Seed Newsvine
Numbers are based on Live+Same Day ratings
Ratings for the week July 27-31, 2009
(Compared to Last Week/Compared to Last Year)
http://boards.soapoperanetwork.com/topic/31386-latest-ratings-good-week-for-daysbboltl/
Total Viewers
1. Y&R 4,938,000 (+2,000/-375,000)
2. B&B 3,471,000 (+209,000/-63,000)
3. DAYS 2,804,000 (+205,000/+252,000)
4. GH 2,600,000 (-106,000/-25,000)
5. OLTL 2,574,000 (+14,000/+109,000)
6. AMC 2,424,000 (-59,000/+41,000)
7. ATWT 2,284,000 (-93,000/-405,000)
8. GL 2,003,000 (-76,000/-268,000)
HH
1. Y&R 3.6/11 (same/-.2)
2. B&B 2.5/8 (+.1/-.1)
3. GH 1.9/6 (-.1/-.1)
3. OLTL 1.9/6 (+.1/same)
3. DAYS 1.9/6 (+.1/same)
6. AMC 1.8/6 (-.1/-.1)
7. ATWT 1.7/5 (same/-.2)
8. GL 1.5/4 (same/-.1)
Women 18-49 Viewers
1. Y&R 1,101,000 (+5,000/-99,000)
2. GH 817,000 (-72,000/-5,000)
3. B&B 771,000 (+9,000/+20,000)
4. OLTL 765,000 (+2,000/+36,000)
5. AMC 741,000 (+47,000/+55,000)
6. DAYS 724,000 (+27,000/+3,000)
7. ATWT 568,000 (-28,000/-75,000)
8. GL 487,000 (-49,000/-120,000)
Women 18-49 Rating
1. Y&R 1.7/11 (same/-.1)
2. B&B 1.2/7 (+.1/+.1)
2. GH 1.2/7 (-.1/same)
2. OLTL 1.2/7 (same/+.1)
5. AMC 1.1/7 (+.1/+.1)
5. DAYS 1.1/7 (same/same)
7. ATWT 0.9/5 (same/-.1)
8. GL 0.7/4 (-.1/-.2)
Girls 12-17 Viewers
1. DAYS 71,000 (-4,000/+17,000)
2. OLTL 63,000 (-12,000/-6,000)
3. Y&R 46,000 (+5,000/-9,000)
4. GH 41,000 (-46,000/+5,000)
5. AMC 30,000 (-6,000/-24,000)
6. B&B 26,000 (-4,000/-18,000)
7. ATWT 21,000 (-13,000/-31,000)
8. GL 12,000 (-11,000/-23,000)
Women 18-34 Rating
1. Y&R 1.1/7 (same/-.1)
2. AMC 0.9/6 (+.1/+.3)
2. DAYS 0.9/6 (-.1/+.1)
2. GH 0.9/5 (-.2/+.1)
2. OLTL 0.9/5 (same/+.2)
6. B&B 0.7/4 (same/+.1)
7. ATWT 0.5/3 (same/same)
8. GL 0.4/2 (-.1/-.1)
Men 18+ Viewers
1. Y&R 1,182,000 (+80,000/-111,000)
2. B&B 710,000 (+23,000/-75,000)
3. DAYS 564,000 (+70,000/+60,000)
4. GH 438,000 (-16,000/-64,000)
5. AMC 419,000 (-81,000/-8,000)
6. OLTL 415,000 (-34,000/-20,000)
7. ATWT 413,000 (-38,000/-126,000)
8. GL 370,000 (-19,000/-96,000)
-------------------------------------
Day-To-Day Ratings - HH/Total Viewers
AMC
Monday: 1.9/2,485,000
Tuesday: 2.0/2,670,000
Wednesday: 1.9/2,381,000
Thursday: 1.7/2,308,000
Friday: 1.6/2,276,000
ATWT
Monday: 1.7/2,305,000
Tuesday: 1.7/2,338,000
Wednesday: 1.5/2,037,000
Thursday: 1.8/2,472,000
Friday: 1.8/2,269,000
B&B
Monday: 2.5/3,369,000
Tuesday: 2.7/3,641,000
Wednesday: 2.4/3,210,000
Thursday: 2.6/3,713,000
Friday: 2.5/3,421,000
DAYS
Monday: 2.0/2,855,000
Tuesday: 2.0/2,813,000
Wednesday: 2.1/2,989,000
Thursday: 1.8/2,838,000
Friday: 1.7/2,525,000
GH
Monday: 1.9/2,519,000
Tuesday: 2.0/2,693,000
Wednesday: 1.9/2,516,000
Thursday: 1.9/2,617,000
Friday: 1.9/2,656,000
GL
Monday: 1.4/1,936,000
Tuesday: 1.5/2,102,000
Wednesday: 1.5/1,968,000
Thursday: 1.4/1,872,000
Friday: 1.6/2,150,000
OLTL
Monday: 2.0/2,548,000
Tuesday: 1.9/2,676,000
Wednesday: 1.8/2,437,000
Thursday: 1.8/2,542,000
Friday: 1.8/2,665,000
Y&R
Monday: 3.6/4,863,000
Tuesday: 3.8/5,245,000
Wednesday: 3.6/4,925,000
Thursday: 3.4/4,843,000
Friday: 3.5/4,814,000
----------------------
For the SEASON September 22, 2008 through August 2, 2009
HH
1. Y&R 3.7
2. B&B 2.6
3. DAYS 2.2
4. GH 2.1
5. AMC 2.0
5. OLTL 2.0
7. ATWT 1.9
8. GL 1.6
Women 18-49 Rating
1. Y&R 1.8
2. DAYS 1.5
2. GH 1.5
4. B&B 1.2
4. AMC 1.2
4. OLTL 1.2
7. ATWT 1.0
8. GL 0.8
Soap Opera Ratings, July 20-24, 2009
Posted on 30 July 2009 by Bill Gorman
(Compared to Last Week/Compared to Last Year)
Numbers are based on Live+Same Day ratings
Total Viewers
1. Y&R 4,936,000 (+333,000/-135,000)
2. B&B 3,262,000 (+192,000/-340,000)
3. GH 2,706,000 (+304,000/-128,000)
4. DAYS 2,599,000 (+14,000/+78,000)
5. OLTL 2,560,000 (+113,000/-199,000)
6. AMC 2,483,000 (+88,000/-184,000)
7. ATWT 2,377,000 (+168,000/-335,000)
8. GL 2,079,000 (+121,000/-266,000)
HH
1. Y&R 3.6/12 (+.2/-.1)
2. B&B 2.4/8 (+.1/-.3)
3. GH 2.0/6 (+.2/-.2)
4. AMC 1.9/6 (+.1/-.1)
5. OLTL 1.8/6 (same/-.2) <——- ties low rating (Last time: July 13-17, 2009)
