Spotnitz on AFI TV nominating committee
ALFORNOS
from 8 to 11 pm ET. Like the Golden Globes, the AFIs honor both film and TV.
Unlike other awards, the nominees are chosen by 13-member committees (1 for
film, 1 for TV) thru "discussion and debate" instead of secret ballots.
Frank Spotnitz is one of the lucky 13 on the first TV nominating committee,
along with:
Thomas Carter, producer/director
Diane English, producer/writer
Marian Rees, producer
Suzanne de Passe, producer
Daniel Petrie Sr., director
David Bianculli, TV critic, NY Daily News
Matt Roush, TV Guide
Diane Werts, NY Newsday
Angela M.S. Nelson, Bowling Green State U
Horace Newcomb, U of Georgia
Lynn Spigel, USC School of Cinema TV
Richard Frank, Disney TV, who chaired the committee
The 13 made the following nominations:
DRAMA SERIES
Buffy the Vampire Slayer (UPN)
Six Feet Under (HBO)
The Sopranos (HBO)
The West Wing (NBC)
COMEDY SERIES
Curb Your Enthusiasm (HBO)
Everybody Loves Raymond (CBS)
Malcolm in the Middle (FOX)
Sex and the City (HBO)
MOVIE OR MINISERIES
Anne Frank (ABC)
Band of Brothers (HBO)
Boycott (HBO)
Conspiracy (HBO)
SERIES ACTOR
James Gandolfini, The Sopranos
Michael C. Hall, Six Feet Under
Chi McBride, Boston Public
Ray Romano, Everybody Loves Raymond
SERIES ACTRESS
Edie Falco, The Sopranos
Allison Janney, The West Wing
Jane Kaczmarek, Malcolm in the Middle
Doris Roberts, Everybody Loves Raymond
MOVIE OR MINISERIES ACTOR
Kenneth Branagh, Conspiracy
Ben Kingsley, Anne Frank
Giovanni Ribisi, Shot in the Heart
Jeffrey Wright, Boycott
MOVIE OR MINISERIES ACTRESS
Tammy Blanchard, Life with Judy Garland
Judy Davis, Life With Judy Garland
Hannah Taylor Gordon, Anne Frank
Phylicia Rashad, The Old Settler
The winners have been selected by a 100 person jury including voters like:
David Ansen, Newsweek
Darren Aronofsky, director/writer
Alan Ball, writer/producer/director
Ron Bass, writer/producer
Robert Benton, director/writer
Marcy Carsey, producer
Richard Corliss, Time
Nora Ephron, writer/director/producer
Steven Farber, Movieline
Milos Forman, director
Stephen Gaghan, writer
Gary David Goldberg, producer/writer
Tim Goodman, SF Examiner
Christopher Guest, director/writer/actor
Amy Heckerling, director/writer/producer
Spike Jonze, director/actor
Callie Khouri, writer
Martin Landau, actor
Lucy Liu, actor
Brian Lowry, LA Times
Sidney Lumet, Director
Shirley MacLaine, actress
Kay McFadden, Seattle Sun Times
Joyce Millman, Salon.com
Howard Rosenberg, LA Times
Gena Rowlands, actor
Leah Rozen, People
Lisa Schwarzbaum, Ent. Weekly
John Singleton, director/writer/producer
Steven Spielberg, director/producer/writer/AFI trustee
Anne Thompson, Premiere
Kenneth Turan, LA Times
David Zurawik, Baltimore Sun
Tune in tomorrow to see the winners.
alfornos
jerry
sensible group of nominees for TV awards I've seen in quite some time.
ALFORNOS <alfo...@aol.com> wrote in message
news:20020104120353...@mb-fo.aol.com...
> DRAMA SERIES
> Buffy the Vampire Slayer (UPN)
> Six Feet Under (HBO)
> The Sopranos (HBO)
> The West Wing (NBC)
Although some might argue that Buffy is declining slightly, it's still a
well-deserved nomination especially after everyone has ignored it in
nominations for other awards for years.
