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Where Hollywood Hides: Television | Movies | Music | Show Business | Writing | Producing | Directing | Acting - #13 Hollywood Casting and Writing Movies
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#13 Hollywood Casting and Writing Movies

05/06/13 • 27 min

Where Hollywood Hides: Television | Movies | Music | Show Business | Writing | Producing | Directing | Acting

Suzanne begins with the announcement of a new “Music” category at

www.WhereHollywoodHides.com, and—while reminding us she’s sooo much

younger than Bob—lays claim to being a lifelong Beatles fan.

For his part, Bob admits that he’s just “a rock-and-roll kind of guy”

and would’ve bet the farm that I Want to Hold Your Hand would never

make the charts. So much for his musical tastes...

The episode moves on to what Bob himself describes as his “greatest

career failure” while under contract to Aaron Spelling Productions writing and

producing Dark Mansions for ABC-TV. It’s a tale of classic Hollywood

casting politics as Bob sets the record straight as to exactly why former

movie queen Loretta Young never got the part in the film that eventually

went to Oscar winner Joan Fontaine.

Bob reveals the nature of production and budgets in Spelling’s 1980s-era

Hollywood, as well as the rationale (follow the money!) for the excessive

proliferation of producer credits seen on Dark Mansions. With a tip of the hat

to the talents of Linda Purl, Michael York, Melissa Sue Anderson,

Nicollette Sheridan, and director Jerry London, Bob’s confidence in the show

never prepared him for the horrible results of an evening of sneak-preview

audience testing. It’s the story of how a “hit movie” with the promise of becoming

a network television series became an instant embarrassment for all...

as well as an immediate career bump for the fool who wrote it (that’d be Bob).

Going from “Golden Boy” to “Bob who?”, and proving the truth of

when you’re hot, your hot, and when you’re not...you’re not,

this episode is a good illustration of the pitfalls to be found on

the Hollywood career path for any writer, actor, producer, or director.

plus icon
bookmark

Suzanne begins with the announcement of a new “Music” category at

www.WhereHollywoodHides.com, and—while reminding us she’s sooo much

younger than Bob—lays claim to being a lifelong Beatles fan.

For his part, Bob admits that he’s just “a rock-and-roll kind of guy”

and would’ve bet the farm that I Want to Hold Your Hand would never

make the charts. So much for his musical tastes...

The episode moves on to what Bob himself describes as his “greatest

career failure” while under contract to Aaron Spelling Productions writing and

producing Dark Mansions for ABC-TV. It’s a tale of classic Hollywood

casting politics as Bob sets the record straight as to exactly why former

movie queen Loretta Young never got the part in the film that eventually

went to Oscar winner Joan Fontaine.

Bob reveals the nature of production and budgets in Spelling’s 1980s-era

Hollywood, as well as the rationale (follow the money!) for the excessive

proliferation of producer credits seen on Dark Mansions. With a tip of the hat

to the talents of Linda Purl, Michael York, Melissa Sue Anderson,

Nicollette Sheridan, and director Jerry London, Bob’s confidence in the show

never prepared him for the horrible results of an evening of sneak-preview

audience testing. It’s the story of how a “hit movie” with the promise of becoming

a network television series became an instant embarrassment for all...

as well as an immediate career bump for the fool who wrote it (that’d be Bob).

Going from “Golden Boy” to “Bob who?”, and proving the truth of

when you’re hot, your hot, and when you’re not...you’re not,

this episode is a good illustration of the pitfalls to be found on

the Hollywood career path for any writer, actor, producer, or director.

Previous Episode

undefined - #12 Suzanne the actress: How she did it!

#12 Suzanne the actress: How she did it!

Opening this follow-up to the previous episode with an off-the-wall giggling fit,

Bob and Suzanne quickly recover their “professional bearing” and

Suzanne recalls how she broke into the Screen Actors Guild and entered

the world of studio and network auditions. Listen as Suzanne tells

how the harsh reality of typecasting and constant rejection taught her

just how tough showbiz can be.

From a double-date with Robert DeNiro and "the method" at The Actors Studio,

to a risque bedroom scene with Bill Murray, Suzanne reveals what

"the Hollywood life" was like for a young actress

willing to try anything...once.

From start to finish, there are lessons here for any aspiring actor...

and some bottom line advice for those chasing the dream.

Next Episode

undefined - #14 Writing - Selling - Producing a Television Pilot

#14 Writing - Selling - Producing a Television Pilot

Suzanne opens discussing Ryan Seacrest’s new reality show “Montecito” and then

analyzes some hits before reviewing “The Seven Worst Reality Shows” to

ever make it on the air...while Bob shares his passion for

vinyl Rock ‘n Roll record albums.

The conversation moves on to how Bob took advantage of his “inside track”

deal with NBC Productions and his relationship with programming exec

Brandon Tartikoff to pitch and sell a pilot for Time Out for Dad, which starred

NFL Hall of Famer Dick Butkus and Harriet Nelson.

Bob tells what it was like meeting Chicago Bears linebacker Dick Butkus

for the first time, and then how Butkus held his own as a comedic actor

surrounded by first timers on a movie set.

Bob recalls his meeting withHarriet Nelson who appeared

in the show...while Suzanne lets it be known that she’s had a lifelong “thing”

for Harriet’s son, famed rocker Ricky Nelson. We also hear about the

casting process that discovered future TV star Johnny Galecki,

star of the CBS-TV series The Big Bang Theory .

Bob and Suzanne touch upon the fact that Time Out for Dad may

have been ahead of its time, dealing with the challenges faced by a

stay-at-home father married to a wife whose career is on the rise. They

reminisce about working with Scarface star Paul Shenar on the pilot, as well as

with the veteran crew members whom Bob spent time with, pumping them

for their stories of “Old Hollywood”.

Bob admits to being a “born marketer”, describing the story-point prop shoes

that he shamelessly wrote into the show in hopes of breaking into

the world of Nike’s Air Jordans, and then turns to the cruel odds of

the TV pilot process as a project goes through the various phases of

story-pitch-script-shoot...and then the dreaded decision-making that follows.

The episode closes with the realities of network programming

changes, as Bob gives his own definition of

“failure” in the world of television.

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