5. DAYS 1.8/6 (same/same) <——- ties low rating (Last time: July 13-17, 2009)
7. ATWT 1.7/6 (+.1/-.3)
8. GL 1.5/5 (+.1/-.2)
Women 18-49 Viewers
1. Y&R 1,096,000 (+70,000/-59,000)
2. GH 889,000 (+90,000/-34,000)
3. OLTL 763,000 (+36,000/-58,000)
4. B&B 762,000 (+95,000/-53,000)
5. DAYS 697,000 (-49,000/+18,000)
6. AMC 694,000 (+7,000/-110,000)
7. ATWT 596,000 (+46,000/-91,000)
8. GL 536,000 (+60,000/-126,000)
Women 18-49 Rating
1. Y&R 1.7/11 (+.2/-.1)
2. GH 1.3/8 (+.1/-.1)
3. OLTL 1.2/7 (+.1/same)
4. DAYS 1.1/7 (same/+.1)
4. B&B 1.1/7 (+.1/-.1)
6. AMC 1.0/7 (same/-.2)
7. ATWT 0.9/6 (+.1/-.1)
8. GL 0.8/5 (+.1/-.2)
Girls 12-17 Viewers
1. GH 87,000 (+34,000/+47,000)
2. DAYS 75,000 (+13,000/+17,000)
2. OLTL 75,000 (+13,000/+8,000)
4. Y&R 41,000 (-3,000/-10,000)
5. AMC 36,000 (+6,000/-16,000)
6. ATWT 34,000 (+10,000/-4,000)
7. B&B 30,000 (same/-3,000)
8. GL 23,000 (-13,000/-6,000)
Women 18-34 Rating
1. Y&R 1.1/7 (+.1/same)
1. GH 1.1/7 (+.1/+.1)
3. DAYS 1.0/6 (same/+.2)
4. OLTL 0.9/6 (same/same)
5. AMC 0.8/5 (same/same)
6. B&B 0.7/4 (same/same)
7. GL 0.5/3 (+.1/-.1)
7. ATWT 0.5/3 (-.1/-.1)
Men 18+ Viewers
1. Y&R 1,102,000 (+80,000/-85,000)
2. B&B 687,000 (+54,000/-89,000)
3. AMC 500,000 (+38,000/+17,000)
4. DAYS 494,000 (+37,000/-50,000)
5. GH 454,000 (+49,000/-70,000)
6. ATWT 451,000 (+82,000/-81,000)
7. OLTL 449,000 (+22,000/-60,000)
8. GL 389,000 (+38,000/-60,000)
————————————–
Day-To-Day Ratings – HH/Total Viewers
AMC
Monday: 2.0/2,590,000
Tuesday: 1.9/2,589,000
Wednesday: 1.8/2,393,000
Thursday: 1.8/2,442,000
Friday: 1.8/2,401,000
ATWT
Monday: 1.8/2,643,000
Tuesday: 1.7/2,374,000
Wednesday: 1.7/2,253,000
Thursday: 1.8/2,344,000
Friday: 1.7/2,269,000
B&B
Monday: 2.5/3,454,000
Tuesday: 2.4/3,362,000
Wednesday: 2.4/3,119,000
Thursday: 2.3/3,092,000
Friday: 2.4/3,283,000
DAYS
Monday: 1.9/2,739,000
Tuesday: 1.8/2,552,000
Wednesday: 1.9/2,700,000
Thursday: 1.9/2,601,000
Friday: 1.7/2,400,000
GH
Monday: 2.0/2,736,000
Tuesday: 2.2/3,086,000
Wednesday: 1.9/2,646,000
Thursday: 2.0/2,668,000
Friday: 1.7/2,395,000
GL
Monday: 1.6/2,331,000
Tuesday: 1.5/2,191,000
Wednesday: 1.5/2,013,000
Thursday: 1.4/1,918,000
Friday: 1.4/1,944,000
OLTL
Monday: 1.9/2,640,000
Tuesday: 2.0/2,855,000
Wednesday: 1.8/2,471,000
Thursday: 1.8/2,468,000
Friday: 1.7/2,365,000
Y&R
Monday: 3.7/5,113,000
Tuesday: 3.7/5,062,000
Wednesday: 3.7/4,968,000
Thursday: 3.4/4,776,000
Friday: 3.5/4,758,000
———————-
For the SEASON September 22, 2008 through July 26, 2009
HH
1. Y&R 3.7
2. B&B 2.6
3. DAYS 2.2
4. GH 2.1
5. AMC 2.0
5. OLTL 2.0
7. ATWT 1.9
8. GL 1.6
Women 18-49 Rating
1. Y&R 1.8
2. DAYS 1.5
2. GH 1.5
4. B&B 1.2
4. AMC 1.2
4. OLTL 1.2
7. ATWT 1.0
8. GL 0.8
Showing posts with label Gary Tomlin. Show all posts
Showing posts with label Gary Tomlin. Show all posts
Wednesday, August 19, 2009
Friday, January 23, 2009
Jeffrey Immelt, Jeffrey Zucker, Michael Lynton, Ken Corday
Ken Corday
Gary Tomlin
Dena Higley
Corday Productions
818-840-4968
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
212-664-4085
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
(310) 244-2626
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. When it comes to film and television, every project is a collaborative effort.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success
Betty Corday and Irna Philips created a show that was based on romance, suspense, drama and comedy. They valued the creative effort of both the cast and crew. Betty's motto, "Don't lie to the fans; Respect your talent" was one of the main pillars that made Days an icon in television history, as was Irna's steadfast determination to create the best show possible. These two women created a genre by not accepting less than the best; they bucked the system and convinced the networks to see it their way. Not only were they were able to invent a financially profitable product that lasted for decades, but they also did so in such away that the fans stayed loyal from generation to generation.
