Recherche dans la collection - Moore, Mavor - Interview

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Moore, Mavor - Interview

Numéro d'article (ISN) :

378463

Titre de la série :

Live to Air

Niveau hiérarchique :

Pièce (Niveau acquisition)

Date :

2002-06-03

Numéro d'article (ISN) :

378463

Genre de documents :

Images en mouvement

Trouvé dans :

Archives / Films, vidéos et enregistrements sonores

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Notice descriptive – Détails

Fonds/collection :

MCKENNA, Jim

No d'acquisition :

2006-0176

Support :

Vidéo

Partie :

2 of 2

Date de production :

2002-06-03

Compagnie de production :

Jim McKenna (Interviewer)

Générique (équipe de production) :

interviewer, Jim McKenna

Description :

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Unedited interview of Mavor Moore about his experiences working in live television for the CBC. The interview is for a two-hour documentary entitled LIVE TO AIR, broadcast on CBC television on 16 September 2002. Among the subjects discussed are: how he started working in television; being on a training course before the CBC got into television; various people contacting the CBC before television began, wanting to audition or concerned about what television was going to show; the sense that CBC had to hurry up and start a television service because the U.S. already had television; the insufficient budget given to television by the CBC; the backgrounds of the producers; ideas for programs; anthology drama as a difficult format to sustain because audiences and sponsors did not know what to expect from week to week; the tension on the first day of television; negative response by critics to CBC television because of the rivalry between television and the print media; THE BIG REVUE; early dramas; special effects; writing the musical SUNSHINE TOWN; budget shortfalls causing fewer people to do more; American producers and directors wanting to come to Canada to work to get away from McCarthyism but the CBC did not have enough openings; having too few assistants; jobs compounded; borrowing from radio the concept of combing the job of producer and director; set design; the impossibility of finding community consensus on what was permissible on television, because Canada is such a diverse country sociologically and geographically; the view by the CBC that it was responsible for showing productions to the Canadian people whether they liked them or not and to give them the best works from outside Canada; the controversy over Lister Sinclair’s production of HEDDA GABLER, a play that shocked Europeans in the 1880s and Canadians in the 1950s; pushing the envelope; trying to alert viewers to broader issues; political pressure on the CBC over the view that some plays were obscene; CBC President’s Davidson Dunton’s not putting up with political interference; the series Q for QUEST attracting hate mail; the role of TV as a national magazine given the lack of newspapers or magazines having a national impact; scripts; trying to write for TV; trying to make productions look lush; milestones; getting rights to George Bernard Shaw plays because Moore’s grandfather James Mavor had been a friend of Shaw’s; presenting THE CRUCIBLE, a play by Arthur Miller; Leslie Nielsen; the talent of the acting pool; actors such as Lorne Greene; inviting outstanding performers from the U.S. and Britain; competition from U.S. television; the high reputation of Canadian radio in the U.S., Britain and Europe; THE INVESTIGATOR; the achievement of Canadian television in getting productions done in the face of the U.S. entertainment industry; greater creative freedom in Canadian television because of less sponsorship; censorship; his love of acting; mishaps on live TV; long days in the studio; television as a new experience for many actors; the need to give the viewer something different from American TV and not all viewers were appreciative; and the excitement of live television. <1h 32mn>

Langue :

English

Remarques :

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1. This is a Betacam SX dub of originals shot on Betacam SP tapes 5 and 6.~2. The Canadian Broadcast Museum holds the Betacam SP originals.~3. Some replies are rephrased at the request of the interviewer in order to create complete replies since the interviewer’s questions are edited out for the documentary.~4. Videotape and transcript available for consultation on LAC premises.~5. There are colour bars 30 minutes into the tape.~6. Mavor Moore died on 18 December 2006 at age 87.
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Conditions d'accès :

Libre

No de consultation :

V1 2007-02-0022

Restrictions sur la consultation :

Open for consultation.

Reproduction :

With written permission of Copyright Owner / Avec la permission écrite du détenteur des droits d'auteur

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Date de modification :: 2024-07-04