> SERIES ACTOR
> James Gandolfini, The Sopranos
> Michael C. Hall, Six Feet Under
> Chi McBride, Boston Public
> Ray Romano, Everybody Loves Raymond
Unlike the GGs, this committee recognized that Michael C. Hall is the
standout of an excellent cast in Six Feet Under.
Jerry
bi...@pdq.net
says...
I'm glad to see Buffy nominated, but I was more amused that Frank Spotnitz would
be in the same room as David Bianculli (TV critic, NY Daily News) and Matt Roush
(TV Guide). Both have given scathing XF reviews recently.
Is that bad of me to chuckle over that? Ahh, so be it.
Binah
www.binah.net
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"There is no chicken wing analogy"
Mox Fulder
> The first-ever American Film Institute Awards air live on CBS tomorrow night
> from 8 to 11 pm ET. Like the Golden Globes, the AFIs honor both film and TV.
> Unlike other awards, the nominees are chosen by 13-member committees (1 for
> film, 1 for TV) thru "discussion and debate" instead of secret ballots.
> Frank Spotnitz is one of the lucky 13 on the first TV nominating committee,
> along with:
[...]
Yet, the Ex-Files did not even get on the map.
--
Al Ruffinelli <alv...@accesscom.com>
http://www.turning-pages.com/xf/
http://www.turning-pages.com/xf101/
Liz Wallace
>On 4 Jan 2002 12:04:17 -0500, ALFORNOS <alfo...@aol.com> wrote:
>> The first-ever American Film Institute Awards air live on CBS tomorrow night
>> from 8 to 11 pm ET. Like the Golden Globes, the AFIs honor both film and TV.
>> Unlike other awards, the nominees are chosen by 13-member committees (1 for
>> film, 1 for TV) thru "discussion and debate" instead of secret ballots.
>
>> Frank Spotnitz is one of the lucky 13 on the first TV nominating committee,
>> along with:
>[...]
>
>Yet, the Ex-Files did not even get on the map.
>
Oh, and if XF *had* been nominated, let me guess what you'd be
saying....
Don't strain yourself taking those easy pot-shots, Al.
Liz W.
ALFORNOS
Here are the "official" biographies of the committee members.
DAVID BIANCULLI
David Bianculli is television critic for the New York Daily News and for
National Public Radio's "Fresh Air." He has been a TV critic since 1975, with
his first official review being the premiere of NBC's SATURDAY NIGHT LIVE. He
has a Masters in Journalism and Communications from the University of Florida,
has taught TV history at Rowan University and at a faculty seminar series at
Princeton, and is the author of two books: Teleliteracy: Taking Television
Seriously and Dictionary of Teleliteracy: Television's 500 Biggest Hits,
Misses, and Events. Currently, Bianculli is at work on a book about the
history, content and legacy of THE SMOTHERS BROTHERS COMEDY HOUR.
THOMAS CARTER
Thomas Carter is a three-time winner of the Academy of Television Arts and
Sciences Emmy Award. In 1998, he received the Emmy Award for Outstanding
Television Movie and the George Foster Peabody Award for DON KING: ONLY IN
AMERICA, which he produced in partnership with HBO Pictures. He received the
Emmy twice for Best Director of a Dramatic Series for episodes of EQUAL
JUSTICE, a series he co-created and executive produced. He has been nominated
for the Emmy Award six times. He has also been the recipient of the prestigious
Directors Guild of America Award.
Carter is also well known for setting the directorial and visual style for many
distinguished television pilots, including MIAMI VICE, ST. ELSEWHERE, A YEAR IN
THE LIFE, MIDNIGHT CALLER, EQUAL JUSTICE and UC: UNDERCOVER (new on NBC).
In 1993, Carter directed his first feature film, SWING KIDS, for Hollywood
Pictures. In 1997, he directed the action/suspense film METRO, starring Eddie
Murphy for Touchstone Pictures. And, he directed his third feature film, SAVE
THE LAST DANCE, starring Julia Stiles for Paramount Pictures, which was
released in January 2001. The film has grossed $120 million worldwide to date.