In the past two years, you have managed to destroy everything they created. You have turned Days into nothing more than soft porn. The fans didn't just leave; you drove them away with the endless triangles, lack of real story telling, and the gutting of the established characters. Instead of focusing on the veteran actors and established characters, you created new characters that were poor written. Most high school plays are not only better produced, but also have higher quality of talent than the new actors you have brought in. Let's face it your writing staff couldn't write themselves out of wet paper bag with Freddy Krueger's help.
Like most soap fans, I started watching because of my mother and grandmother. When Dark Shadows was cancelled, she switched to Days and Another World. Even when I worked at an ABC affiliate, I would record and watch both shows. When NBC cancelled Another World, I stopped watching NBC except for Days. The firing of Dee and Drake was the last straw. Not only am I done with Days, but NBC as well. The only demographics the show still appeals to are teeny-boppers and high school drop outs that have pie in the eye dreams of marrying a millionaire even though they can’t put a coherent simple sentence together. Neither of which has the buying power to sustain or attract a profitable commercial sponsorship. You have tossed away viewers who have been loyal for decades in favor of those who are insistent and unreliable as their whims change from moment to moment--fad to fad.
When Days is cancelled in a couple of months, I will take comfort in the fact that Corday, Tomlin and Higley will be forever be remembered for the destruction of a beloved icon. Only a total moron would hired them after the hack job they did on a viable profit show.
Theresa Chaze
Gary Tomlin
Dena Higley
Corday Productions
818-840-4968
NBCUNI.COM FEEDBACK
100 Universal City Plaza
Universal City, CA 91608
212-664-4085
Sony Pictures Entertainment
12102 West Washington Blvd
Culver City, CA 90232-3195
(310) 244-2626
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. When it comes to film and television, every project is a collaborative effort.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success
Betty Corday and Irna Philips created a show that was based on romance, suspense, drama and comedy. They valued the creative effort of both the cast and crew. Betty's motto, "Don't lie to the fans; Respect your talent" was one of the main pillars that made Days an icon in television history, as was Irna's steadfast determination to create the best show possible. These two women created a genre by not accepting less than the best; they bucked the system and convinced the networks to see it their way. Not only were they were able to invent a financially profitable product that lasted for decades, but they also did so in such away that the fans stayed loyal from generation to generation.
In the past two years, you have managed to destroy everything they created. You have turned Days into nothing more than soft porn. The fans didn't just leave; you drove them away with the endless triangles, lack of real story telling, and the gutting of the established characters. Instead of focusing on the veteran actors and established characters, you created new characters that were poor written. Most high school plays are not only better produced, but also have higher quality of talent than the new actors you have brought in. Let's face it your writing staff couldn't write themselves out of wet paper bag with Freddy Krueger's help.
Like most soap fans, I started watching because of my mother and grandmother. When Dark Shadows was cancelled, she switched to Days and Another World. Even when I worked at an ABC affiliate, I would record and watch both shows. When NBC cancelled Another World, I stopped watching NBC except for Days. The firing of Dee and Drake was the last straw. Not only am I done with Days, but NBC as well. The only demographics the show still appeals to are teeny-boppers and high school drop outs that have pie in the eye dreams of marrying a millionaire even though they can’t put a coherent simple sentence together. Neither of which has the buying power to sustain or attract a profitable commercial sponsorship. You have tossed away viewers who have been loyal for decades in favor of those who are insistent and unreliable as their whims change from moment to moment--fad to fad.
When Days is cancelled in a couple of months, I will take comfort in the fact that Corday, Tomlin and Higley will be forever be remembered for the destruction of a beloved icon. Only a total moron would hired them after the hack job they did on a viable profit show.
Theresa Chaze
Sunday, January 11, 2009
Reality TV: Maximize Profits With Discount Entertainment
Reality TV: Maximize Profits With Discount Entertainment
In the entertainment industry, it can truly be said that everything old is new again. From the beginning of the film industry to the current contract negotiations, studio executives have attempted to keep the lion share of the profits, while denying the necessity or importance of the skilled workers and talent that make the industry possible. The movement towards reality shows is just latest in the long line of attempts to devalue industry professionals in order to keep salaries and benefits low.
The American film industry was created by pioneers who weren't thinking about changing the world, but how to make a quick buck. Nickelodeon owners quickly learned that the true money was to be made by producing films instead of just showing them. The ruthless competition between the studios eventually led to the top nine forming the Motion Pictures Patient Company, which signed an exclusive contract for the film stock produce by the George Eastman factory. The contract created a monopoly that not only controlled who could produce films, but also which films could be made and where the films could be shown. Anyone failing to meet the Trust, as the Motion Picture Patient Company came to be known, was either excluded from the industry or found themselves to be the target of violent attacks.
The strangle hold the Trust held on the business cascaded throughout the industry. Independent film producers were denied access to film stock made in the United States. Although they could buy stock from other countries, they also had additional difficulties with processing the film. In addition, the Trust was known to use strong arm tactics to shut down offices and destroy sets. In spite of public interest, on-screen talent was considered easily replaceable by the studios and was listed only by their character name in the credits. By limiting the information, studios prevented the actors from building a fan base that would give her or him financial or creative leverage. Distributors were required not only pay a fee to distribute Trust films, but they were also limited to showing only films produced by the Trust studios. To do other would bring down the Trust’s wrath. Not only would films be withheld, but their Nickelodeon would be subject to the same violence as the filmmakers. Between the anti-trust court battles and the influx of foreign film stock, the Motion Picture Patents Company was busted in 1917, clearing the way not only for independent film makers but for the actors and production staff to start receiving their due.
