIX syndicated lineups of my tri-state area childhood. I’d been unknowingly preparing for this interview since I was five years old.

One of the shows that immediately caught my eye was the special Lucy in London from 1966. Any time we can get a writer to talk about working for Lucille Ball is a great opportunity. There aren’t too many of them left, after all. The other show from that period I noticed was my all time favorite Gilligan’s Island episode “The Second Ginger Grant.” Yes, that’s the one where Mary Ann bumps her head and thinks she’s Ginger! 

On the day of the interview, I chatted with Ron as he was being made-up for the camera. The first thing that struck me was, at 84, he looked and was as quick on his feet as a man in his early 60s. He made every person in the room blush with his wicked, unvarnished observations and jokes. 

The interview itself was a fascinating journey from Victor Borge to Transformers. Ron was engaging, funny, and had some unique insights. We got to hear a bit of what it was like to work with and for Lucille Ball on Lucy in London. Even better, he told some hysterical anecdotes involving his writing partner on that project, Pat McCormick.

Ron’s time in sitcoms was drawing to a close in the mid-’70s, and one of his last ones was Chico and the Man, the classic starring Freddie Prinze and Jack Albertson. Ron detailed for us how it was working with old pros like Jack Albertson, Della Reese, and Scatman Crothers. Even more interestingly, he spoke at length about Freddie Prinze’s struggles with addiction and depression, and what he tried to do to intervene. Sadly, in the end, it appeared that some key people were more interested in the money the show generated than the well-being of its star attraction. I hope that having this story on tape might encourage others in all walks of life to take a different route.

Suddenly in 1976 Ron’s career took a quick and surprising turn. He started writing episodes of Starsky and Hutch. In television, once a writer is established in a genre they tend to stick with it. Ron, sensing a shift, and understanding how fluid and fickle the television industry and the viewers at home were, decided to make a big change. He also wrote scripts for Charlie’s Angels, The Dukes of Hazzard, B.J. and the Bear, and many other hour-long comedic and dramatic series. He talked to us about making that change from sitcom to hour-long, and why he felt he needed to do it.

After a stint writing for The Fall Guy, Ron made his biggest genre change of all. It would be the third act of his career, and the show he is best remembered for. Hasbro conducted a talent search for writers to create an animated series around their G.I. Joe doll. They loved Ron’s concept and allowed him to create the G.I. Joe animated series. G.I. Joe was followed by several other animated series, including Transformers, Fantastic Four, and Iron Man. Ron, who is as liberal as anyone you’re likely to meet in Hollywood, talked to us about trying to insert the right message into G.I. Joe for children, despite its inherently militaristic themes.

The remarkable story of Ron Friedman is not only about having uncommon talent. It’s about resilience, being adaptable, and having no fear. We interviewed Ron on November 7, 2016, and very soon after I realized how essential those things are in both one’s career and in life. He sets a great example, and not only for aspiring television writers. 

It was fun and informative afternoon. I hope you all enjoy watching the interview as much as I enjoyed conducting it.

- John Dalton

 

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My Name... José Jiménez. A tribute to comedy legend Bill Dana

June 19th, 2017
Bill Dana as Jose Jimenez

It is with a very heavy heart that I write this.

Bill Dana- Comedian, writer, producer, recording artist, author, 8th Mercury Astronaut ("out of a possible 7"), and beloved as his signature character, José Jiménez, passed away at his home in Nashville on Thursday, June 15th, 2017 with his wife Evy by his side. He was 92 years young.

Born William Szathmary in 1924 (the “caboose” in a family of six children in Quincy, MA, of Hungarian-Jewish descent) and growing up during The Great Depression, Bill watched his family struggle. He had "a morning and an afternoon paper route" to help out. Bill’s father Joseph once had to break apart a wooden coal bin to use as fuel to heat their house.

Bill first realized the power that humor could wield at a young age, when he was picked on by schoolchildren for his Jewish heritage. “You killed Christ”, the bullies taunted. Young Bill summoned the courage to shoot back, “No I didn’t... my mommy and daddy did. They live at 31 Mechanic Street!” A startled pause, then laughter. The first of many times comedy would save him.

As soon as he turned 18, Bill signed enlistment papers to serve in WWII, earning a Bronze Star Medal as a combat infantryman. After the war, he enrolled at Emerson College on the G.I. Bill. He began performing stand-up with fellow Emersonian Gene Wood as “Dana and Wood”. He changed his name (after his mother Dena) because, well, “Whoever heard of a Wood-en szathmary?”

On his early television appearances as "Dana & Wood":

After graduating with honors from Emerson College in 1950, Bill got a job like so many other aspiring writers of the day- as a page at NBC’s 30 Rockefeller Plaza while continuing to perform stand-up in New York City. One of Bill’s first jobs was to deliver messages to Milton Berle (whose show he would produce decades later.) He was landing gigs on The Martha Raye Show and The Imogene Coca Show. Coca would become an unofficial sponsor and champion of Bill’s. When she hosted gatherings at her apartment, Bill would sit, wide-eyed and mesmerized by the comedy legends who would drop by her salons to kibbitz and try out new material.

