La dirección de producción para cine y televisión by Federico Fernandez Diez
By Federico Fernandez Diez
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A deeply own, deeply hilarious memoir from one in all America's so much liked Saturday evening dwell comedians.
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Extra info for La dirección de producción para cine y televisión
You don’t have to put film in the camera. You just pretend that you’re allowing me to do this. DOUG HERZOG, executive, MTV, 1984–1995; president, Comedy Central, 1995–1998; executive, Viacom, 2004– In the summer of ’98 when we announced that Jon was going to take over The Daily Show, we had a little press conference in the lobby of the old Comedy Central offices. And Stephen Colbert showed up, as a member of the press representing The Daily Show, wanting to know why he didn’t get the job. ” That’s what Jon said to Doug Herzog.
We were officemates, and he was a real shorts-and-sandals-wearer to the office. J. was, like a lot of talented people, a bit of an odd duck. He might say the same thing about me, you know. Changing the lineup of correspondents and contributors, the on-air faces of the show, was also crucial, if less contentious. Brown and Unger left when Kilborn did; Colbert, Rocca, Beth Littleford, Frank DeCaro, and Stacey Grenrock Woods stayed on. Stewart’s first correspondent addition was Vance DeGeneres, who had a gift for the authoritative-but-vacant news reporter delivery.
One of Stewart’s comedy heroes was George Carlin, who wove social criticism into his jokes and riffs about dirty words, organized religion, and hypocritical politicians. ” He started shifting The Daily Show’s sights to target powerful people and institutions, and he began changing the tone of the show from randomly coarse to deliberately barbed. Not that he was opposed to making a good dick joke now and then. ADAM CHODIKOFF, from researcher to senior producer, 1996– It was pretty quick that things changed.