The independents were not only more willing to take risks on subject matter, but they saw the profit in creating a star system. They realized that in the short run it would cost more in salaries, but in the long run the profits would be much greater. Signing actors to exclusive contracts insured that their fan base would also stay loyal to the studio. Although the stars gained in notoriety, they lost independence. Morality clauses in the contracts gave the studio executive a great deal of control over their private as well as professional lives. Bound by contracts, actors were assigned roles based availability instead of desire to play the role or compatibility for the part. Contract actors received a weekly paycheck whether or not they worked; therefore, the studios used them as frequently as possible, even if the connection between role and actor had to be forced.
When the Supreme Court ruled that the ownership of theaters and film distribution was a violation of the Sherman Antitrust Act, the studio contracts was brought to an end. Having to compete for theatrical screens forced the studios to limit the number of movies they released a year and increase the quality of the productions. Instead, cast and crew were hired for individual projects. No longer held by the rigid contract system, actors, directors, producers and the technical crew were able to not only chose projects, but also negotiate the terms of their contracts. Whether on-screen or behind the scenes, the more popular the talent, the more control she or he has in determining the terms of the agreement.
In response to the increasing competition of networks and entertainment venues, the networks have created cheaper ‘reality” shows that do not focus on professional talent, storylines or staging. Although reality shows have been around since radio, it wasn’t until the 2000s that they became highly prolific. The shows feature ordinary people in situations that have little to do with reality; instead the shows have become a hybrid of games shows and dramas, as the participates compete against each other for prizes. Using exotic locations or sets, the audience becomes voyeurs as they are giving glimpses behind scenes. Even with million dollar prizes, these shows are cheaper to produce than those with skilled artisans.
The star system has come full circle as once again studio executives chose to use unknown players as a way of streamlining costs so that they may retain more of the profits. Instead of improving the quality of the shows to increase revenues, they chose to produce and promote entertainment shows of lower quality both in content and production values. By giving ordinary folk fifteen minutes of fame, the studios undermine the guilds and unions of the entertainment industry, thereby increasing the power of the studios to not only control but also manipulate the industry. The movement away from professional talent back to the nameless performers is a tactic taking straight from the Motion Pictures Patient Company’s hand book as they once again chose quantity over quality.
In the entertainment industry, it can truly be said that everything old is new again. From the beginning of the film industry to the current contract negotiations, studio executives have attempted to keep the lion share of the profits, while denying the necessity or importance of the skilled workers and talent that make the industry possible. The movement towards reality shows is just latest in the long line of attempts to devalue industry professionals in order to keep salaries and benefits low.
The American film industry was created by pioneers who weren't thinking about changing the world, but how to make a quick buck. Nickelodeon owners quickly learned that the true money was to be made by producing films instead of just showing them. The ruthless competition between the studios eventually led to the top nine forming the Motion Pictures Patient Company, which signed an exclusive contract for the film stock produce by the George Eastman factory. The contract created a monopoly that not only controlled who could produce films, but also which films could be made and where the films could be shown. Anyone failing to meet the Trust, as the Motion Picture Patient Company came to be known, was either excluded from the industry or found themselves to be the target of violent attacks.
The strangle hold the Trust held on the business cascaded throughout the industry. Independent film producers were denied access to film stock made in the United States. Although they could buy stock from other countries, they also had additional difficulties with processing the film. In addition, the Trust was known to use strong arm tactics to shut down offices and destroy sets. In spite of public interest, on-screen talent was considered easily replaceable by the studios and was listed only by their character name in the credits. By limiting the information, studios prevented the actors from building a fan base that would give her or him financial or creative leverage. Distributors were required not only pay a fee to distribute Trust films, but they were also limited to showing only films produced by the Trust studios. To do other would bring down the Trust’s wrath. Not only would films be withheld, but their Nickelodeon would be subject to the same violence as the filmmakers. Between the anti-trust court battles and the influx of foreign film stock, the Motion Picture Patents Company was busted in 1917, clearing the way not only for independent film makers but for the actors and production staff to start receiving their due.
The independents were not only more willing to take risks on subject matter, but they saw the profit in creating a star system. They realized that in the short run it would cost more in salaries, but in the long run the profits would be much greater. Signing actors to exclusive contracts insured that their fan base would also stay loyal to the studio. Although the stars gained in notoriety, they lost independence. Morality clauses in the contracts gave the studio executive a great deal of control over their private as well as professional lives. Bound by contracts, actors were assigned roles based availability instead of desire to play the role or compatibility for the part. Contract actors received a weekly paycheck whether or not they worked; therefore, the studios used them as frequently as possible, even if the connection between role and actor had to be forced.
When the Supreme Court ruled that the ownership of theaters and film distribution was a violation of the Sherman Antitrust Act, the studio contracts was brought to an end. Having to compete for theatrical screens forced the studios to limit the number of movies they released a year and increase the quality of the productions. Instead, cast and crew were hired for individual projects. No longer held by the rigid contract system, actors, directors, producers and the technical crew were able to not only chose projects, but also negotiate the terms of their contracts. Whether on-screen or behind the scenes, the more popular the talent, the more control she or he has in determining the terms of the agreement.
In response to the increasing competition of networks and entertainment venues, the networks have created cheaper ‘reality” shows that do not focus on professional talent, storylines or staging. Although reality shows have been around since radio, it wasn’t until the 2000s that they became highly prolific. The shows feature ordinary people in situations that have little to do with reality; instead the shows have become a hybrid of games shows and dramas, as the participates compete against each other for prizes. Using exotic locations or sets, the audience becomes voyeurs as they are giving glimpses behind scenes. Even with million dollar prizes, these shows are cheaper to produce than those with skilled artisans.
The star system has come full circle as once again studio executives chose to use unknown players as a way of streamlining costs so that they may retain more of the profits. Instead of improving the quality of the shows to increase revenues, they chose to produce and promote entertainment shows of lower quality both in content and production values. By giving ordinary folk fifteen minutes of fame, the studios undermine the guilds and unions of the entertainment industry, thereby increasing the power of the studios to not only control but also manipulate the industry. The movement away from professional talent back to the nameless performers is a tactic taking straight from the Motion Pictures Patient Company’s hand book as they once again chose quantity over quality.