Thomas Carter is a graduate of Southwest Texas State University.
SUZANNE de PASSE
Suzanne de Passe, Chairman and CEO of de Passe Entertainment, began her career
at Motown Records as Creative Assistant to Berry Gordy, subsequently rising to
the position of President of Motown Productions. She was a partner in Gordy/de
Passe Productions prior to establishing de Passe Entertainment in 1992. The
recipient of an Academy Award nomination for co-writing the screenplay LADY
SINGS THE BLUES, de Passe won two Emmy Awards and NAACP Image Awards as
executive producer of MOTOWN 25: YESTERDAY TODAY, FOREVER and MOTOWN RETURNS TO
THE APOLLO. She also served as executive producer for the highly acclaimed and
award winning miniseries LONESOME DOVE, SMALL SACRIFICES, THE JACKSONS: AN
AMERICAN DREAM and BUFFALO GIRLS.
De Passe has received numerous honors, including the AWRT (American Women In
Radio and Television) Silver Satellite Award (1999), Women in Film Crystal
Award (1988), Revlon Business Woman of the Year Award (1994) and Essence
Business Award (1989). She was inducted into the Black Filmmakers Hall of Fame
in 1990 and is the subject of two Harvard Business School case studies:
"Suzanne de Passe and Motown Productions" and "de Passe Entertainment."
De Passe served as executive producer of the situation comedies SISTER, SISTER
and SMART GUY, both of which aired on the WB Network, produced in association
with Paramount and Disney Television, respectively.
Additionally, she served as executive producer of the four-hour documentary
MOTOWN 40: THE MUSIC IS FOREVER, which aired on ABC. She was executive producer
of THE TEMPTATIONS, the four-hour Emmy Award-winning miniseries for NBC;
executive producer of ZENON, GIRL OF THE 21st CENTURY which aired on the Disney
Channel; executive producer of THE LORETTA CLAIBORNE STORY for Disney/ABC
Sunday Night; executive producer of CHEATERS, which aired on HBO in May 2000;
as well as ZENON: THE ZEQUEL, which aired in January 2001 on the Disney
Channel. Most recently, de Passe served as executive producer on the 32nd
ANNUAL NAACP IMAGE AWARDS, which aired March 2001 on the Fox Network.
DIANE ENGLISH
Diane English created and wrote the groundbreaking CBS comedy MURPHY BROWN,
which she executive produced with her husband, Joel Shukovsky. It was the first
series under the Shukovsky English Entertainment banner. Since its premiere in
November 1988, MURPHY BROWN has received 62 Emmy nominations, 18 Emmy Awards
(including two for Best Comedy Series) and the 1990 Golden Globe for Best
Comedy Series. It was twice named Best Comedy Series by the Television Critics
Association, and Viewers for Quality Television selected MURPHY BROWN as the
Best Quality Comedy for 1991. The series also received the 1991 George Foster
Peabody Award for Significant and Meritorious Achievement.
In 1985, English created the critically acclaimed FOLEY SQUARE, her first
half-hour comedy series. She served as producer and writer for the show, which
aired on CBS during the 1985-86 television season. During the 1986 and 1987
seasons, she executive produced and wrote the CBS comedy series MY SISTER SAM,
starring Pam Dawber.
In 1980, she co-wrote THE LATHE OF HEAVEN, the Public Broadcasting Systems'
first full-length motion picture-for-television. For her work on this
adaptation of Ursula K. LeGuin's classic science fiction novel, she received
her first Writers Guild Award nomination. She followed that success with the
television movies MY LIFE AS A MAN for NBC and CLASSIFIED LOVE for CBS.
English began her career at WNET/13, the New York City PBS affiliate, first as
a story editor for the THEATRE IN AMERICA series, and then as associate
director of the Television Laboratory. From 1977 to 1980, she wrote a monthly
column on television for Vogue magazine.
