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Cast

Complete series cast summary:
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 Himself - Host / ... (112 episodes, 1967-1969)
...
 Himself - Co-Host / ... (108 episodes, 1967-1969)
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17 April 1967 (USA)  »

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1.33 : 1
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Did You Know?

Trivia

Bill Morris was the production Designer for the late night talk and variety show format. Hub Braden assisted Bill in the set design, and during the show's duration. Having a NBC-Burbank relationship, with "The Johnny Carson Tonight Show", Braden spent an afternoon measuring and plotting the Tonight Show's host desk and interview guests seating plan. Joey Bishop insisted that his desk and guest plan be identical, with one major exception. Bishop didn't like being touched on his right side! The right desk side had to have an extended lower ledge, like a wing, a shelf, which would prevent a guest sitting to Bishop's right from reaching across the divide, patting or touching his hand or arm! Instead of a side bench (The Tonight Show) for guests to be reseated, moving from the main guest chair, individual chrome upholstered chairs, in-line, were positioned on the carpeted platform. The interview and band rear walls were frosted 3/4" thick x 4'-0" x 10'x0" metal framed panels which could be back-lighted. An awning, eye-brow hood hung over the camera right interview and the camera left band areas. This scenic piece, built by Bobby Hughes' ABC Special Effects Department, was a Bill Morris creation. Discovering that the plastic sheet material "Lexan" when heated, would melt forming a bubble shape! The Awning eyebrow, made from bending 1/2" square metal tubing, creating a floral art nouveau shaped glass ceiling, curved downward at the front of the three foot wide hanging ceiling piece. Spray painted, the floral lined bubbles looked like a stained glass overhanging shield capping the frosted glass wall panels. The production area, in the center of the stage, had no fly-floor area for hanging, nor flying in scenic elements. Bill installed a giant metal soldered wire screen open curtain in front of a scrim and natural muslin cyclorama. The prop crew, during the afternoon prep, would be handed a profile drawn sketch-pattern to replicate in full scale, on this square wire screen. Using colored thin aluminum wrapping paper foil, using their fingers to punch the crumpled foil into the wire squares, the design became the scenic element for that show. Each new day, the stage hand property crew would tear off the previous scenic, and replace the area with a new scenic design. During the musical segments, the lighting designer was able to side-light, or front light, or rear light the design creating a different visual effect. A lot of work, but very effective in spite of the labor and time each day required! See more »

Connections

Referenced in Rowan & Martin's Laugh-In: Episode #1.9 (1968) See more »

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User Reviews

 
My favorite episode: Robert Culp
19 January 2010 | by (New York, New York) – See all my reviews

I was a regular fan of this talk show; and it was fun to see Regis become Numero uno several decades later with his own hit show. The episode I recall in vivid detail was when Robert Culp was a guest; I had been a fan of his as well from the I SPY series. This was in 1969 and Culp was going on a mile a minute about Sam Peckinpah -he had just seen a screening of THE WILD BUNCH and was quite accurate in prognosticating its soon to be historic nature in film history. What was most interesting to me was Culp's outspoken politics on this segment -he was perhaps the first person to take the tack that THE WILD BUNCH was about the Vietnam War and how important it was for filmmakers to take a stand. This really impressed me, because ordinarily Bishop and most of the other entertainment/talk shows of the day, were rather frivolous (Culp's segments were more like watching a guest on Irv Kupcinet, Lou Gordon or Alan Douglas, among the serious talkers).

I later discovered that Culp had worked quite a bit with Peckinpah and was a fan going in. But I shared his enthusiasm for THE WILD BUNCH and have had a lifelong interest since in Sam's work, both his TV episodes and body of feature films. I remember a couple of years later defending (to the death!!) what I consider to be Sam's masterpiece on the subject of the territorial imperative, STRAW DOGS, but to this day I remain in the minority on that one. I advise anyone interested to do what I did: read the novel SIEGE AT TRENCHER'S FARM, which has sketches of the house's layout and is very explicit about what is being defended, actually and symbolically, in the film; I read the paperback while the film was in production and it helped set me up for what apparently remains cryptic and pointless to the majority of film fans, who routinely reject it as "not up to his westerns". Ignorance of film (and TV) history runs rampant: Cornel Wilde's films on the subject: THE NAKED PREY and to a lesser extent NO BLADE OF GRASS remain woefully unknown compared to the latest flavor of the week.


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