Sunday, December 14, 2008
Theresa Chaze's New Internet Radio Show
Until You have walked the path, you won't know where it goes is my new internet radio show. There isn't a set discussion topic and you never know who you will meet. Spirituality, writing, or anything else that gains my attention. You are welcome to ask questions or just tell me what you think.
The first show will be Sunday December 14 at 6 pm eastern. The address is
http://www.blogtalkradio.com/theresachaze
You will have to create an account to participate, but it is free.
The first show will be Sunday December 14 at 6 pm eastern. The address is
http://www.blogtalkradio.com/theresachaze
You will have to create an account to participate, but it is free.
Tuesday, December 2, 2008
What the Fans on the NBC Boards Think of Day of Our Lives
Although there are many fan message boards for Days of our Lives. The most active one is on the NBC home site. It has one of the most diverse viewer demographics. However, one theme has been increasingly prevailant--the fans are not happy with the direction the executive producers and writers are taking Days. There have been more than one thread asking for the firing of both.
On more than one occasion, ideas that were presented on the board appeared a few weeks later on the screen; credit was never given to the posters, but it has happened consistently enough to prove that either the executive producers or the writing staff had been checking in. It is too bad that while they are swiping plot points and ideas from the fans, they don't take the time to listen to what the fans want and need. If they did, the fans would be staying instead changing the channel and ratings would be increasing instead of falling.
The viewers want:
Deidre and Drake to stay; many viewer have already stated that the actors last air date will be the last time they will watch Days.
The vets to be actively involved with storylines, not just show up occasionally to prop up the newbies.
An end to endless and continuing triangles. Enough already. Triangles are a good short term plot point, but nothing more.
New writers. The replacement need to not only know the show's history, but be able to write for vets without gutting and recreating them, created interesting new characters, and write storylines that are based on romance, suspense, drama and humor.
They were disappointed that Thanksgiving was ignored and afraid the same will happen with Christmas. Both holidays were always very special for the fans.
The following are quotes taken from the different threads.
With the show only having an eighteen month contract, I'm wondering if the scribes have any real intention of "wowing" the viewers. So far, they have failed miserably. I seriously hope that they check out these message boards to see how disheartened DAYS fans truly are. Unfortunately, the show has landed itself in the same position that PASSIONS was in not too long ago. PASSIONS received a couple of one year extensions for their contracts. But, sadly, that show has bit the dust. I shudder to think what these short contract deals mean for DAYS. It's not too promising. So, my BIG question for the scribes is what will you do to truly turn the show around? I don't know about anyone else, but I'm pretty much fed up with triangles, dead babies, lifeless characters, and the departures of vets such as Dee/Drake. For the past couple of years or so, I've done more groaning/complaining than anything else when posting about the show. I can remember when Salem was a happy place filled with love and adventure galore. It's now a shadow of its former self. The scribes are going to have to come up with something super tremendous to keep me coming back for more. I don't have any faith, however, that they will be able to deliver.
Cookfan
Okay, if DOOL continue to replace popular actors with other unknown actors. They might as well cancel the show. Enough already!!!
Thesun
Oh, Marlena is probable gone too, the way things look we will have the stupid young group and that is it.
atsvan
Why am I not surprised? Ken Corday has no desire to preserve his parents legacy! Unbelievable. Absolutely unbelievable! I do feel the end is near for our beloved show. Yes I know that we're thinking 18 months... but at this rate it's going to be a pathetic 18 months.
I'm sending you a big hug, Hartleyfan. My six year old says that hugs always make you feel better. I think in this case, though, it's going to take more than a hug to make any of us feel better.
Boomonster
So Corday gets rid of John Black yet we are still stuck with Melanie, Max, Nicole and Daniel? Why don't they just cancel the show right now! Higley and Corday obviously don't care about the show or the fans who have remained loyal. Screw them!! Just cancel the show already! Obviously, TIIC don't care about the actors or the fans. If they did, they wouldn't be firing beloved vets and bringing on more pointless newbies.
Jnjfan
I am really hoping that this is a rumor. I don't want to see John go.
Max could go back into racing, and be on the circuit... Melonie could go anywhere but Salem... Nick is going to jail so he is already out, Chelsea and Stephanie could go back to college and do it abroad... not in Salem.
Dr. Dan could just go... Roman hardly is on and has no storyline, as much as I love Roman, send him off to some training class or something. What on earth are they doing with Victor and Stefano? If they aren't going to use them for their evilness then why have them at all.
Lexie and Theo could go some where to get theo help... they have nothing to add to the show.
There are so many little characters that don't really need to be there that you could explain away that they could keep the majors.
Why are we spending so much time on Trent's murder? No offense, but some college professor should take a back seat to the Mayor's murder and they haven't done anything on finding the killer of the Mayor... We have had to deal with Trent for what 3 months after his murder... just get this over with... and lets just get rid of Melonie.
Co770
I guess Ken doesn't remember last time he decided to fire Drake? The fans went berserk. If the actors and actresses who have been on the show the longest continue to leave, they won't get to finish out their new extension. Half of the viewers will be gone. They say that they want to make room for other stories, what the heck does that mean? That they think whoever is leftover when they finish their massacre will be more important? The vets are important and they aren't on enough, and that's the reason they are in the spot they are in now. The fans would have been loving this John storyline and viewing in drones had they handled it right. They let Drake tell us about all of the stuff coming up for him in this story and they let him go!?
And not just that. Had they given the rest of the vets stories or at least given us some real stories and not this dribble we have now of slow and boring storylines, they wouldn't have to let anyone go. New people are nice, but don't sacrifice the proven formula for a new one!
I'm furious that they are just letting their talent out the door. They are really proving that they don't know what they Hell they are doing. We might as well accept cancellation and let it go.
And you know, I said before that I wouldn't stop watching. But if none of the characters I know are on the show, what's the point in watching? So im starting to rethink that. Good job Ken!
