(arthur penn) and they began to say, "wait a minute.onsoring this, they can't say this" or "they can't say that." and that was the beginning of the exodus for all of us from serious live television. (narrator) the rise of network television gave moviemakers a new chance. with movie attendance at half the level of a decade before, hollywood saw a chance to counter its own decline by producing programs directly for this new medium. (todd gitlin) studios turned television into an assembly-line product. it did that by building a set, using it on 39 episodes a year. they had a regular cast. the division of labor was very precise. the turnaround time on episodes was very brief. now, of course, the studios had always done that. let's not romanticize the old studio set-up, but here the formulas were even more confining because week after week "the phil silvers show" or "ozzie and harriet" had to be recognizably the same. (announcer) "ozzie and harriet" starring the entire nelson family ozzie, harriet, david and rickie. hello. i'm mister ed. (na

(arthur penn) and they began to say, "wait a minute.onsoring this, they can't say this" or "they can't say that." and that was the beginning of the exodus for all of us from serious live television. (narrator) the rise of network television gave moviemakers a new chance. with moviettendance at half the level of a decade before, hollywood saw a chance to counter its own decline producing programs directly for this new medium. (todd gitlin) studios turned television into an assembly-line product. it did that by building a set, using it on 39 episodes a year. they had a regular cast. the division of labor was very precise. the turnaround time on episodes was very brief. now, of course, the studios had always done that. let's not romanticize the old studio set-up, but here the formulas were even more confining because week after week "the phil silvers show" or "ozzie and harriet" had to be recognizably the same. (announcer) "ozzie and harriet" starring the entire nelson family ozzie, harriet, david and rickie. hello. i'm mister ed. (narrato

arthur penn comes to mind. "bonnie and clyde," "night moves." certainly "chinatown," i think, pre-eminently. larry kasdan's, "body heat." what's your name, anyway? ned racine. maddy walker. wow, you all right? yes, i'm fine. my temperature runs a couple of degrees high, 100. i don't mind, the engine or something. maybe you need a tuneup. don't tell me, you have the right tool? i don't talk like that. when i started out i didn't know if i would ever get to direct another film after "body heat." so i wrote something i thought i could get through and would give me the license to go very stylish. i had never directed anything except for a few student films and i wanted to do everything with a camera i could think of. so i picked a genre that gave you enormous license for that, which was film noir. that's it. that's it. we're going to kill him and i think i know how. it's real then? it's real all right. if we're not careful, it's going to be the last real thing we do. (lawrence kasdan) i wrote a sort of standard film noir story, but it was really abo