English has received numerous individual honors, including an Emmy Award for
Outstanding Writing in a Comedy Series, two Writers Guild Awards for
Outstanding Writing in a Comedy Series, the 1997 Astral Award of Excellence at
the Banff Television Festival, a Genie Award from the American Women in Radio
and Television, the Commissioners' Award from the National Commission on
Working Women for her positive portrayal of women on television, and the 1992
Freedom-to-Write-Award from PEN Center USA West for her stands on behalf of
freedom of expression and against censorship and cultural tyranny. She was also
named one of the "50 Greatest Women in Radio & Television" by the American
Women in Radio & Television.
Born in Buffalo, New York, English attended Buffalo State College, where she
majored in Education and minored in Theater Arts. She graduated in 1970 and
taught high school English and drama for a year, before moving to New York City
to pursue a writing career. In May of 1994, she was awarded an honorary Doctor
of Letters degree from Buffalo State College.
RICHARD FRANK
Richard Frank is widely recognized as one of the entertainment profession's
most prominent and experienced executives. Since 1999, Frank has been serving
as chairman of Food.com, an Internet restaurant take-out and delivery service.
Prior to Food.com, Frank was chairman and CEO of Comcast Content and
Communication (C3), a company he founded in 1995 with
television/telecommunications giant Comcast Corporation. While at C3, Frank
enhanced Comcast's programming and media-related companies, including E!
Entertainment Television.
>From 1994-1995, Frank served as chairman of Walt Disney Television and
Telecommunications. From 1985-1994, he was president of The Walt Disney
Studios. During Frank's tenure, Walt Disney Studios rose from last to first
place in box office market share, and Walt Disney Pictures produced numerous
hit films, including THREE MEN AND A BABY, PRETTY WOMAN, DEAD POET'S SOCIETY,
THE LITTLE MERMAID and THE LION KING. The company also took its initial steps
in entering and expanding its presence into interactive media. As chairman of
Walt Disney Television and Telecommunications, Frank administered all of
Disney's efforts to broaden its activities in television, telecommunications,
video and cable television, both in the US and internationally. With his
guidance, Disney became a major supplier of network situation comedies,
including HOME IMPROVEMENT, ELLEN and THE GOLDEN GIRLS, as well as popular
syndicated programs such as SISKEL AND EBERT and LIVE! WITH REGIS AND KATHY
LEE.
>From 1977 to 1985, Frank served as both vice president and president of the
Paramount Television Group of Paramount Pictures, where he was responsible for
the Group's production, distribution and marketing of television programming
worldwide. Under his leadership, Paramount produced such shows as CHEERS,
FAMILY TIES, TAXI, HAPPY DAYS and introduced ENTERTAINMENT TONIGHT, the first
non-network daily news show to be carried by local television stations.
Early in his career, Frank served as president of the Broadcast Division of
Chris-Craft industries and president and general manager of KCOP-TV, Los
Angeles (1972-1977); as sales manager at KTLA-TV, Los Angeles (1969-1972); and
as media planner and buyer at BBD & O Advertising, New York (1964-1969).
Frank served three terms as the President of the Academy of Television Arts and
Sciences, during which time he established the Academy's "Campaign Against
Substance Abuse." He holds a Bachelor of Science degree in marketing from the
University of Illinois. He currently spends most of his time with his wineries
in Napa-the Frank Family Vineyards and Napa Cellars.
Richard Frank is a member of the AFI Board of Trustees.
ANGELA M.S. NELSON
Angela M.S. Nelson is an associate professor in the Department of Popular
Culture at Bowling Green State University and formerly the Director of its
Center for Popular Culture Studies (1997-2000). She received her B.M. in Music
Education from Converse College (1986), her M.M. in Music Education from
Bowling Green State University (1989) and her Ph.D. in American Culture Studies
also from Bowling Green State University (1992). She has taught classes and
presented research in the areas of black urban/contemporary gospel music, rap
music and its theological themes, television situation comedies and popular
culture in general.
Nelson is editor of This is How We Flow: Rhythm in Black Cultures (1999). She
has contributed book chapters and journal articles on black music to The
Triumph of the Soul: Cultural and Psychologial Aspects of African-American
Music (2001) as well as Black Sacred Music: A Journal of Theomusicology (1994),
Explorations in Ethnic Studies (1992) and Christian History (1991).
