Tag Archive: Raymond Burr


Perry Mason seriesThe next detective-mystery crime series from HBO is going to be a bit different for fans of the 1950s-60s television series and even the original novels by Erle Stanley Gardner.  Moodier, darker, and grimier, HBO’s Perry Mason is coming to the cable network with an eight-episode season in only 60 days from now.  The first trailer has arrived with the look of The Untouchables and LA Confidential, and the lead lawyer looking more like Columbo than Raymond Burr’s neat and pressed professional.

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Review by C.J. Bunce

The Virginian, Ironside, Amy Prentiss, Kolchak: The Nightstalker, and CHiPs.  For modern TV watchers and students of film and production, these series from the 1960s to 1980s won’t come to mind as the most memorable TV series to use to teach a TV production course.  But they are enough for Cy Chermak–TV executive producer, producer, story editor, and writer of those series and more–to incorporate into a step-by-step narrative providing an insider’s view of show process and studio politics in his new book The Show Runner: An Insider’s Guide to Successful TV Production. 

Nominated for three Primetime Emmy Awards, Chermak successfully–and sometimes not so successfully–negotiated the tiers of studio department hierarchy to create a lucrative career for himself.  In this autobiographical account he provides dozens of golden nuggets that any prospective TV writer will find insightful in understanding how an episode of television is created, from idea to final edit.  In addition to Chermak’s anecdotal lessons, he simplifies the duties and relationships of the production department from a show runner’s standpoint–a biased view, but a unique and interesting look from the top.  He uses an episode of his short-lived series Amy Prentiss–a 1974 series with Jessica Walter (Archer, PCU, Ghost in the Machine, Play Misty for Me) as the first woman chief of police in San Francisco–to take the reader on a walk-through as assistant to mentor Chermak as executive producer.

Along the way Chermak introduces us to the difficulties of ego and personality that seem to go with the territory of both studios execs and actors.  His examples include his personal interactions with Raymond Burr and Darren McGavin, who Chermak presents as particularly difficult to work with.  Chermak remains completely personable along the way, as if he’s putting his arm around the reader’s shoulder and giving the full studio tour, complete with interesting name dropping.  Chermak is quick to point out his own shortcomings and missed opportunities, like letting go by a young, yet-to-be-discovered Steven Spielberg making his way onto the studio lot as if he worked there to bump elbows with anyone who might screen his student film, Amblin.  Chermak’s first screenplay for the big screen was a movie called 4D Man, literally the first 4D movie (in addition to the 3D visuals it included physical effects, a concept taking off again at select theater chains today), featuring well-known actors Robert Lansing (Star Trek, Simon & Simon, The Equalizer), Lee Meriwether (Batman, Star Trek, Barnaby Jones), and Patty Duke (The Miracle Worker, The Streets of San Francisco).  

One of many rounds of re-write discussions for the short-lived series Kolchak: The Night Stalker.

For kids of 1970s and 1980s television, look for Chermak’s discussion of the problem of dual lead actors, as he recollects a battle of ego between CHiPs stars Larry Wilcox and Erik Estrada, which ultimately spelled doom for Wilcox and Chermak, and cancellation of the entire series a year later.  “A year later” becomes a theme for Chermak.  He notes several instances of a series folding a year after he was removed as show runner of the series.

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rear window fathom

It’s Alfred Hitchcock’s most suspenseful film, his most engaging and atmospheric, and it features top lead actors with stars Jimmy Stewart and Grace Kelly.  It’s his 1954 blockbuster Rear Window, and if you haven’t seen it on the big screen then you haven’t seen it at all.

Tomorrow, March 22, 2015, and Wednesday, March 25, 2015, as part of the Fathom Event series, theaters across the country will screen the restored cut of the film.  Presented by Turner Classic Movies (TCM) and Universal Pictures Home Entertainment, the film will be introduced by TCM host Ben Mankiewicz.

It’s a steamy, sultry summer, and L.B. Jeffries (Jimmy Stewart) is a war photographer bedridden from an injury to his leg.  He’s being taken care of by nurse Stella, played by Thelma Ritter, and is constantly being prodded for his affections by the beautiful fashion model Lisa Fremont, played by Grace Kelly.  Jeffries’ apartment overlooks a courtyard and the back sides of other apartments, and as Jeffries gets more and more bored he begins following the goings-on out his rear window.  Newlyweds, a musician, an unhappy couple, an older couple, a dancer, a lonely woman.

Grace Kelly Jimmy Stewart

Is the heat getting to Jeffries, or could one of these tenants have committed a murder across the way?

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