NewDaysfan
If this is indeed a fact, I can definitely guarantee to NBC that me and many of the loyal viewers who have remained, will be gone forever. I have already talked to some of these people and we are in total agreement......NO JOHN means NO VIEWERS. The show has been totally horrible but we have hung on for the last year for a glimpse of the old John returning to reunite with Marlena. Enough is enough!!
Jane083
I loved that S/L! It was creative and innovative. I would be open to bringing her back....oh if only it were up to me. I also like Sheri Anderson as HW. I don't like the direction "Hackley" is taking the show...it's lame, predictable and what she thinks is interesting... which is not what the fans find interesting.
Twisted fate
Are you happy with Days and the storylines
Definitely yes. [ 2 ] [4.08%]
yes [ 5 ] [10.20%]
Sometimes [ 10 ] [20.41%]
I'm hanging in there hoping it will get better [ 14 ] [28.57%]
not really [ 0 ] [0.00%]
Definitely no [ 9 ] [18.37%]
I fast forward through most the show. [ 4 ] [8.16%]
If I miss it, it doesn't matter. [ 2 ] [4.08%]
I have given up and am moving on to another soap. [ 1 ] [2.04%]
The best years are over all that's left is to turn off the stage lights. [ 2 ] [4.08%]
If you could have five minutes with the Executive Producers, What would you say to them?
Good job [ 1 ] [2.04%]
What are you doing? [ 15 ] [30.61%]
I have a few ideas to make things better. [ 17 ] [34.69%]
Why do you work on Days if you hate your job [ 4 ] [8.16%]
Your fired [ 12 ] [24.49%]
Honestly, I think I could have voted ALL of these:
I'm hanging in there hoping it will get better
not really
Definitely no
I fast forward through most the show.
If I miss it, it doesn't matter.
I have given up and am moving on to another soap.
The best years are over all that's left is to turn off the stage lights.
And I would tell them to get back to using their "main" characters in storylines where everyone is involved, like they did in the 80s. It's time to get back to basics and stop pandering to the younger demographic already.
Soozn79
There is so much more than I could possible list here. However, what the fans want is very clear to anyone who is open enough to see it. Most fans believe that Days will be cancelled before the contract ends and at this point they don't care. The show they have loved and have been loyal too for decades doesn't exist any more. But it doesn't have to be. Change can be wonderful, but so can keeping to tradition. Two generations have grown up with Days; many of the vets feel like family. It doesn't have to end. There are still many viewers and fan who desperately want to be loyal, including me; we just want our show back--the one that was based on romance, suspense, drama and humor--not just shallow soft porn. We are a demographic that can be very profitable to any network that choices to give us back Our Days.
So Mr Fairfield, Connecticut are you willing to step up to the plate and make your voice heard. You can make the necessary changes. The power is within you to save Days. It's a good business, good karma and just a plain out and out good deed--And if you decided to take up this challenge, remember, me for the head writer gig. I would very much like the opportunity to brink back the good old Days.
On more than one occasion, ideas that were presented on the board appeared a few weeks later on the screen; credit was never given to the posters, but it has happened consistently enough to prove that either the executive producers or the writing staff had been checking in. It is too bad that while they are swiping plot points and ideas from the fans, they don't take the time to listen to what the fans want and need. If they did, the fans would be staying instead changing the channel and ratings would be increasing instead of falling.
The viewers want:
Deidre and Drake to stay; many viewer have already stated that the actors last air date will be the last time they will watch Days.
The vets to be actively involved with storylines, not just show up occasionally to prop up the newbies.
An end to endless and continuing triangles. Enough already. Triangles are a good short term plot point, but nothing more.
New writers. The replacement need to not only know the show's history, but be able to write for vets without gutting and recreating them, created interesting new characters, and write storylines that are based on romance, suspense, drama and humor.
They were disappointed that Thanksgiving was ignored and afraid the same will happen with Christmas. Both holidays were always very special for the fans.
The following are quotes taken from the different threads.
With the show only having an eighteen month contract, I'm wondering if the scribes have any real intention of "wowing" the viewers. So far, they have failed miserably. I seriously hope that they check out these message boards to see how disheartened DAYS fans truly are. Unfortunately, the show has landed itself in the same position that PASSIONS was in not too long ago. PASSIONS received a couple of one year extensions for their contracts. But, sadly, that show has bit the dust. I shudder to think what these short contract deals mean for DAYS. It's not too promising. So, my BIG question for the scribes is what will you do to truly turn the show around? I don't know about anyone else, but I'm pretty much fed up with triangles, dead babies, lifeless characters, and the departures of vets such as Dee/Drake. For the past couple of years or so, I've done more groaning/complaining than anything else when posting about the show. I can remember when Salem was a happy place filled with love and adventure galore. It's now a shadow of its former self. The scribes are going to have to come up with something super tremendous to keep me coming back for more. I don't have any faith, however, that they will be able to deliver.
Cookfan
Okay, if DOOL continue to replace popular actors with other unknown actors. They might as well cancel the show. Enough already!!!
Thesun
Oh, Marlena is probable gone too, the way things look we will have the stupid young group and that is it.
atsvan
Why am I not surprised? Ken Corday has no desire to preserve his parents legacy! Unbelievable. Absolutely unbelievable! I do feel the end is near for our beloved show. Yes I know that we're thinking 18 months... but at this rate it's going to be a pathetic 18 months.
I'm sending you a big hug, Hartleyfan. My six year old says that hugs always make you feel better. I think in this case, though, it's going to take more than a hug to make any of us feel better.
Boomonster
So Corday gets rid of John Black yet we are still stuck with Melanie, Max, Nicole and Daniel? Why don't they just cancel the show right now! Higley and Corday obviously don't care about the show or the fans who have remained loyal. Screw them!! Just cancel the show already! Obviously, TIIC don't care about the actors or the fans. If they did, they wouldn't be firing beloved vets and bringing on more pointless newbies.
Jnjfan
I am really hoping that this is a rumor. I don't want to see John go.
Max could go back into racing, and be on the circuit... Melonie could go anywhere but Salem... Nick is going to jail so he is already out, Chelsea and Stephanie could go back to college and do it abroad... not in Salem.