In September 1997, Nelson co-organized the conference "Situating the Comedy:
Celebrating 50 Years of American Television Situation Comedy, 1947-1997," that
commemorated the role and meaning of the television situation comedy in
American society. Furthermore, she has contributed book chapters on blacks in
American television situation comedies. These include "The Objectification of
Julia: Texts, Textures and Contexts of Black Women in American Television
Situation Comedies" (in Generations: Academic Feminists in Dialogue, 1997) and
"Black Situation Comedies and the Politics of Television Art" (in Cultural
Diversity and the U.S. Media, 1998).
HORACE NEWCOMB
Horace Newcomb is the Lambdin Kay Distinguished Professor for the Peabody
Awards in the Grady College of Journalism and Mass Communication at the
University of Georgia.
Newcomb is the author of TV: The Most Popular Art (Doubleday/Anchor, 1974),
co-author of The Producer's Medium (Oxford University Press, 1983) and editor
of six editions of Television: The Critical View (Oxford University Press,
1976-2000). In 1973-74, while teaching full time, he was also the daily
television columnist for the Baltimore Morning Sun. From 1994-96, he served as
Curator for the Museum of Broadcast Communications (Chicago), with primary
duties as editor of The Museum of Broadcast Communications Encyclopedia of
Television, a three-volume, 1,948 page reference work containing more than
1,000 entries on major people, programs and topics related to television in the
United States, the United Kingdom, Canada and Australia. The MBC Encyclopedia
of Television is the definitive library reference work of first record for the
study of television; a second edition is now in preparation. Newcomb is also
author of numerous articles in scholarly journals, magazines and newspapers.
His research and teaching interests are in media, society and culture, and he
has written widely in the fields of television criticism and history. Recent
lectures in Italy, Taiwan, Norway, Spain, Denmark, Finland, Sweden, Korea,
Switzerland and China have focused on cultural exchange and international media
industries. In 1989, Newcomb was named one of three Outstanding Teachers in the
Graduate School at the University of Texas at Austin. From 1990-95, he was a
member of the Board of the Peabody Awards program.
Newcomb received a B.A. from Mississippi College, Clinton, Mississippi in 1964.
He studied as a Woodrow Wilson Fellow and University Fellow at the University
of Chicago, receiving an M.A. in 1965 (General Studies in the Humanities) and a
Ph.D. in English (American Literature), 1969. He taught at colleges and
universities in Iowa, Michigan, Maryland and Texas before joining the Peabody
Program at the University of Georgia in 2001.
DANIEL PETRIE, SR.
Daniel Petrie Sr. made television history in 1977, when he directed three of
the five Emmy Award nominees for Best Production-SYBIL, ELEANOR AND FRANKLIN:
THE WHITE HOUSE YEARS and HARRY TRUMAN: PLAIN SPEAKING. When the votes were
tabulated, ELEANOR AND FRANKLIN:THE WHITE HOUSE YEARS and SYBIL tied for Best
Production. For the second consecutive year, Petrie won the Emmy for Best
Director for THE WHITE HOUSE YEARS. The previous year, he won both Best
Director and Best Production for ELEANOR AND FRANKLIN.
In total, Petrie has been nominated for12 Emmy Awards and has won eight times,
for either Best Production or Best Director. He has also been the recipient of
the Golden Globe, the Genie (Canada's Oscar), the Cable Ace, the Christopher,
the Peabody and the Directors Guild of America Award, as well as directing both
Ellen Burstyn and Eva LeGallienne to Academy Award nominations for
RESURRECTION.
Other distinguished television specials include WILD IRIS, WALTER AND HENRY,
INHERIT THE WIND, AFTER THE MIRACLE, KISSINGER AND NIXON, MY NAME IS BILL W.
and THE DOLLMAKER. Feature films include THE ASSISTANT, COCOON: THE RETURN,
SQUARE DANCE, THE BAY BOY, RESURRECTION and A RAISIN IN THE SUN.
