Delbert Martin Mann Jr. was an American television and film director. He won the Academy Award for Best Director for the film Marty, adapted from a 1953 teleplay of the same name which he had directed. From 1967 to 1971, he was president of the Directors Guild of America. In 2002, he received the DGA's honorary life member award. Mann was credited to have "helped bring TV techniques to the film world." Delbert Martin Mann Jr. was born on January 30, 1920 in Lawrence, Kansas, to Delbert Mann Sr. and Ora Mann. His father taught sociology at the University of Kansas from 1920 to 1926. In 1926, the Manns left Lawrence and moved to Pennsylvania and Chicago before settling in Nashville in 1931. There, his father continued to teach sociology at the Scarritt College for Christian Workers, his mother was a schoolteacher. Mann was head of his high school drama club when he met Fred Coe, the future television producer and director, leading a church-sponsored acting society. Coe would figure prominently in Mann's career as a director.
Coe would serve as Mann's mentor. Mann studied political science in Vanderbilt University, he graduated there in 1941 with a bachelor's degree on political science. During World War II, Mann served with the Army Air Corps as a B-24 bomber pilot and as an intelligence officer with the 8th Air Force stationed in England. Mann attended the Yale School of Drama, where he earned a master's fine arts degree in directing. Mann took a directing job at a community playhouse in Columbia, South Carolina. Mann was affiliated with the Town Theatre from 1947 to 1949, before moving to New York to work with Coe in television. In 1949, at Coe's invitation, Mann joined him in New York, where he became a stage manager and assistant director at NBC. Within months, he became an alternating director of the anthology series, The Philco Television Playhouse. Between 1949 and 1955, Mann directed more than 100 live television dramas, but after turning to films, he returned to television and directed productions for Playhouse 90, Ford Star Jubilee and other dramatic television anthology series.
He directed more than two dozen films for television from the late 1960s to the early 1990s, including Heidi, David Copperfield, Jane Eyre and All Quiet on the Western Front. In addition to Marty, other films directed by Mann include The Bachelor Party, Desire Under the Elms, Separate Tables, Middle of the Night, The Dark at the Top of the Stairs, The Outsider, That Touch of Mink, A Gathering of Eagles, Dear Heart, Fitzwilly and Night Crossing. Mann was married to Ann Caroline Gillespie from 1942 until her death by Alzheimer's disease in 2001, they had four children: Fred, David and Susan. Susan died in a car accident in 1976. During the 1980s and 1990s, Mann served on the advisory board of the National Student Film Institute, he served as honorary chairman of the institute for a one-year term. On November 11, 2007, Mann died of pneumonia at the Cedars-Sinai Medical Center, he was 87. Delbert Mann on IMDb Hollywood Reporter: Director Delbert Mann dies at 87 Archive of American Television Interview With Delbert Mann
The Glass House (1972 film)
The Glass House is a 1972 American made-for-television drama film starring Alan Alda, Vic Morrow and Clu Gulager, directed by Tom Gries. It aired on CBS on February 4, 1972. A college professor convicted of manslaughter and a prison guard both start their first day in the same prison. Vic Morrow as Hugo Slocum Alan Alda as Jonathon Paige Clu Gulager as Brian Courtland Billy Dee Williams as Lennox Kristoffer Tabori as Allan Campbell Dean Jagger as Warden Auerbach Scott Hylands as Ajax Edward Bell as Sinclair Roy Jenson as Officer Brown Alan Vint as Bree Luke Askew as Bibleback Tony Mancini as Steve Berino G. Wood as Pagonis Filming took place at Utah State Prison in Draper, Utah, 20 miles outside of Salt Lake City. Tom Gries won a Primetime Emmy Award for Outstanding Directing for a Limited Series, Movie, or Dramatic Special in 1972 for directing this TV movie; the film won the Golden Shell at the 1972 San Sebastián International Film Festival. The Glass House on IMDb
Directors Guild of America
The Directors Guild of America is an entertainment guild that represents the interests of film and television directors in the United States motion picture industry and abroad. Founded as the Screen Directors Guild in 1936, the group merged with the Radio and Television Directors Guild in 1960 to become the modern Directors Guild of America; as a union that seeks to organize an individual profession, rather than multiple professions across an industry, the DGA is a craft union. It represents members of the directorial team; the guild has various training programs whereby successful applicants are placed in various productions and can gain experience working in the film or television industry. As of 2017, the guild had more than 16,000 members; the DGA headquarters are on Sunset Boulevard in Hollywood, with satellite offices in New York and Chicago and coordinating committees in San Francisco and London. According to DGA's Department of Labor records, the guild's reported membership classifications account for 1,532 "retirees", 323 "suspended" members, 5 "life" members, compared to 13,577 "active" members.
