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By Contessa Donatella · Posted
I don't know if this will be useful. If it's not please scroll on by. If it is, great! This is Part 1 of 3. Search For Tomorrow. (1977). Daytime TV Library Series No. 7. Between 1975 and 1977, Daytime TV Magazine, the leading publication dedicated to US daytime programs, began a series of special editions dedicated specifically to one serial. In early 1977, they released issue #7 which focused on the longest running serial at that time, “Search for Tomorrow”. The publication contained interviews with key cast members and productions staff, such as the producers, directors, writer and costume designer. It included a synopsis of the story from origin to that point, lots of pictures and a key item: What it took to make an episode of the show. At the time, SFT was enjoying a revitalization after four years mediocre ratings. The new producer, Mary-Ellis Bunim rose up the ranks from secretary to producer in late 1973. Under her guidance, ratings jumped. In the 1973-1974 ratings, “Search” placed 9th with a 7.7. In the 1974-1975 season, it rose to a 4th with a 9.4. At the time of this edition, it hovered around 5th with an 8.6 rating, winning its time period and coming in third of the five CBS soaps. Some of the questions posed were: What did the title mean to the actors? What is your opinion about the Emmys? What character would they want to switch with? Did the actors feel there was a bias against acting on a soap? When did you start on the show? What motivates your character? I will cover some here & some in other articles. Today I will cover how the show got on the air: The Show On The Air – Step by step how SFT got on the air in 1976. At the time, “Search for Tomorrow” was taped at the CBS Studio 51 & 54 on the lower West Side of Manhattan (probably the studio at W. 26th Street that was a later home to “Guiding Light”). 8:00 AM – The director of the day (there were three at the time), the production assistant and actors in the first act arrive. Actors arrived based on the acts they were in between 8:00 AM and 9:45 AM and went to the rehearsal hall. 9:00 AM – Makeup artist and hair stylist arrive (there was one of each except for special episodes where full cast were part of the episode). 9:00 AM – Makeup artist and hair stylist arrive (there was one of each except for special episodes where full cast were part of the episode). 9:30 AM – Producer Mary-Ellis Bunim and Associate Producer Bob Getz arrive and go to their offices on the second floor. 9:45 AM – 10:15 AM – Director of the day checks sets in studio on the third floor. Actors begin make-up and hair sessions. 10:15 AM – 11:45 AM – This is the time for first rehearsal on set (called FAX) with cameras. Blocking and camera angles are perfected. 11:45 AM – 12:15 PM – First run-through in studio. Producer and associate producer watch action in their office via CCTV. Rough edges are smoothed out. 12:15 PM – 12:45 PM – Actors lunch break. Notes made by producer and associate producer during run through are given to director in production office. 1:00 PM – 1:20 PM – Directors give notes to actors and studio personnel. Final touches to actors’ hair and make-up. 1:30 PM – 2:00 PM – Dress rehearsal. Producers watch on CCTV and make final notes. 2:00 PM – 2:15 PM – Producers give final notes to directors in control room. 2:15 PM – 2:30 PM – Final notes given to actors and studio personnel by director. Notes on production elements (i.e., does liquor look real? Are props in assigned locations?) given by associate producer. 2:30 PM – 3:00 PM – Taping the episode. (SFT taped only two days before air). 3:00 PM – 3:15 PM – Tapes are checked. If all is OK, cast is excused. Thus, “Search for Tomorrow” put on a show in LESS than SEVEN AND A HALF HOURS! This time does not include the homework the actors and directors have to do before arriving at the studio. Directors stated it took eight to twelve hours of homework for every episode they direct. The producer has to spend time reading rough drafts and editing scripts, making notes for the writer, working on long-term story and character development. The associate producer spends outside office hours, organizing all facets of production elements and making sure they are all intact. On a daily basis, auditions are held, attendance at script consultations and going over the following day’s schedule. With luck, the producer can leave the studio between 6:00 and 7:00 PM. Written by DM James Fairbanks, Posted with permission. -
By LostinHarmony · Posted
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My take is that this is Audra manipulating Kyle. OC, it's not plausible that any of the things you mentioned could happen in months, much less days! Audra is a master at pushing people's buttons. Let's face it, Kyle isn't the brightest bulb thanks to Jack. -
And while I'm doing catch-up, it's good to see you did as well. And YES. This is how May Sweeps SHOULD be. A story climaxing. Another A story being built up as we did with the aftermath of the first A story climaxing. B plots being built up...actually moving and being interested in most of them...if not all. hehe. New story being started. And even the C plots are moving, too. -
By LostinHarmony · Posted
It definitely did. Nothing major, but I clocked the minor changes too. Passions did something similar with its theme in the later years and people thought I was crazy, but the nuances are there if you're paying attention. -
What? A nice little mini-marathon of catching up before work. YES, PLEASE.
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By dragonflies · Posted
I guess they copied literally everything from that C&R scene, the dialogue etc -
And even then...you have to wait a couple of weeks to be sure he's actually dead.
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Apparently. lol. Well you know I don't mind standing also with the cheese so
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I have nothing to add. Everything you said is on point, and I don't know whether to laugh hysterically at it or throw things at the television. I do know it's terrible soap opera.
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