Petrie is a graduate of St Francis Xavier University in Nova Scotia, holds
graduate degrees from Columbia University and completed the Doctoral Program
(no dissertation) at Northwestern University. He has been awarded Honorary
Doctorates from St. Francis Xavier and University College of Cape Breton. He is
on the Council and Board of the Directors Guild and the American Film Institute
and is a member of the Canadian Directors Guild.
Petrie makes his home in Los Angeles with his wife, Dorothea. His children--Dan
Jr., Donald and twins Mary and June-have all followed in his footsteps as
producers, writers and directors.
Daniel Petrie is a member of the AFI Board of Trustees.
MARIAN REES
One of television's most honored producers, Marian Rees served as associate
producer on the pilots of ALL IN THE FAMILY and SANFORD AND SON. She spent 17
years at Tandem Productions, eventually heading the company's new development
division.
Following Tandem, Rees served as development head for Tomorrow Entertainment
and subsequently established the feature division for the NRW Company before
founding her own production company in 1981. For Marian Rees Associates, Rees
has produced and executive produced over 30 films for network and cable
television, including 10 for the prestigious Hallmark Hall of Fame. In
addition, IS THERE LIFE OUT THERE? starring Reba McEntire, was based on her
bestselling single of the same title. LICENSE TO KILL featuring Denzel
Washington, RUBY BRIDGES and ONE MORE MOUNTAIN were produced for ABC on the
Wonderful World of Disney.
In 1999, Rees, with her partner Anne Hopkins, received the single largest grant
in the history of the Corporation for Public Television to produce five films
based on American literature. Broadcast as The American Collection on
ExxonMobile Masterpiece Theatre, the films started airing in 2000 and will
conclude in 2002. The telecasts include Willa Cathers' THE SONG OF THE LARK,
Langston Hughes' CORA UNASHAMED, Eudora Welty's THE PONDER HEART, James Agee's
A DEATH IN THE FAMILY and Esmeralda Santiago's ALMOST A WOMAN.
Marian Rees Associates has produced 28 films since its inception in 1981, with
Rees serving as executive producer on all of them, which have collectively
garnered 11 Emmy Awards and 38 Emmy nominations, along with two Golden Globe
Awards and four Golden Globe nominations.
Rees' contributions to both professional and civic organizations have been
honored with numerous awards, among them the 1988 Publicists Guild of America
Showmanship of the Year Award; Woman of the Year by Woman Management; the YWCA
Achievement Award; the 1988 Genii Award; the 1987 Chaim Sheba Humanitarian
Award; the University of Iowa Distinguished Alumni Award; CAUCUS Member of the
Year Nominee in 1992; Charles Fries AFI Producers of the Year Award; and the
Creative Contributor to the American Television Program Hallmark Hall of Fame.
In 1992, she was inducted into the PGA Hall of Fame, and in 2001, she received
the University of Iowa's highest honor bestowed on an alumnus, The
Hancher-Finkbine Gold Medallion Award.
Currently, Rees serves as co-chair, along with Marcy Carsey, of the National
Council for Families and Television. She held the post of President of Women in
Film for two consecutive terms and served as VP of the Academy of Television
Arts and Sciences, She is the Current VP Television on the Board of the New
Producers Guild of America.
MATT ROUSH
Matt Roush is Senior Television Critic at TV GUIDE, the nation's
largest-selling weekly magazine. His weekly "Roush Review" is read by more TV
viewers than any other TV column. Roush's knowledge of television history has
led him to frequent appearances on the highest-rated news and entertainment
shows. When A&E's BIOGRAPHY profiles a classic TV icon, they turn to Roush as
an expert. E! relies on Roush every year as a live analyst during the
announcement of the Emmy nominations. He has also participated in the pre-Emmy
and post-Emmy broadcasts for the network.
A Phi Beta Kappa graduate from Indiana University with degrees in comparative
literature and journalism, Roush has covered television since the early 1980s.
Prior to joining TV GUIDE in 1997, Roush began his career writing for USA
Today's "Inside TV" column, eventually rising to become USA Today's senior
television critic.
