20 dga quarterly
PHOTOS:
(CLOCKWISE
FROM
TOP
LEFT)
MARCIE
REVENS
(2);
RICHARD
CARTWRIGHT/ABC;
LEILA
NAVIDI;
BYRON
GAMARRO
ON THE JOB
|
ADs & SMs
Arthur Lewis
STAGE MANAGER
"
I liken my job to that of a wedding plan-
ner. It's always someone's biggest night,
whether it's Hollywood or country music.
My job is to care as much about that night
as they do, crews and performers alike,
and guide them every step of the way.
"
Associate directors and stage managers, past and present, reflect on doing their jobs.
Scott Berger
ASSOCIATE DIRECTOR/NEWS
"Fidel Castro was in
town to speak at the
U.N. and Dan Rather
introduced me as 'the
dictator of the set.' He
must have said it four
or five times while I was
yelling for photogra-
phers to get back and
cameras to get into
position. Castro looked
at me and said, 'He has
a voice like Napoleon.'"
Kathy Fortine
ASSOCIATE DIRECTOR
"When I first saw an
AD, I was like, 'Wow!
That person is juggling
30 balls in the air. I want
to do that.' [On Jimmy
Kimmel Live!] I don't
land the plane. But I do
have to make sure the
landing gear is down,
the lights are on, and
the runway is clear."
Garry Hood
STAGE MANAGER
"I am the person who asked Frank Sinatra to get off
the stage [at the 1991 Bush Inaugural Gala]. In front
of millions of viewers and our new president, I walk up
and say, 'Mr. Sinatra, can you come with me?' And he
says, 'What do you want, kid? Where are we going?'"
Julie Gelfand
ASSOCIATE DIRECTOR
"[On Big Brother]
we had rehearsed
getting the game set
into position several
times during the
day, and everything
worked perfectly.
But when we were
live, the electron-
ics didn't work. That
meant instantly go-
ing to Plan B with
the contestants us-
ing [manual] hand
paddles to provide
their answers. Live
TV is all about being
flexible."
NOW
