| In the control room at WGBH, Boston doing a Lotus Masters Broadcast recently. Assistant director Janice Khorsi is on the left, technical director Bill Francis is on the right. |
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Helena, Montana, August 4, 2000 In front of the stage just before the rehearsal night for the live broadcast of the third annual Montana Summer Symphony. Conductor Uri Barnea, myself (directing) and Producer Aaron Pruitt nervously joking to ward off the tension. (Photo Sherry Proctor) |
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| With Lotus Notes creator Ray Ozzie just before a Business Partner dinner at Lotusphere 1997. |
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The late Alistair Cooke retired as the host of Masterpiece Theater in 1992. It was the end of a 21 year run and he seemed perfectly happy to be done with it (or me) in this pic taken at the last taping session. I directed the Masterpiece "Intros" and "Extros" at WGBH, Boston on and off for all those years. |
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| Greg Macdonald was my professional friend and the consummate, veteran cameraman at WGBH for 34 years. He was one of the few people who could tease Alistair and get away with it almost unscathed. Greg passed away while on the road for the "Antiques Roadshow" in June of 1996. |
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Vincent Price hosted the "Mystery!" series for many years and I directed his intos. Back then the set was a snaggle of props and cobwebs. Off camera he was the most wonderful person you could hope to meet in life. He's probably sending me back into the control room where I belonged. |
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| Joan Wilson produced "Masterpiece Theater", "Mystery!" and "Classic Theater" among others from the early 70's until her death in 1985. This was taken on the set of the Beatrix Potter introductions. Alistair did not like being upstaged by the rabbits. |
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On stage at Symphony Hall in Boston about to rehearse for an "Evening at Pops" taping sometime in the '80s. Johnny Mathis is with his group getting ready to rehearse. Producer Bill Cosel and I are talking to the pianist on the right. |
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| They shouldn't let farmers direct TV shows. (Probably taken on the Esplanade prepping for July 4th special in the 80's). |
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At a cocktail party, on a barge floating on the Mississippi River. I'm talking work with the producers and camera people the night before taping "Mississippi Delta Blues" outdoors in Greenville, Mississippi. This became a one hour special produced by Mississippi ETV in 1979. |
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| On the set of "The Club", a WGBH local, Emmy Award winning program. Dick Cavett, me (I really was directing, just playing audio person for the moment) and co-host Charlie Stuart. WGBH about 1978. |
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With the late WGBH Rockefeller Artist in Residence Ron Hays at the Paik-Abe Video Synthesizer sometime in the mid '70s. Ron created some of the most beautiful video imagery possible during his Music Image Workshop time at WGBH. His visualization of Wagner's Prelude and Love Death from "Tristan and Isolde" won awards internationally. I helped him as editor, director, and Synthesizer guru on many if not all of his works. |
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| Amusing "George's House" choreographer Dan Wagoner with some bad guitar playing during a break from shooting at George's house. The serenity of this house, restored to it's 18th century self with no electricity and well water, was almost spiritual for dancers and crew. (see Favorites) |
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About 1970: with Julia Child on the set of "The French Chef" in Studio A at WGBH-TV, Boston. I directed the first season of Julia's return to Public Television, this time in glorious color with film inserts from a seven week trip to France. I'm told these shows are still running on The Food Channel. |
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| 1966: Attempting to operate the Fearless Panoram Dolly at WGBH. The production is "The World of Kurt Weill" with Lotte Lenya. Steve Potter on the right is my camera assistant. That's a black and white camera and if we could see the front of it we would probably see fixed focal length lenses. For those who remember it's an RCA TK-60 image orthicon. |
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Three local Maine boys flushed with the success of their first "live shot" on the midday news from the roof of the Congress Square Hotel in Portland. A borrowed telescope, a piece of dark glass and a lot of masking tape increased the focal length of the lens on an RCA TK-11 black & white studio/remote camera to shoot an eclipse of the sun!. Those white coats? We also worked in the photography lab processing 16mm and other news film. (That black thing in my pocket is a 4 X 5 sheet film holder) WCSH-TV 1962. |
