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Author Topic: "...A Mark Goodson Television Production"  (Read 5027 times)

SamPrainito

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"...A Mark Goodson Television Production"
« on: September 25, 2004, 04:13:36 AM »
We all know that Mark Goodson did not create all of the shows he produced.  

Were their bonuses or incentives for his employees that created or developed shows, or did Goodson buy the ideas outright from their creators?

How would you like to be the guy that went to him in the early 70's and suggested he bring back TPIR, only with more elements like LMAD, or the guy that suggested "Fast Company" incorporate families (Feud), only to have the show go on to great success, and you are empty handed?

In other words, what was in it for someone to pitch Goodson a new idea?

The Pyramids

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"...A Mark Goodson Television Production"
« Reply #1 on: September 25, 2004, 09:16:14 AM »
Good question.

I have seen, from a trade, one episode of 'Now You See It.' It had a 'Created by Frank Wayne' credit, so there is one example.

However I have read online how Bob Stewart or Wayne had the ideas for 'Password', 'TPIR' and 'Match Game'. Maybe (and this is mindless specualtion) terms of their employment in the early days of TV included getting no such credits

Matt Ottinger

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"...A Mark Goodson Television Production"
« Reply #2 on: September 25, 2004, 12:35:56 PM »
[quote name=\'SamPrainito\' date=\'Sep 25 2004, 04:13 AM\'] In other words, what was in it for someone to pitch Goodson a new idea? [/quote]
 The broad, general answer is that Goodson had people on his staff who were hired to develop ideas.  The shows that the company aired were created and developed by employees whose incentive to pitch an idea was to keep shows on the air so they'd still have jobs.  As with any compnay, there'd also be the incentive of moving up within the company for developing good ideas.

If somebody thought he could go out and do it himself -- as Bob Stewart most famously did -- then good for him.  But the Goodson house was a place where people knew they could get shows on the air, and there's a lot more to getting a show on the air than having a good idea for a game.
This has been another installment of Matt Ottinger's Masters of the Obvious.
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uncamark

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"...A Mark Goodson Television Production"
« Reply #3 on: September 26, 2004, 01:31:04 AM »
[quote name=\'Matt Ottinger\' date=\'Sep 25 2004, 11:35 AM\'] [quote name=\'SamPrainito\' date=\'Sep 25 2004, 04:13 AM\'] In other words, what was in it for someone to pitch Goodson a new idea? [/quote]
The broad, general answer is that Goodson had people on his staff who were hired to develop ideas.  The shows that the company aired were created and developed by employees whose incentive to pitch an idea was to keep shows on the air so they'd still have jobs.  As with any compnay, there'd also be the incentive of moving up within the company for developing good ideas. [/quote]
 Somehow, I recall Chris C. saying that Goodson was *very* generous at Christmas time to the upper echelon producers (Wayne, Skutch, Felsher, Rob Sherman, Fates) in the company.

chris319

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"...A Mark Goodson Television Production"
« Reply #4 on: September 26, 2004, 05:39:07 PM »
Frank Wayne is the guy who revamped TPIR for the '70s. He was originally a writer on, then producer of, Beat the Clock. I don't think he had any connection to the New York version of TPIR, but Canadian BTC was cancelled in the late '60s I think (help me out here, Zach) so his incentive was that it would give him a show to E.P. He later hired his son as a producer. His son held that position until just recently and now has a lawsuit pending against him.

The only person on staff for the specific purpose of creating game ideas was Steve Ryan. All other game ideas were originated by Goodson's "inner circle" of producers and directors or by people outside the "inner circle" who brought ideas to producers. Even Steve Ryan had other assignments besides creating game ideas. When I was there he spent most of his time writing P+ puzzles.

The OP asked about compensation. While people generally don't go around discussing their salary packages with others, one of them did with me. Without divulging their identity, this person who was not a producer created a show which went to air. They received $750 per week for the position they held on the show's staff plus $750 per week as a sort of royalty payment. $1,500 per week was handsome compensation at the time but you also have to remember that the emcee of that show was probably receiving roughly triple that amount. The announcer of the show was probably receiving an amount comparable to $1,500 per week and the producer much more.

If you were a producer and you came up with a new version of Password as Bobby Sherman did or, say, Gambit as Bob Noah did at Heatter-Quigley, you now have a show to produce and you got paid for it. With Match Game teetering on the brink after CBS cancelled it, Bobby and Ira had plenty of incentive to cultivate new ideas. There was also the factor that people who developed games made themselves more valuable to the company.

Re Xmas bonuses: I've been told that Frank Wayne and Paul Alter used to receive $100,000 Xmas bonuses. They're the only ones I can vouch for. Everyone in the company received some kind of Xmas bonus but I don't know the amounts of anyone else's. Ironically Frank Wayne used to grumble, well he used to grumble about a lot of things and right to Goodson's face, but he used to grumble that Goodson had discontinued company profit sharing. I seem to recall hearing that profit sharing was instituted for the likes of John Daly and Frank Heller and there was supposedly some sort of tax benefit for them back in the days before 401(k)s.
« Last Edit: September 27, 2004, 01:26:42 AM by chris319 »

Ian Wallis

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"...A Mark Goodson Television Production"
« Reply #5 on: September 27, 2004, 09:14:46 AM »
Quote
I don't think he had any connection to the New York version of TPIR, but Canadian BTC was cancelled in the late '60s I think (help me out here, Zach) so his incentive was that it would give him a show to E.P.


