![]() Houston dedicated her performance to Anderson's memory and her historic attempt to perform in 1939 at Constitution Hall, where she was banned by the Daughters of the American Revolution (DAR). Houston said her one-woman show was especially significant because it was occurring during the 100th anniversary of acclaimed opera singer Marian Anderson's birthday. (First was " Welcome Home Heroes with Whitney Houston" in March 1991 and second, " Whitney: The Concert for a New South Africa" in November 1994.) The first-night concert was later broadcast on HBO in late October. The second-night concert was broadcast live via HBO, which was her third HBO special. The concerts were held at historic DAR Constitution Hall in Washington D.C., on October 3 and 5, 1997. Concert by Whitney HoustonĬlassic Whitney: Live from Washington, D.C., were live concerts by Whitney Houston. So I think that one of the things is going to have to do is somehow triage with all these things and somehow figure out a way to be even more competitive with Netflix, Apple, Amazon and anybody else that's coming along.1997 live concerts by Whitney Houston Classic Whitney: Live from Washington, D.C. If you're not working for a network that is going to be patient with you and good to you and supportive, that can be like a prison term. The pilot picks up, it goes to series, and you're all stuck together for seven years. Sometimes people say, "Oh, yeah, I'm going to be doing a pilot." Well, sometimes when the Lord wants to punish you, we answer your prayers. He's also going to need a ton of money and he's going to have to balance the priorities that the Wall Street and investment community has with the value proposition that HBO has always had, which is to be talent friendly, to be a home where people, directors, writers, talent want to come. David Chase is going to need a lot of support. I think that the next two to three years of HBO's existence is going to determine the next decade of HBO's existence. I think it's very hard to "Monday morning quarterback" on things just because we now know there's success. And there were legitimate reasons why they didn't do those other shows. James Gandolfini and The Sopranos creator David Chase.Īnd so I don't really fault HBO for doing those things because they had an amazing track record. And one of the things that I try and do in the book is deconstruct the exigencies involved in both of those. I think the bigger losses were Mad Men and Breaking Bad. So HBO was just ill equipped to compete with Netflix. On why HBO missed out on major hit shows to new competition But I think that what you see from an organizational point of view in the waning days, right after he passed away, is true affection for him, tons of gratitude and just profound, profound sadness. And, of course, HBO then facilitated the massive, massive funeral with over 2,000 people there. There were all these exigencies that happened in the days to follow. They had to use a fake coffin and a fake hearse just to make sure that the right one got on the plane right. ![]() People were trying to disrupt what was going on. people were trying to break into the hotel room. It was such a combination of sheer shock and also profound sadness. Lorraine Bracco And James Gandolfini on set of The Sopranos.Īnd so I think that was such a mixture. And so, HBO clearly with comedy makes a huge step. There's nothing better for a comedian than to have total freedom and a ton of time. I mean, Whoopi Goldberg and Robin Williams and Eddie Murphy and all these people get huge lifts in their career by being able to be on stage. ![]() It's like, literally, how great is that? And so you go on. You can say whatever you want." And thus, George Carlin, one of the first things he does on HBO is this set we've never seen on television. Then all of a sudden, HBO comes and says to like, George Carlin, "Here's an hour and we don't care what you say. ![]() ![]() And the network censors want to know everything you're going to say. You go on Johnny Carson, and you get a four-minute spot. Because we're talking way before Blockbusters, right? So the only other time you got to see movies on TV were when the networks put them on and they cut them up with commercials and, of course, bad language was cut out.Īnd then you get to things like comedy, where if you're a comedian in the late '70s or the early '80s, your dream is to go on Johnny Carson. So that manifested itself in a couple of different ways. This interview with Miller has been edited for length and clarity.Īt the beginning, HBO's value proposition was really clear it was going to offer viewers something that they couldn't see any place else. ![]()
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