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Steven Bochco Poster

Biography

Jump to: Overview (2) | Mini Bio (1) | Spouse (3) | Trivia (7) | Personal Quotes (2)

Overview (2)

Date of Birth 16 December 1943New York City, New York, USA
Birth NameSteven Ronald Bochco

Mini Bio (1)

Attended Carnegie Tech (now Carnegie-Mellon U) as a playwriting major. Barbara Bosson, Michael Tucker, Bruce Weitz and Charles Haid were classmates; he and Tucker drove cross-country to Hollywood for full-time jobs at Universal, where Bochco would remain for 12 years. In 1978, he moved to MTM Enterprises, who after several attempts gave him carte Blanche to create a show similar to Fort Apache the Bronx (1981) (Hill Street Blues (1981)). In 1985, MTM fired him, in part for his inability to keep HSB on budget. After creating L.A. Law (1986) and Doogie Howser, M.D. (1989) for NBC, he struck a $15M deal with ABC in 1987 to create 10 series pilots over 10 years.

- IMDb Mini Biography By: Dan Hartung <dhartung@mcs.com>

Spouse (3)

Dayna Kalins (12 August 2000 - present)
Barbara Bosson (14 February 1970 - 1997) (divorced) (2 children)
Gabrielle Levin (12 September 1964 - 1969) (divorced)

Trivia (7)

Brother-in-law of Alan Rachins.
Father of Jesse Bochco
Younger brother of Joanna Frank.
His father, Rudolph Bochco, was a Russian-born violinist.
Graduated from Carnegie-Mellon University in Pittsburgh, Pennsylvania with a BFA in playwriting and theater in 1966.
Father-in-law of Kate Danson.
Out of all his many writing and producing credits, only one credit has been for a feature film, as writer, for The Counterfeit Killer (1968). Since that film, from 1968 through 2014, every one of his subsequent writing or producing credits has been for television productions, including series, mini-series, and TV movies.

Personal Quotes (2)

[on Hill Street Blues (1981)]: 'We conveyed the sense of being powerless--as cops, you were garbage collectors in a sense. You might have kept the lid on things, but it never got better. Furillo ['Daniel Travanti'] had tons of responsibility and very little authority and the cumulative impact thematically was a kind of despair, alleviated by outrageous gallows humor.'
Television and film are such streamlined story mediums. You can't really meander about, whereas a novel is an interior experience. Once you have your map, once you know your final destination, you can take all these pit stops along the way. You can take side trips and digress, riff on something and come back to the main road. It's so much fun.

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