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  • Posts

    • Thanks. With the changes in Brad and Peter, it does seem like that might have happened It's General Mobspital now lol
    • About PGP toward the end: I am in the minority many places but I enjoyed the last 2-4 years of GL including Peapack, all of the new music (I had Kati Mac albums long before GL used them.) the two good examples of story (Jammy & Otalia), outdoor work, digi-cams, product placement, etc. I read an interview with Vicky Wyndham where she talked about pitching the idea of product placement to PGP/NBC long before June 1999. Her perspective was that PGP was a natural for product placement instead of "fixed" commercials & ad space. At that time PGP "sold" more than anyone else except for cars & the burst of mobile phone companies.   This is why I remain a fan of Ellen Wheeler, Jill Lorie Hurst and other writers. I am steadfast in my belief that CBS pushed the "new production model" on GL & that they pushed a slowed-down narrative form on ATWT. Back then, there had been a LA Times article where CBS had asked the Bell Empire to create a new soap (or two) to replace "the Chantilly" soaps of ATWT & GL. Well, PGP rose up on their haunches, their back legs & fought CBS tooth & nail to prevent that. PGP prevailed to a certain degree *but* CBS indicated changes would have to be made at ATW & at GL. Since PGP no longer had their traditional position of Executive in Charge of Production (since MADD's retirement) it left Goutman & Wheeler to fight CBS on their own, not a good position.   At the end of AW, Goutman was in fine form fighting for that show, but something happened around 2004-ish where Goutman stopped being as proactive for his show. He gave a Q&A to Digest's Jen Lenhart where he indicated that he knew what was best for his show & he didn't need any fan mail, etc. Startling.
    • Pete Lemay: I learned it very quickly from Connie Ford [Ada Davis]. Connie would cut.  She was playing a very laconic woman who wasn't verbal. You'd give her a speech that went on for a page and she'd say, "What's all this?" and cut it down to one line and she would do the rest with a look. I learned it very quickly because, boy,  was she wonderful!   Pete: Years later I asked P&G's Bob Short why they even hired me when I didn't like any of the 5 or 6 shows they gave me to sample and he said that they thought everyone else would want me!   Pete about the gay story he had planned: One of the reasons I think it would have been successful is because we were very careful in the casting. We got a very good young actor, a very normal, straight, young actor. And he was very ingratiating. And also the audience had known the characters since they were toddlers. You weren’t introducing a new character saying, “Here’s a gay guy.” You were saying that this character, who they had known since he was a baby, was gay.   Pete: He was a twin. I wanted him to confide to his sister that he had just started college and had fallen in love with a boy. And they all agreed with it. It was all in the script. I had not signed the renewal of my contract yet. And once I signed it they pulled out the rug from under this story. We Love Soaps: Who was “they?” Who exactly made this decision? Harding Lemay: Procter & Gamble, probably. We Love Soaps: How did they communicate that to you? Harding Lemay: I got a call from Bob Short, who always leveled with me, saying, “We’re just not going to do it, because we don’t think the audience would appreciate it. They’d turn over to GENERAL HOSPITAL or something.”   (And, so, there went one of soaps' famous/infamous stories that was going to be done way back in the day, even further back than the story that Claire Labine pitched between Holly & Olivia in 2001. And, the first gay story had to wait for AMC's Bianca.)    
    • Those of us who are very fond of Pete Lemay hear him, here, talking about P&G, about Irna Phillips, about writing plays, about writing soaps, about his personal memoir "Inside, Looking Out", about Irna being furious when he said he had no idea what soaps were, about Irna training him & Bill Bell & Agnes Nixon, about using a staff or not using one, about Doug Watson, about Connie Ford, about Susan Sullivan, about working directly *with* actors, about Beverlee, about Paul Rauch, about Anna Holbrook coming from the stage, about Anne Heche, giving several years to the show but then being too good and having to move on, about half hour shows and about hour shows, about the homosexual storyline that was planned but then dropped by P&G, about Ada having a late-in-life pregnancy where Rachel was 'there' for her, about 'Lillian Hellman's dialogue is not her best thing and neither is Arthur Miller's', about George Reinholdt & 2 other actors that were considered a problem, ... Then, in the next paragraph, those of us who adore Pete Lemay but can't stand Jill Farren Phelps have a real dilemma as Pete names her the best producer he has ever worked with! Yikes!   Yet he did not know about Frankie Frame or Maureen Bauer until the next interview he gave & he was appalled when he found out.
    • Plus Chris and Snapper were mostly MIA JLB was pregnant and could barely move about the set and had to go on early maternity leave Leslie thought she was Priscilla and was out of town for the first half of the year Vanessa had realised her ultimate goal to split Lorie and Lance, so I don't think she even had much story Basically the two big stories Bell had in 1979 which got them to #1 multiple times during that year, which was the 4 L's and Jill/Kay were done. He was pretty much starting from scratch and having to intro a bunch of new characters on top of that.   Honestly I am amazed Y&R survived it all.
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