The Canadian "Beat the Clock" ran from 1969-74.  I'm pretty sure the EOTVGS says it was produced in New York for the first year, but if any of those episodes still exist, GSN never ran any of them.
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uncamark

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"...A Mark Goodson Television Production"
« Reply #6 on: September 27, 2004, 01:26:53 PM »
[quote name=\'Ian Wallis\' date=\'Sep 27 2004, 08:14 AM\']
Quote
I don't think he had any connection to the New York version of TPIR, but Canadian BTC was cancelled in the late '60s I think (help me out here, Zach) so his incentive was that it would give him a show to E.P.


The Canadian "Beat the Clock" ran from 1969-74.  I'm pretty sure the EOTVGS says it was produced in New York for the first year, but if any of those episodes still exist, GSN never ran any of them.[/quote]
It was produced in New York--first at Teletape Second Stage and then, when some new show called "Sesame Street" moved into that facility, the Little Theatre "off Times Square" (now the Helen Hayes Theatre), where David Frost's show was also taped and where Merv Griffin originated his Westinghouse show (and where Dick Clark did his ABC "Beech-Nut Saturday Night Show" in the late 50s).

And yes, old-time radio fans, the Little Theatre was the inspiration for "Mr. First Nighter," which, despite its weekly recreation of a Broadway opening, originated in Chicago for its entire run.

RMF

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"...A Mark Goodson Television Production"
« Reply #7 on: September 27, 2004, 03:10:10 PM »
[quote name=\'uncamark\' date=\'Sep 27 2004, 12:26 PM\'] And yes, old-time radio fans, the Little Theatre was the inspiration for "Mr. First Nighter," which, despite its weekly recreation of a Broadway opening, originated in Chicago for its entire run. [/quote]
 First of all, the official title is "The First Nighter Program".

Second, while it did start out in Chicago, it later moved to Hollywood in 1945.

ObGameRef: Several early television game shows (most notably "Down You Go") also originated from Chicago.

chris319

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"...A Mark Goodson Television Production"
« Reply #8 on: September 27, 2004, 06:32:55 PM »
Mark, Mark, Mark ...

How could you POSSIBLY leave out the fact that "The Little Theater Off Times Sqare" was also the home of Who Do You Trust? with a couple of fellas named Johnny Carson and Ed McMahon? (PUTS BACK OF HAND TO FOREHEAD IN TRUE DRAMA-QUEEN FASHION)

Whoever owned that facility had pretty good foresight in converting it to color when they did, rather than converting it back to a legitimate house.

ChuckNet

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"...A Mark Goodson Television Production"
« Reply #9 on: September 27, 2004, 09:58:09 PM »
Quote
The Canadian "Beat the Clock" ran from 1969-74. I'm pretty sure the EOTVGS says it was produced in New York for the first year, but if any of those episodes still exist, GSN never ran any of them.

Pity...during that first season (which must be where those EoTVGS1 pics come from, as I don't recall those painted clocks on the walls of the Canadian set), a hillarious blooper involving the tile board occured: During the 1st season, when a tile was pulled down, there was just a blank space where the letter once appeared...on this one ep, someone chose the "L" as the first pick, leaving the board reading:

 BEAT
  THE
C_OCK

They remedied this after the move to Canada by putting duplicate letters into the blank area atop the dollar amount.

Chuck Donegan (The Illustrious "Chuckie Baby")
« Last Edit: September 28, 2004, 01:11:53 AM by chris319 »

chris319

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"...A Mark Goodson Television Production"
« Reply #10 on: September 28, 2004, 01:07:39 AM »
Come on down to Californ-eye-ay and I'll take you by the Culver City Meat Company. Their motto is on the side of every one of their trucks:

You Can't Beat Our Meat.

uncamark

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"...A Mark Goodson Television Production"
« Reply #11 on: September 28, 2004, 07:00:03 PM »
RMF:  I knew the title was "The First Nighter Program," but I was in a hurry to get out yesterday.

Chris C.:  I had forgotten "Who Do You Trust?", which was an ABC show (along with Dick Clark's show).  By the mid-60s Teletape had taken the Little Theatre over and Westinghouse had a long-term rental for Merv and David Frost (which was during "BTC"'s tenure at the Little Theatre--Frost's ledge at the front of the stage where he'd sometimes have guests take questions from the audience was there during "BTC" tapings, but black masking tape had to go over the Frost logo on the lip of the stage).  Don't remember when it was converted back to a theater.

Chuck:  The cash board didn't come along until the move to Montreal--in the first season, completed stunts got your basic refrigerators, La-Z-Boy recliners and half of Sarah Coventry and St. Mary's inventory--with Gene Wood doing the same "sporty luggage" lead-in to the copy that Johnny O would be doing on Frank Wayne's "TPIR"--although it wasn't the same with art cards instead of the prizes onstage with models.

chris319

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"...A Mark Goodson Television Production"
« Reply #12 on: September 29, 2004, 02:24:40 AM »
Quote
Gene Wood doing the same "sporty luggage" lead-in to the copy that Johnny O would be doing on Frank Wayne's "TPIR"--although it wasn't the same with art cards instead of the prizes onstage with models.
Just remember this, Mark: no art card has never brought a lawsuit.
« Last Edit: September 29, 2004, 06:52:00 PM by chris319 »

tvwxman

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"...A Mark Goodson Television Production"
« Reply #13 on: September 29, 2004, 08:03:13 AM »
[quote name=\'chris319\' date=\'Sep 29 2004, 01:24 AM\']
Just remember this, Mark: no art card has never brought a lawsuit. [/quote]
Screw the line of the day award,

This is the "Line of the Week"!!!! tm

:)
« Last Edit: September 29, 2004, 06:52:18 PM by chris319 »
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Matt

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