Dr. Dan could just go... Roman hardly is on and has no storyline, as much as I love Roman, send him off to some training class or something. What on earth are they doing with Victor and Stefano? If they aren't going to use them for their evilness then why have them at all.
Lexie and Theo could go some where to get theo help... they have nothing to add to the show.
There are so many little characters that don't really need to be there that you could explain away that they could keep the majors.
Why are we spending so much time on Trent's murder? No offense, but some college professor should take a back seat to the Mayor's murder and they haven't done anything on finding the killer of the Mayor... We have had to deal with Trent for what 3 months after his murder... just get this over with... and lets just get rid of Melonie.
Co770
I guess Ken doesn't remember last time he decided to fire Drake? The fans went berserk. If the actors and actresses who have been on the show the longest continue to leave, they won't get to finish out their new extension. Half of the viewers will be gone. They say that they want to make room for other stories, what the heck does that mean? That they think whoever is leftover when they finish their massacre will be more important? The vets are important and they aren't on enough, and that's the reason they are in the spot they are in now. The fans would have been loving this John storyline and viewing in drones had they handled it right. They let Drake tell us about all of the stuff coming up for him in this story and they let him go!?
And not just that. Had they given the rest of the vets stories or at least given us some real stories and not this dribble we have now of slow and boring storylines, they wouldn't have to let anyone go. New people are nice, but don't sacrifice the proven formula for a new one!
I'm furious that they are just letting their talent out the door. They are really proving that they don't know what they Hell they are doing. We might as well accept cancellation and let it go.
And you know, I said before that I wouldn't stop watching. But if none of the characters I know are on the show, what's the point in watching? So im starting to rethink that. Good job Ken!
NewDaysfan
If this is indeed a fact, I can definitely guarantee to NBC that me and many of the loyal viewers who have remained, will be gone forever. I have already talked to some of these people and we are in total agreement......NO JOHN means NO VIEWERS. The show has been totally horrible but we have hung on for the last year for a glimpse of the old John returning to reunite with Marlena. Enough is enough!!
Jane083
I loved that S/L! It was creative and innovative. I would be open to bringing her back....oh if only it were up to me. I also like Sheri Anderson as HW. I don't like the direction "Hackley" is taking the show...it's lame, predictable and what she thinks is interesting... which is not what the fans find interesting.
Twisted fate
Are you happy with Days and the storylines
Definitely yes. [ 2 ] [4.08%]
yes [ 5 ] [10.20%]
Sometimes [ 10 ] [20.41%]
I'm hanging in there hoping it will get better [ 14 ] [28.57%]
not really [ 0 ] [0.00%]
Definitely no [ 9 ] [18.37%]
I fast forward through most the show. [ 4 ] [8.16%]
If I miss it, it doesn't matter. [ 2 ] [4.08%]
I have given up and am moving on to another soap. [ 1 ] [2.04%]
The best years are over all that's left is to turn off the stage lights. [ 2 ] [4.08%]
If you could have five minutes with the Executive Producers, What would you say to them?
Good job [ 1 ] [2.04%]
What are you doing? [ 15 ] [30.61%]
I have a few ideas to make things better. [ 17 ] [34.69%]
Why do you work on Days if you hate your job [ 4 ] [8.16%]
Your fired [ 12 ] [24.49%]
Honestly, I think I could have voted ALL of these:
I'm hanging in there hoping it will get better
not really
Definitely no
I fast forward through most the show.
If I miss it, it doesn't matter.
I have given up and am moving on to another soap.
The best years are over all that's left is to turn off the stage lights.
And I would tell them to get back to using their "main" characters in storylines where everyone is involved, like they did in the 80s. It's time to get back to basics and stop pandering to the younger demographic already.
Soozn79
There is so much more than I could possible list here. However, what the fans want is very clear to anyone who is open enough to see it. Most fans believe that Days will be cancelled before the contract ends and at this point they don't care. The show they have loved and have been loyal too for decades doesn't exist any more. But it doesn't have to be. Change can be wonderful, but so can keeping to tradition. Two generations have grown up with Days; many of the vets feel like family. It doesn't have to end. There are still many viewers and fan who desperately want to be loyal, including me; we just want our show back--the one that was based on romance, suspense, drama and humor--not just shallow soft porn. We are a demographic that can be very profitable to any network that choices to give us back Our Days.
So Mr Fairfield, Connecticut are you willing to step up to the plate and make your voice heard. You can make the necessary changes. The power is within you to save Days. It's a good business, good karma and just a plain out and out good deed--And if you decided to take up this challenge, remember, me for the head writer gig. I would very much like the opportunity to brink back the good old Days.
Viewers control the Television Industry, Networks Listen or Lose
Viewers control the Television Industry, Networks Listen or Lose
On the surface, the television industry seems complicated; however, in many ways it is just like every other industry. In order to be successful, a business not only has to provide a product or service that customers want to buy, it also needs to provide the highest quality for the value. Broadcast television is no different except that it has two customers bases instead of one. No longer limited to two or three stations, the competition for both viewers and advertisers has not only raised the stakes, but has also shifted the power away from the networks and bestowed on the viewers
Unlike most industries, broadcast television has a dual flow of both product and customers. Both viewers and advertisers can be considered clients. Whereas the viewer seeks entertainment and information, the advertisers search for exposure for their products or services. Television sells entertainment to the viewers and viewers to the advertisers.
Whether over the air or through cable, broadcasting attracts viewers with entertainment, news and sports. Although the viewers don't lay down cash for the programming, they do pay for the entertainment by watching the commercials. By investing their time, attention and loyalty to a program or actor, the viewer becomes not only a client, but also a product the broadcast industry sells the advertisers. TV shows that respect the viewers by providing quality entertainment or accurate facts in the case of news programs will be the one to garter the viewers’ loyalty and increase their viewers. Advertisers will compete for the limited air time during these programs, thereby increasing the revenues of the networks. However, the reverse is also true; unpopular programming will not only lack viewers, but will also have to fight for sponsors by lowering the commercial rates.