LYNN SPIGEL
Lynn Spigel received her Ph.D. in Theater Arts in 1988 from UCLA and is
currently a Full Professor in the School of Cinema-Television at USC. She is
author of Welcome to the Dreamhouse: Popular Media and Postwar Suburbs (Duke
University Press, 2001) and Make Room for TV: Television and the Family Ideal
in Postwar America (University of Chicago Press, 1992). She is co-editor of
Feminist Television Criticism (Oxford, 1997); The Revolution Wasn't Televised:
Sixties Television and Social Conflict (Routledge, 1997); Private Screenings:
Television and the Female Consumer (University of Minnesota Press, 1993) and
Close Encounters: Film, Feminism and Science Fiction (University of Minnesota
Press, 1991).
Spigel is currently writing High and Low TV: Modern Art and Commercial
Television, 1950-1970 (University of Chicago Press) and co-editing The
Persistence of Television: From Console to Computer (Duke University Press).
She is the editor of a book series on television and culture at Duke University
Press and has given talks at numerous museums and universities across the
country and internationally.
FRANK SPOTNITZ
Frank Spotnitz is serving his fourth season as executive producer of THE
X-FILES. Spotnitz, who also serves as president of Chris Carter's Ten Thirteen
Productions, joined THE X-FILES in 1994. In addition to writing stand-alone
episodes, he quickly became involved in developing the series' "mythology"
episodes dealing with government conspiracies and aliens.
Over the past seven years, Spotnitz has written or co-written over 40 episodes
of THE X-FILES, including the Emmy-nominated "Memento Mori" (co-written by
Carter, Vince Gilligan and John Shiban). In May 2001, he made his directorial
debut with the episode "Alone."
Other awards accorded Spotnitz for his work on THE X-FILES include three Golden
Globes for Best Dramatic Series, a Peabody Award and four Emmy nominations for
Outstanding Drama Series.
Spotnitz was named co-executive producer of the series in its fifth season, and
subsequently executive producer. In 1999, he entered into a development deal
with Twentieth Television and was named president of Ten Thirteen Productions,
where he develops feature and television projects with Chris Carter.
Spotnitz also served as co-producer and co-author of the story for the feature
film THE X-FILES: FIGHT THE FUTURE (1998). His other credits include
co-executive producer of MILLENNIUM (1997-1999) and executive producer of the
Ten Thirteen series HARSH REALM (2000) and THE LONE GUNMEN (2001).
Spotnitz began his professional life as a newspaper and magazine writer,
working for United Press International, the Associated Press and Entertainment
Weekly, among others.
Born in Japan, he received a B.A. in English literature from UCLA and an M.F.A.
in Screenwriting from the American Film Institute.
DIANE WERTS
Diane Werts writes about television for New York's daily newspaper Newsday. Her
"Glued to the Tube" columns run frequently in the Los Angeles Times, and her
byline has appeared in TV GUIDE, Seventeen and newspapers across the United
States and Canada. Previously editor of Newsday's color magazine TV Plus, she
also served as a critic and editor at The Dallas Morning News.
Unlike most of her critical colleagues, Werts has worked in the television
profession. At NBC affiliate WNDU in her native South Bend, she wrote, directed
and edited for the award-winning sketch satire BEYOND OUR CONTROL (1968-1986),
as well as selling commercial time and just about anything else that came up.
She is currently president of the Television Critics Association.
alfornos
Mox Fulder
[...]
> Oh, and if XF *had* been nominated, let me guess what you'd be
> saying....
I'll let you guess. But the fact remains, season ONE got twice as many
awards as season 8, and so on. We are not talking about one omission on
one award event, but a clear trend right into the ground.
> Don't strain yourself taking those easy pot-shots, Al.
Who's straining? This *is* too easy, and there's a reason for that. I know
the truth hurts, but that's no reason to get pissed with me.
Liz Wallace
>Who's straining? This *is* too easy, and there's a reason for that. I know
>the truth hurts, but that's no reason to get pissed with me.