"Suspended" members are ineligible to vote in the union. DGA contracts cover some non-members, known as agency fee payers; these non-members number 172, or about 1% of the size of the union's membership. The agreements signed between the guild and film and television production companies make various stipulations covering pay and working conditions for guild members and require that all those employed in the relevant fields on a film made by that company are guild members. Guild members are prevented from working for companies that have not signed an agreement with the DGA; this sometimes leads production companies that have no such agreement to form new companies, purely for the purpose of making a particular film, which do sign an agreement with the DGA. The Guild enters into negotiations with the AMPTP, the organization that represents the studios and production companies every three years to update and renew the Basic Agreement and the Freelance Live and Tape Television Agreement, the DGA's two major agreements.
The DGA negotiates minimum compensation levels. Many DGA members have agents; the DGA agreements secure residual payments for the reuse of members’ work in film and new media. Other than wages and basic working conditions, the DGA has a particular role in protecting the creative rights of film and TV directors; such protections that the guild provides include defining the director's role, with examples, the principle of "one director to a picture" and the right to prepare a director's cut or edit. Each of these protections is to help offset the power that producers can have over a director during the film-making process; the DGA hosts an important precursor to the Academy Awards. In its 69-year history, the DGA Award for Outstanding Directorial Achievement in Feature Film has been a near perfect barometer for both the Best Director, in some cases, the Best Picture Academy Award. Only seven times has the DGA Award winner not won the corresponding Best Director Academy Award. Honorees are awarded with a statue manufactured by Society Awards.
The rule that a film can only have one single director was adopted to preserve the continuity of a director's vision and to avoid producers and actors lobbying for a director's credit, or studios hiring multiple directors for a single film or television episode. The rule is waived only for directorial teams recognized by the DGA who have a history of working together and sharing a common vision. Examples include The Wachowskis, Jonathan Dayton and Valerie Faris, Hughes brothers, Russo Brothers, Phil Lord and Christopher Miller and the Coen brothers; the Coens for years divided credit, with Ethan taking producing credit, Joel taking directing credit, both of them sharing the writing credit until The Ladykillers in 2004. An example of the DGA refusing to recognize a directorial team was Robert Rodriguez and Frank Miller for Sin City. In the past, the DGA has engaged in disputes with the Writers Guild of America over possessory credits, first used in the 1915 film The Birth of a Nation; the WGA tried to limit possessory credits to writers, but has always been opposed by the DGA, leaving directors free to try to negotiate such credits if they wish.
Not all Hollywood directors are DGA members. Notable exceptions include Robert Rodriguez. Quentin Tarantino directed six feature films before becoming a DGA member, in 2012; those who are not members of the guild are unable to direct for the larger movie studios, which are signatories to the guild's agreements that all directors must be guild members. Thomas Schlamme has been president of the DGA since 2017; the following are the past Presidents of the Screen Directors Guild and the DGA: Alan Smithee Runaway production Stage Directors and Choreographers Society Official website
Queen of the Stardust Ballroom
Queen of the Stardust Ballroom is an American television movie directed by Sam O'Steen and executive-produced by Roger Gimbel, from the teleplay by Jerome Kass. It was broadcast by CBS on February 13, 1975. Maureen Stapleton, Charles Durning, Charlotte Rae were nominated for Emmy Awards for their performances. Bea Asher is a lonely widow, told by a waitress named Angie to get out and enjoy life. Angie takes a nervous Bea to a local dance hall, for ballroom dancing. Despite Bea stating it has been years since she has danced, Al Green asks her to dance; when Bea returns home late, her worried sister Helen arrives, having disturbed Bea's daughter. Bea decides to be her own person now, takes on a more youthful appearance, frequents the Stardust to dance with Al; this starts a romance. Bea learns of Al's life off the dance floor, he is married, albeit unhappily. Bea's new lifestyle leads her to become the annual queen at the Stardust. Maureen Stapleton as Bea Asher: a New York widow who opens a thrift store to sell items in her house to keep from having to move in with her daughter Diane and her family.