It was through manager Mace Neufeld that Bill first met a young comedian named Don Adams and fell in love with his voice and unique style. Bill wrote the memorable “Would you believe…?” jokes for Don that would prove the breakthrough for both of their careers, when Don performed on the original Tonight Show. Steve Allen sought out the writer in the wings that night, and Bill soon became head writer on The Steve Allen Show, sharing that legendary comedy stable with Don Hinckley, Pat HarringtonTom Poston, Dayton Allen, Gabe Dell, Arnie Sultan, and Marvin Worth. 

On his writing partnership with Don Adams:

Bill convinced his friend, Don Knotts, to do his 'Tranquilizer Salesman' sketch for Steve, which got him hired on the show. Bill also hired writing legends Buck HenrySam Denoff, and Bill Persky for the ABC incarnation of The Steve Allen Show.

Bill had grown up doing impressions from a very young age- his older brother Arthur (later a Princeton Professor) taught him five dialects before he was five years old. So when Bill wrote a sketch about a Latino Santa Claus School instructor, Steve insisted Bill perform it himself. On November 23, 1959 Bill first presented José Jimenez on The Steve Allen Show, forever changing the trajectory of his life. As Bill would love to say, “And the rest ... was Jistory!”

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The character literally rocketed to fame. Bill’s 1961 comedy album was the backdrop to the Space Race at its height. The Mercury 7 Astronauts would play the José routines as they prepared for their mission. Bill delighted to learn that the first words spoken to an American in space on May 5, 1961, were from Deke Slayton to Alan Shepard as he blasted off in his Mercury-Redstone 3: “Ok, José, you’re on your way!” which thereafter entered the national lexicon. (Later, In 1966, Bill was proudly named as America's first "Honorary Astronaut" by the Aerospace Society. In 1981, “José the Astronaut” was honored by inclusion in the Smithsonian Air and Space Museum and later enshrined at the United States Astronaut Hall of Fame in Florida.)

Bill cherished the character. More than an alter ego, Bill saw José as a fully-formed human being. When Danny Thomas offered him a role on The Danny Thomas Show, Bill embraced the opportunity to make José more of a flesh-and-blood character. Gaining even more exposure and popularity, Bill performed at the hungry i, the Ruban Bleu, the Blue Angel, the Bon Soir... even at John F. Kennedy’s Inaugural Gala. He recorded 8 best-selling comedy albums, made 17 appearances on The Ed Sullivan Show, 6 appearances on The Tonight Show Starring Johnny Carson, guested on The Hollywood Palace, The Smothers Brothers Comedy Hourand even did a “window cameo” on Batman. José/Bill were ubiquitous on 1960s television screens. His wide-eyed visage was pictured on everything from billboards to Playboy spreads.

Producer Sheldon Leonard placed an order for 26 episodes of a new show starring Bill without so much as a pilot. The Bill Dana Show debuted in 1963 on NBC, with music scored by Bill’s brother Irving Szathmary (a former arranger for the bandleader Paul Whiteman) and starring Jonathan Harris, Maggie Peterson and Don Adams (as “Byron Glick”, the bumbling hotel inspector.) Adams left to star in Get Smart with Bill’s blessing (brother Irving also scored that show’s famous theme). But just after two seasons, The Bill Dana Show was unceremoniously cancelled (by telegram), to the shock of its star and many fans, in 1965.

On The Bill Dana Show and the subsequent success of Don Adams on Get Smart:

Bill would continue to perform throughout the 1960s, sharing the stage with luminaries such as Ella Fitzgerald, Frank Sinatra, Dean Martin, Jimmy Durante, Ed Sullivan and a host of others who would play “straight man” to Jose.

At the height of the Civil Rights Era, the character he had birthed and nurtured, began to face criticism and became the object of scorn. Bill began receiving death threats over his portrayal of José. While some loved his clever use of malaprops, others saw the dialect distinction as a racial slur. Bill had a leadership role in the Latino awareness organization, LA CAUSA, and was sensitive to the controversy surrounding his character. One night in San Antonio he was receiving the IMAGE award (Involvement of Mexican Americans in Gainful Endeavor) while simultaneously a group across town picketed against the AT&T “jellow pages” ad he was featured in. To the very end, Bill maintained that José was a dignified, industrious everyman with a heart full of innocence -- anything but a stereotype. “It never was a caricature,” he said. “He’s not a Latin character. He’s a universal character.” But he was torn on how to proceed.

By 1969, the negativity because too much for him, and he publicly retired José by reading his obituary at a Congress of Mexican-American Unity fete in Los Angeles (a move he would later regret). Bill then moved to Maui with his wife Evy and turned his attention to raising awareness for other causes close to his heart. In 1970, he honored Earth Day by creating the first syndicated cartoon series devoted to the environment, “Ecolo/Jest” for The Honolulu Star-Bulletin, later published by his dear friend Leonard Stern.