>
I'm not pissed, I was making fun of your predictability. You *will*
have to strain to make me pissed. :)
Liz W.
Mox Fulder
> have to strain to make me pissed. :)
You think I care enough to try. That's a laugh.
Unbound I
>Who's straining? This *is* too easy, and there's a reason for that. I know
>the truth hurts, but that's no reason to get pissed with me.
>
>
>
in the toilet because we simply didn't want to embrace new characters. We're to
blame man, keep up with the program, will ya?
Unbound I
Mox Fulder
[...]
> But Al, didn't you read the new Spotnitz article? It's our fault the show is
> in the toilet because we simply didn't want to embrace new characters. We're to
> blame man, keep up with the program, will ya?
I keep forgetting we are not paying attention and we are evil.
Bonnie
>I keep forgetting we are not paying attention and we are evil.
We're evil now, too? I must have missed that article (or have repressed the
memory).
Evil!Bonnie
Konrad Douglas Frye
writes:
>On 5 Jan 2002 12:00:17 -0500, Unbound I <unbo...@aol.com> wrote:
>[...]
>> But Al, didn't you read the new Spotnitz article? It's our fault
>> the show is in the toilet because we simply didn't want to embrace new
>> characters. We're to blame man, keep up with the program, will ya?
>I keep forgetting we are not paying attention and we are evil.
I thought we were hysterical and didn't know what was good for us?
Maybe that was last year. ;)
------
Konrad Frye (k f r y e @ e s c a p e . c a)
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"Or what? You'll release the dogs? Or the bees? Or the dogs with the
bees in their mouths and when they bark they shoot bees at you?"
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Mox Fulder
[...]
> We're evil now, too? I must have missed that article (or have repressed the
> memory).
I don't know about you, but I'm certainly evil. In fact, I'm the only
reason s8/9 is a disaster. There, I admit it.
jerry
Mox Fulder <alv...@accesscom.com>
> writes:
>
Unbound I <unbo...@aol.com> wrote:
> >[...]
> >> But Al, didn't you read the new Spotnitz article? It's our fault
> >> the show is in the toilet because we simply didn't want to embrace new
> >> characters. We're to blame man, keep up with the program, will ya?
>
> >I keep forgetting we are not paying attention and we are evil.
>
> I thought we were hysterical and didn't know what was good for us?
Either way, it's obvious we are the key to everything.
Jerry, ducking and running
Magpie
>
> On 5 Jan 2002 13:53:33 -0500, Bonnie <bjm...@aol.com> wrote:
> [...]
> > We're evil now, too? I must have missed that article (or have repressed the
> > memory).
>
> I don't know about you, but I'm certainly evil. In fact, I'm the only
> reason s8/9 is a disaster. There, I admit it.
Yes, but there's a clear subtext in all your posts
that tells me that you truly love S9, but just
pretend you hate it because you don't want to
hurt Mulder or Scully's feelings.
-m
Mox Fulder
[...]
> Yes, but there's a clear subtext in all your posts
> that tells me that you truly love S9, but just
> pretend you hate it because you don't want to
> hurt Mulder or Scully's feelings.
Moderator! Moderator! Magpie is being mean to me!
Michael Walsh
jerry wrote:
Am I in the analysis group?
Is the reference something about reusing toilet water?
At least there aren't as many people posting here, so it is
easier to read.
Mike Walsh
Unbound I
>
>At least there aren't as many people posting here,
>
>
>
Unbound I
Unbound I
>
>Either way, it's obvious we are the key to everything.
>
>
>
Unbound I
Extex1013
>in the toilet because we simply didn't want to embrace new characters. We're
>to
>blame man, keep up with the program, will ya?
LOL hey I was ready to watch the Skinner/Krycek hour....They dropped the ball
;)
extex
Extex1013
>reason s8/9 is a disaster.
Maybe you are the absent center ;)
extex
Extex1013
>easier to read.
Well you can always go back to the ATXF suckfest,oops I mean lovefest.
Maybe there is a Peeps thread you can latch on to.;)
extex