Her life soon changes. Charles Durning as Al Green: a married mailman who frequents the Stardust, he falls in love with her. Michael Brandon as David Asher: Bea's son who helps her open the store moves with his family to Los Angeles Michael Strong as Jack: Helen's husband and Bea's accountant Charlotte Rae as Helen: Bea's sister, who dislikes the changes in her Jacquelyn Hyde as Angie: Bea's waitress friend, who, in showing her how to live life, takes her to the Stardust Beverly Sanders as Diane: Bea's daughter, who dislikes the changes in her Alan Fudge as Louis: Diane's husband Florence Halop as Sylvia Gil Lamb as Harry: Bea's first dance partner at the Stardust. Feeling overmatched, she excuses herself from the dance. Nora Marlowe as Emily Orrin Tucker as M. C. Billy Goldenberg composed the music for the film. Alan and Marilyn Bergman wrote the lyrics for the songs used in the film, most of which were sung by the two leads, except for a solo by Martha Tilton; the dance sequences were choreographed by Marge Champion.
And were filmed in Myron's Ballroom in Los Angeles with some 300 regular patrons, including Dean Collins, Skippy Blair, Larry Kern, Laure' Haile appearing as extras. O'Steen won the Directors Guild of America award for Outstanding Directorial Achievement in Specials, the Writers Guild of America honored Kass for his original teleplay; the program received two Emmys, for Outstanding Achievement in Choreography and Outstanding Achievement in Cinematography for a Special. The program, released in both VHS and DVD formats, served as the basis for the 1978 Broadway musical Ballroom. Marty Queen of the Stardust Ballroom on IMDb
Brian's Song is a 1971 ABC Movie of the Week that recounts the details of the life of Brian Piccolo, a Chicago Bears football player stricken with terminal cancer after turning pro in 1965, told through his friendship with Bears teammate Gale Sayers. Piccolo's and Sayers's differing temperaments and racial backgrounds made them unlikely to become as close friends as they did, including becoming the first interracial roommates in the history of the National Football League, the film chronicles the evolution of their friendship, ending with Piccolo's death in 1970; the production was such a success on ABC that it was shown in theaters by Columbia Pictures with a major premiere in Chicago. Critics have called the movie one of the finest telefilms made. A 2005 readers poll taken by Entertainment Weekly ranked'Brian's Song' seventh in its list of the top "guy-cry" films made; the movie is based on Sayers' account of his friendship with Piccolo and coping with Piccolo's illness in Sayers' autobiography, I Am Third.
The film was written by veteran screenwriter William Blinn, whose script, one Dallas television critic called, "highly restrained, steering clear of any overt sentimentality the genuine affection the two men felt so for each other."Although based on a true story, the film did include some fictional scenes. One example was when George Halas told Gale Sayers that he wanted to bench Brian Piccolo when he suspected that there may be a problem affecting his performance, he learned of Brian's cancer. In reality, Jim Dooley was the head coach at that time, as Halas had retired from the position following the 1967 season; the movie begins as Chicago Bears rookie running back Gale Sayers arrives at team practice as an errant punt is sent to Sayers. Fellow rookie running Brian Piccolo goes to retrieve the ball, Sayers flips it to him. Before Sayers meets with coach George Halas in his office, Piccolo tells him – as a prank – that Halas has a hearing problem, Sayers acts strangely at the meeting. Sayers pranks him back by placing mashed potatoes on his seat while Piccolo is singing his alma mater's fight song.
During practice, Piccolo struggles. Sayers and Piccolo are placed as a rarity during the racial strife at the time, their friendship flourishes, in football and in life extending to their wives, Joy Piccolo and Linda Sayers. Sayers becomes a standout player, but he injures his knee in a game against the San Francisco 49ers. To aid in Sayers' recovery, Piccolo brings a weight machine to his house. In Sayers' place, Piccolo rushes for 160 yards in a 17–16 win over the Los Angeles Rams and is given the game ball. Piccolo challenges Sayers to a race across the park, where Sayers wins. Piccolo wins the starting fullback position, meaning both he and Sayers will now be on the field together, both excel in their roles. Piccolo starts to lose weight and his performance declines, so he is sent to a hospital for a diagnosis. Soon after, Halas tells Sayers that Piccolo will have part of a lung removed. In an emotional speech to his teammates, Sayers states that they will win the game for Piccolo and give him the game ball.