Another longtime friend, Norman Lear, eased him out of semi-retirement, offering him the chance to pen an episode of his wildly popular show All in the Family. Bill wrote “Sammy’s Visit”, which earned him a Writers Guild Award and is consistently voted one of TV Guide's "Top 100 Television Episodes of All Time." He was so proud of how he conceived of a way to get the real Sammy Davis, Jr. into the fictional household of Archie Bunker, and set the scene for one of the greatest on-screen kisses of all time.

 

Bill would continue to perform, write, and produce many other television shows in the 1970s-90s--notably as the memorable “Uncle Angelo” on The Golden Girls.

As someone who battled severe depression throughout his life, Bill wanted to share the lessons he felt we could learn through the healing power of laughter. In 1982, he co-wrote The Laughter Prescription with Dr. Lawrence J. Peter. He felt so passionately about comedy as a kind of lifeboat for the soul, that he convinced his oldest friend, philanthropist Ted Cutler, to fund a new project at their alma mater, Emerson College. In 2005 the pair founded The American Comedy Archives to establish a way to study, honor, and preserve the stories from comedy legends. On why he values humor as a subject of such deserved-attention, Bill told me, "Laughter is the greatest healer, the greatest survival mechanism God ever gave us. The same stuff that gets you depressed is the same stuff that's going to give you joy. So- Amuse it or Lose it!"

On founding The American Comedy Archives:

I had the honor of co-producing the Comedy Archives with Bill. I traveled on the road with him for years, interviewing all the friends he had made throughout his career- Bea Arthur, Shecky Greene, Charles Grodin, Hugh Hefner, Jackie Mason, Jonathan Winters, and over 60 more. I was awed by this octegenarian's energy, enthusiasm, and quick wit. My grandmother used to say “in the ocean, I’m ageless.” For Bill, time seemingly stood still anytime he had the floor. Whether at The Improv or Leisure World, or even in the cab to the hotel- he delighted in getting laughs and ALWAYS did, no matter who was in the room. Anywhere he was, laughter followed.

He embraced everyone proximate to him as family. There are so many of us lucky enough to have gotten to know him as "UB" (Uncle Billy). Just a few weeks ago, I was in Nashville with him and Evy, working on his autobiography. He had TOO many ideas, too many jokes, so much so that we decided to make a facebook page for his “No News Network” where he was just beginning to weave his never-ending creativity into hashtag-worthy posts: “And now.. No news: Congressional activity suggests in 2017 whatever hits the fan will still not be distributed evenly.” He was so excited by all the newfound ways to communicate with his fans, and he orchestrated this picture to emphasize that he had a lot more to do:

And he sure did. His mind never slowed or stalled, and he never stopped writing. At 80, he went on the road with five other legends of comedy (Shelley Berman, Irwin Corey, Dick Gregory, and Mort Sahl) billed as “The Comedians.” At 92, he was writing his autobiography and had plans to produce more Comedy interviews with Emerson College. He had so much more life than just one lifetime.

Bill is survived by his best friend and cherished wife, Evelyn (Evy) Shular Dana of Walden’s Creek, Tennessee, and the author of this inferior tribute, who will always think of him as "Uncle Bill."

-Jenni Matz, Director, The Interviews

 

QUOTES:

"Bill Dana, as dear and caring as he was funny. And my GOD- he was funny!" - Norman Lear

"Bill was always there for me in the early days of my career with a smile and a joke. A loving, sensitive, funny and brilliant friend. - Herb Alpert

"He was one of the kindest, sweetest, smartest people I've ever known and it's very difficult to imagine life without him." - Kix Brooks

Everybody in the world loved Bill Dana. Bill was not just a comedian. He was a philosopher. He was funny, but he was also super-bright. He bridged the culture gap. He popularized Mexican-American relations- as a result of Bill, a lot of people were communicating on a level they hadn’t before. He was political without being in politics. When you heard “My name… José Jimenez”-- everybody put their hands down. Whatever tension existed.. vanished. I wish he was around now to solve the immigration problem! He will be missed.” -George Schlatter 

"When I was a little kid, I remember seeing José Jiménez on The Ed Sullivan Show and falling in love with him. There was a such a joy and an innocence to him-- extremely funny and unlike anyone I'd ever seen. I connected with him on a deep level. I somehow became aware that he was a character played by a man whose name was really Bill Dana. That's one of the very first times in my life I was floored. Many, Many years later, I walked into an autograph show and across the room, directly in front of me sat a man with a nametag on that said 'Bill Dana'. As I walked toward him, I had a crystal-clear realization that I could draw a straight line from seeing him as a child, to me becoming Pee-wee Herman. What an amazing honor to have then had the pleasure to become friends with Bill. He was a true legend. A maverick. And one of the very nicest people in show business. He was clever and smart. Hilarious. Sweet. Happy. In love. Genuine, and one-of-a-kind! I knoew he knew how much I admired him, was influenced by him, and loved him. Now you know too. I'm gonna miss him a lot."- Paul Reubens

Photos

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