Technical advances in cable and satellite dishes have increased the number of available channels, not only increasing the competition for viewers, but also diversifying the programs available. No longer limited to their local stations or the three big networks, the viewers are the ones who control the remote and decide which programs will succeed. Independent stations and new networks have shattered the monopoly of the elitist network and program executives. If the viewers don’t like what they are seeing, they simply change the channel to another one of the hundreds available; they are not bound to watch any program or event
This symbiotic relationship between viewers and advertisers gives them control over what is produced and broadcast. Viewers won't watch programming they don't like; advertisers won't buy time on shows the viewers don't like; therefore, it is the viewers who control the success or failure of a program, not the executive producers, writers, or network management. No matter what the industry insiders want or what agenda they try to push, if the viewers aren’t interested, they will not watch. Those in the industry who provide what the viewers want will be successful; those who chose to ignore the viewers’ wishes will soon find themselves on the outside, looking in at those execs, producers and writers who do fulfill the viewers needs and expectations.
.
On the surface, the television industry seems complicated; however, in many ways it is just like every other industry. In order to be successful, a business not only has to provide a product or service that customers want to buy, it also needs to provide the highest quality for the value. Broadcast television is no different except that it has two customers bases instead of one. No longer limited to two or three stations, the competition for both viewers and advertisers has not only raised the stakes, but has also shifted the power away from the networks and bestowed on the viewers
Unlike most industries, broadcast television has a dual flow of both product and customers. Both viewers and advertisers can be considered clients. Whereas the viewer seeks entertainment and information, the advertisers search for exposure for their products or services. Television sells entertainment to the viewers and viewers to the advertisers.
Whether over the air or through cable, broadcasting attracts viewers with entertainment, news and sports. Although the viewers don't lay down cash for the programming, they do pay for the entertainment by watching the commercials. By investing their time, attention and loyalty to a program or actor, the viewer becomes not only a client, but also a product the broadcast industry sells the advertisers. TV shows that respect the viewers by providing quality entertainment or accurate facts in the case of news programs will be the one to garter the viewers’ loyalty and increase their viewers. Advertisers will compete for the limited air time during these programs, thereby increasing the revenues of the networks. However, the reverse is also true; unpopular programming will not only lack viewers, but will also have to fight for sponsors by lowering the commercial rates.
Technical advances in cable and satellite dishes have increased the number of available channels, not only increasing the competition for viewers, but also diversifying the programs available. No longer limited to their local stations or the three big networks, the viewers are the ones who control the remote and decide which programs will succeed. Independent stations and new networks have shattered the monopoly of the elitist network and program executives. If the viewers don’t like what they are seeing, they simply change the channel to another one of the hundreds available; they are not bound to watch any program or event
This symbiotic relationship between viewers and advertisers gives them control over what is produced and broadcast. Viewers won't watch programming they don't like; advertisers won't buy time on shows the viewers don't like; therefore, it is the viewers who control the success or failure of a program, not the executive producers, writers, or network management. No matter what the industry insiders want or what agenda they try to push, if the viewers aren’t interested, they will not watch. Those in the industry who provide what the viewers want will be successful; those who chose to ignore the viewers’ wishes will soon find themselves on the outside, looking in at those execs, producers and writers who do fulfill the viewers needs and expectations.
.
Saturday, November 15, 2008
Days of Our Lives 11-15-08
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
The newest entry is at http://www.geocities.com/tirgana/days11-15-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
The newest entry is at http://www.geocities.com/tirgana/days11-15-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Friday, November 7, 2008
Gary Tomlin Happy with Days of Our Lives Being 4th
Okay, I'm believer in elves, dragons, and miracle. So I made one final phone call to Gary Tomlin to make my case to join the writing staff. Gary, you guard dog did her job. I was told to please not to call the number again because it is very private.
I pointed out that with Days being in last place more often than not and with their fan bases crumbling that it was time to start thinking outside the box, she told me that they were in fourth and the rest didn't matter. She was more concern about my calling than what I had to say.
So being fourth is good enough and what the fans want....well, you can see that on the screen. Can you just imagine what Betty Corday or Irna Philips would say? Betty loved Days; It was her pride and joy. It's too bad Ken or Gary can't say the same.
I pointed out that with Days being in last place more often than not and with their fan bases crumbling that it was time to start thinking outside the box, she told me that they were in fourth and the rest didn't matter. She was more concern about my calling than what I had to say.
So being fourth is good enough and what the fans want....well, you can see that on the screen. Can you just imagine what Betty Corday or Irna Philips would say? Betty loved Days; It was her pride and joy. It's too bad Ken or Gary can't say the same.
Wednesday, November 5, 2008
Days of Our Lives
Today, I once again called Gary Tomlin to ask for a job. According to his assistant, he was in a meeting. When I explained why I wanted to talk to him, she gave me very little hope that he would call me back. The show needs a head writer who cannot only do her own work, but who knows the characters and the show's history enough to be able to write storylines that will honor both. Day's used to be able suspense, drama, romance and humor; it hasn't been that way in a long time. I have already proven that I do that. Your kind words and support have proven that you enjoy my work. Unfortunately, I need a job and I need it now. I've done my best to storm the gates both directly and indirectly. I have used time and energy that I could have used to provide for my family to work towards getting the gig. It's not that I'm giving up, I still want the gig; it's just that I'm running out of road. If I wanted to be bitch about it, I would post the phone number of his direct line that I found; however, ethically I can't go there.
I will post more story when time and energy allow me too. But I'm leaving it up to those who love my work and want to see it on the screen to make it happen. Corday's Production line is public knowledge; it is 818-295-2821. The publicity line is 818-840-2810. Sony Pictures number is 310-244-5722.
I'm leaving my destiny up to the Fates and those who loved my work enough to make a difference. Whatever happens, I am very grateful to everyone who have supported me; it has meant the world to me.
I will post more story when time and energy allow me too. But I'm leaving it up to those who love my work and want to see it on the screen to make it happen. Corday's Production line is public knowledge; it is 818-295-2821. The publicity line is 818-840-2810. Sony Pictures number is 310-244-5722.
I'm leaving my destiny up to the Fates and those who loved my work enough to make a difference. Whatever happens, I am very grateful to everyone who have supported me; it has meant the world to me.
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