Download Rod Serling and The Twilight Zone: The 50th Anniversary by Douglas Brode, Carol Serling PDF

By Douglas Brode, Carol Serling

2009 marks the 50th anniversary of The Twilight area, arguably the most renowned tv exhibits ever. Drawing on photos and private remembrances, Rod Serling's widow, Carol, supplies statement on many of the series' so much memorable episodes. Veteran movie historian Douglas Brode supplies in-depth descriptions of those episodes and why they have been so resonant with audience.

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Additional resources for Rod Serling and The Twilight Zone: The 50th Anniversary Tribute

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JAMES L. BROOKS (to The New York Times, April 8, 1984): I’m very competitive about unhappy childhoods. But I’m not the champ. The champ is a girl I know who comes from a family of six children and they picked her to put in an orphanage … I had a crummy childhood. I didn’t want to have a crummy life. I was going to live on Riverside Drive and look at Jersey instead of vice versa. GARY ROSS, cowriter, Big; director, Pleasantville, Seabiscuit: He’s a very intense guy. You’re not gonna get involved in a working process with Jim and it’s breezy or casual.

In 1987, he cemented his position among Hollywood’s elite with Broadcast News, starring longtime friend and collaborator Albert Brooks, another smash hit with critics and at the box office. Brooks’s ability to take the foibles, neuroses, and failings that make us human, and translate them into believable and beloved characters on screen would continue to entrance moviegoers with Big, The War of the Roses, and Say Anything, all of which he produced before the eighties were done. ”1 And yet, while his film career was rocketing forward in 1987, it was on The Tracey Ullman Show, a television program he was producing for Fox, that Brooks would lend his genius to a dysfunctional cartoon family who, more than anything, would make his fortune, his name, and his legacy.

Because I really appreciated the artistic aesthetic, but I had a natural instinct for business so—it was really kind of an amazing ride for around ten years. JAMES VOWELL: The thing about Life in Hell was people really related to it. People don’t know what Life in Hell means, in terms of the title. The real meaning of Hell is LA. It was really life in LA Hell. So it connected with the people. ART SPIEGELMAN, Pulitzer Prize–winning cartoonist, Maus: Life in Hell was neither mainstream nor underground, and at that point, that was unusual.

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