Steven Bochco Poster


Jump to: Overview (3)  | Mini Bio (1)  | Spouse (3)  | Trivia (7)  | Personal Quotes (6)

Overview (3)

Born in New York City, New York, USA
Died in Pacific Palisades, Los Angeles, California, USA  (complications from leukemia)
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 - 1 April 2018) ( his death)
Barbara Bosson (14 February 1970 - 1998) ( divorced) ( 2 children)
Gabrielle Levin (12 September 1964 - 1969) ( divorced)

Trivia (7)

Brother-in-law of Alan Rachins.
Father of Jesse Bochco and Melissa 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.
Has two grandchildren.

Personal Quotes (6)

[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.
Years and years ago I worked for a producer who taught me more about how not to behave than how to behave. One of the most valuable lessons I ever had. This person said to me, "You get shit on by the people above you and you shit on the people below you." I thought, "Hah, there's a life lesson." I figure if you turn that upside down, you're on to something. So what you try to do is never shit on the people below you and only shit on the people above you. That always seems to work.
[on Hill Street Blues (1981)]: Here are these cops trying to trying to keep the lid on 10 pounds of crap in a nine-pound can. That created the incredible push/pull tension of that series ... We stuck intensely powerful melodrama side by side with slapstick farcical, fall-down clowning. It was absurd and it worked.
To me, Los Angeles was the total antithesis of that fictional city in which Hill Street Blues (1981) took place. I wanted L.A. Law (1986) to be the polar opposite thematically. One show at its core was about despair and the inevitable failure of a kind of system. At the other end, I got L.A. and the land of dreams and wealthy, young, upwardly mobile attorneys who drive Porsches. It's the same legal system, yet these people are masters of the universe.
I suppose I was naive. I thought NYPD Blue (1993) would open a door to more adult mainstream programming.

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