When the players visit the hospital, Piccolo teases them about losing the game, laughing that the line in the old movie wasn’t "let’s lose one for the Gipper." After a game against the St. Louis Cardinals, Sayers visits Joy, who reveals that Piccolo has to have another surgery for his tumor. After he is awarded the "George S. Halas Most Courageous Player Award", Sayers dedicates his award to Piccolo, telling the crowd that they had selected the wrong person for the prize and saying, "I love Brian Piccolo, I'd like all of you to love him, too, and tonight, when you hit your knees, please ask God to love him." In a call, Sayers mentions. Piccolo dies with his wife by his side; the movie ends with a flashback of Piccolo and Sayers running through the park, while the narrator says that Piccolo died at age 26 and is remembered not for how he died but for how he lived. James Caan as Brian Piccolo Billy Dee Williams as Gale Sayers Jack Warden as Coach George Halas Shelley Fabares as Joy Piccolo Judy Pace as Linda Sayers Bernie Casey as J.
C. Caroline David Huddleston as Ed McCaskey Ron Feinberg as Doug Atkins Jack Concannon as Himself Abe Gibron as Himself Ed O'Bradovich as Himself Dick Butkus as Himself Chicago Bears as Themselves The musical theme to Brian's Song, "The Hands of Time", was a popular tune during the early 1970s and has become a standard; the music for the film was with lyrics to the song by Marilyn and Alan Bergman. Legrand's instrumental version of the theme song charted for eight weeks in 1972, peaking at No. 56 on the Billboard Hot 100. Nashville pianist Floyd Cramer performed a popular version of "The Hands of Time"; the film received acclaim and is cited as one of the greatest television films made, as well as one of the greatest sports films. It holds a 92% "Fresh" score on Rotten Tomatoes based on 12 critics, with a consensus stating "Buoyed by standout performances from James Caan and Billy Dee Williams, Brian's Song is a touching tale of friendship whose central relationship transcendeds its standard sports movie moments."
Television critic Matt Zoller Seitz in his 2016 book co-written with Alan Sepinwall titled TV named Brian's Song as the fifth greatest American TV-movie of all time, stating that the film was "The dramatic and emotional template for a good number of sports films and male weepies", as
Jane Eyre (1970 film)
Jane Eyre is a 1970 British television film directed by Delbert Mann, starring George C. Scott and Susannah York, it is based on the 1847 novel Jane Eyre by Charlotte Brontë. The film had its theatrical debut in the United Kingdom in 1970 and was released on television in the United States in 1971. Jane Eyre is an orphan, raised by her abusive Aunt and cousins until she is sent to the cruel school institution of Lowood School. On leaving, she takes a position as governess to a girl named Adele at Thornfield Hall. Aware of her low rank and plain countenance, she makes the best of her situation, but Thornfield holds many secrets and despite mysterious occurrences that Jane cannot comprehend and Edward Rochester, owner of Thornfield and Adele's guardian, fall in love. When Jane is about to win the happiness she deserves, a dark secret comes to light which needs all her courage and maturity. George C. Scott as Edward Rochester Susannah York as Jane Eyre Sara Gibson as Jane Eyre as a child Ian Bannen as St. John Rivers Rachel Kempson as Mrs. Fairfax Nyree Dawn Porter as Blanche Ingram Jack Hawkins as Mr. Brocklehurst Jean Marsh as Mrs. Rochester Kenneth Griffith as Mason Angharad Rees as Louise Peter Copley as John Clive Morton as Mr. Eshton Jeremy Child as Harry Lynn Michele Dotrice as Mary Rivers Rosalyn Landor as Helen Burns Stella Tanner as Grace Poole In the 1980s, the movie was dubbed into Mandarin and released in China.
