Two veterans of the original Arsenio Hall Show are returning for the new talker: Senior Talent Producer Claudia Cagan and Producer Makiko Ushiyama served as Talent Executive and Senior Talent Coordinator, respectively, on Arsenio Hall‘s 1989-94 late-night program. Cagan is joined by Talent Producers Renee Henson and Luke Sader, as well as Music Producer Christopher McDonald. In addition, Holly Crosby and Stephanie Storey have been hired as Coordinating Producers. Cagan most recently served as Senior Segment Producer at E! News. Ushiyama moves to The Arsenio Hall Show from Access Hollywood and Access Hollywood Live, where she worked as a Segment Producer. CBS Television Distribution‘s syndicated late-night talker debuts September 9.
- 7/15/2013
- by THE DEADLINE TEAM
- Deadline TV
Empire Pictures
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
Empire Pictures
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
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