The dubbed version became dominant form by which the classic was known to the Chinese, with the dubbed monologues of the film becoming more recited than the original English. The dubbed version was released on audio cassette tape, the cassette version was more popular than the dubbed film. 1972: Emmy Award - Outstanding Achievement in Music Composition. John Williams composed the score, recording it at Anvil Studios, outside London. Jane Eyre on IMDb Jane Eyre at Rotten Tomatoes Review at JaneEyre.net
CBS is an American English language commercial broadcast television and radio network, a flagship property of CBS Corporation. The company is headquartered at the CBS Building in New York City with major production facilities and operations in New York City and Los Angeles. CBS is sometimes referred to as the Eye Network, in reference to the company's iconic symbol, in use since 1951, it has been called the "Tiffany Network", alluding to the perceived high quality of CBS programming during the tenure of William S. Paley, it can refer to some of CBS's first demonstrations of color television, which were held in a former Tiffany & Co. building in New York City in 1950. The network has its origins in United Independent Broadcasters Inc. a collection of 16 radio stations, purchased by Paley in 1928 and renamed the Columbia Broadcasting System. Under Paley's guidance, CBS would first become one of the largest radio networks in the United States, one of the Big Three American broadcast television networks.
In 1974, CBS dropped its former full name and became known as CBS, Inc. The Westinghouse Electric Corporation acquired the network in 1995, renamed its corporate entity to the current CBS Broadcasting, Inc. in 1997, adopted the name of the company it had acquired to become CBS Corporation. In 2000, CBS came under the control of Viacom, formed as a spin-off of CBS in 1971. In late 2005, Viacom split itself into two separate companies and re-established CBS Corporation – through the spin-off of its broadcast television and select cable television and non-broadcasting assets – with the CBS television network at its core. CBS Corporation is controlled by Sumner Redstone through National Amusements, which controls the current Viacom. CBS operated the CBS Radio network until 2017, when it merged its radio division with Entercom. Prior to CBS Radio provided news and features content for its portfolio owned-and-operated radio stations in large and mid-sized markets, affiliated radio stations in various other markets.
While CBS Corporation owns a 72% stake in Entercom, it no longer owns or operates any radio stations directly, though CBS still provides radio news broadcasts to its radio affiliates and the new owners of its former radio stations. The television network has more than 240 owned-and-operated and affiliated television stations throughout the United States; the company ranked 197th on the 2018 Fortune 500 of the largest United States corporations by revenue. The origins of CBS date back to January 27, 1927, with the creation of the "United Independent Broadcasters" network in Chicago by New York City talent-agent Arthur Judson; the fledgling network soon needed additional investors though, the Columbia Phonograph Company, manufacturers of Columbia Records, rescued it in April 1927. Columbia Phonographic went on the air on September 18, 1927, with a presentation by the Howard L. Barlow Orchestra from flagship station WOR in Newark, New Jersey, fifteen affiliates. Operational costs were steep the payments to AT&T for use of its land lines, by the end of 1927, Columbia Phonograph wanted out.
In early 1928 Judson sold the network to brothers Isaac and Leon Levy, owners of the network's Philadelphia affiliate WCAU, their partner Jerome Louchheim. None of the three were interested in assuming day-to-day management of the network, so they installed wealthy 26-year-old William S. Paley, son of a Philadelphia cigar family and in-law of the Levys, as president. With the record company out of the picture, Paley streamlined the corporate name to "Columbia Broadcasting System", he believed in the power of radio advertising since his family's "La Palina" cigars had doubled their sales after young William convinced his elders to advertise on radio. By September 1928, Paley bought out the Louchhheim share of CBS and became its majority owner with 51% of the business. During Louchheim's brief regime, Columbia paid $410,000 to A. H. Grebe's Atlantic Broadcasting Company for a small Brooklyn station, WABC, which would become the network's flagship station. WABC was upgraded, the signal relocated to 860 kHz.
The physical plant was relocated – to Steinway Hall on West 57th Street in Manhattan, where much of CBS's programming would originate. By the turn of 1929, the network could boast to sponsors of having 47 affiliates. Paley moved right away to put his network on a firmer financial footing. In the fall of 1928, he entered into talks with Adolph Zukor of Paramount Pictures, who planned to move into radio in response to RCA's forays into motion pictures with the advent of talkies; the deal came to fruition in September 1929: Paramount acquired 49% of CBS in return for a block of its stock worth $3.8 million at the time. The agreement specified that Paramount would buy that same stock back by March 1, 1932 for a flat $5 million, provided CBS had earned $2 million during 1931 and 1932. For a brief time there was talk that the network might be renamed "Paramount Radio", but it only lasted a month – the 1929 stock market crash sent all stock value tumbling, it galvanized Paley and his troops, who "had no alternative but to turn the network around and earn the $2,000,000 in two years....
This is the atmosphere in which the CBS of today was born." The near-bankrupt movie studio sold its CBS shares back to CBS in 1932. In the first year of Paley's wa