Golden-Road.net
Studio 33 - Price is Right Discussion => The TALK Is Right => Topic started by: William on February 19, 2008, 01:49:32 PM
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What would you do if you were the director of the price is right?????????????
What are some new shots that you would make? What are some current shots that you would improve?
In my opinion, there needs to be more shots of the giant price tag than Bart is providing for us now. I would have the shot of the giant price tag as it was in the '90s. With a shot of the whole price tag, and Bob and the contestant coming out of the corner on it's left side.
I would change the angle of Drew making his entrance. I would make it what it was prior to the late '90s: Straight on close up of the logo on door #2; Door opens, camera zooms out far; Drew walks out a few steps; camera zooms in on him; star wipe.
When games are being played at door #2, I would have a wide shot of the door as Bob and the contestant come to it. Like what Marc Breslow did.
Also, the price tag being raised a bit while covering Grand Game just doesn't seem right. Something needs to be done about that.
Finally, I would expirement with the big wheel shot. I would maybe try a close up of the wheel while it's spinning and use the actual arrow as a chroma-key for the contestants face. Sounds kinda weird, but you never know.
Now what are some of your ideas???
P.S. Plinko sign definetly comes back!! :-D
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Let's see: I'd revive the old SCSD arrow, revive the Plinko sign, show the turntable in action, and have a "total winnings" graphic at the end of the show, regardless of how much was won.
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Yeah, I forgot to mention, Turntable Spinning around for Bonus Game (and all games) and spinning back after the game is over.
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More camera time for Mr. Rich Fields (the announcer of The Price Is Right)!!!!! :-)
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More camera time for Mr. Rich Fields (the announcer of The Price Is Right)!!!!! :-)
I'd do the same thing, even put him in a few Showcase skits and have him do inspiration putts for Holey every now and then
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I'd be more creative with transitions - how Breslow used to do it with different kinds of wipes and fades. The 'centre-wipe' that is used for almost everything is getting quite tiresome.
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I think with the shots we would do, it pretty much sounds like we would be spitting images of Marc Breslow. I think that sums it up, lol.
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Assuming it were possible (and I don't think it is, but we're dealing with hypotheticals here), I would bring Marc Breslow aboard as a consultant and do whatever he told me.
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The opening:
- After Drew comes from behind the doors, I would revive the old shot of having the camera view behind the Giant Price Tag, have it swing down across the stage lights, and have it so Drew and whoever's doing the handoff to the left, with the audience in the center.
The pricing games:
- If a game is being played behind Door #2 or #3, I would have a tracking shot showing both Drew and the contestant walking up to the doors.
- All of the turntable games would be shown coming in and spinning back around.
- The special chroma-keyed borders Breslow used for special prizes would come back.
- The freeze-framed photos of contestant reactions would come back (if they're even gone, I haven't been watching as much so I don't know).
The showcases:
- During the credits, a shot of the podium with the winner's total for the viewers record.
- Turn the lights off for the "Every Room/Trip in the House" showcase.
- Bring back the "Main Street" and "When the girls go to the Mall" showcases.
- Actual skits, reminiscent of 'Captain Klutz' would come back.
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If I was the director of TPIR, I would do the following:
1. Not change the intro camera transitions every taping session
2. Restore the zoom out (revealing the door frames) and zoom into Drew's face
3. Restore the Plinko sign
4. Restore the previous $10,000 win font on Grand Game and the SCSD
5. Add more wipes and transitions (although I like the current Hole in One and Danger Price wipes).
6. Show more of Drew walking to Door 2 or 3 when escorting the contestant to a pricing game (like they did in the 80's and 90's).
7. Use the jib with the Lucky $even car reveal
8. Restore the old sliding calldown window for Rich
9. Restore the mid-show bumper
10. Restore the freeze frame shots when going to commercial.
11. Restore revealing turntable games while on camera
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- Don't miss reveals.
- Keep a split-screen during the Showdown.
- Oh...and have Breslow and Alter both on speed-dial. :D
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Oh, boy, did I forget so many.
I'd go with all these suggestions, but I specifically want to address the car logo transitions that were used in the 1990s. I'd love to see those again.
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Get rid of the jib shots. (Sorry, they make me dizzy), Bring Back SCSD split-screen, More Camera Time for Rich, Dim the lights for the ERITH showcase again, Bring Back the mid-show bumper, Bring Back the Plinko sign.
Make TPIR feel like the TPIR I remember it.
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Rich would have more cam time
Permanent set of models
New props
Plinko sign back
No more wheel shot outs
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Permanent set of models
No more wheel shot outs
These are things that, as a director, you would have no control over.
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I would include these:
* the half-pane SCSD graphic for BOTH spins (with or without shoutouts)
* After Drew's entrance, have the camera point to the ceiling and turn 90 degrees as it comes down to Drew & mic handoff
* During IUFB pairs, when Rich says "And to the winner of this refrigerator goes a supply of...", have the camera get the most-recent contestant like it used to
* A more exciting Plinko reveal: the sign would be great, but even the audience background shot worked for me
* Punchboard $10,000 reveal on the turntable
* In any car game where the game is played behind the GPT and the car is located behind door 3 (i.e., One Away), have a wide shot of the Door 3 with the GPT and host on the left as they zoom in to reveal the car
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Some of my suggestions include:
- Use the jib cam to make a sweeping shot from the audience to door #2 in the intro, ala Davidson Price.
- Hell, I'd utilize the jib a little more than it already is being used for.
- Tighter shots to avoid showing off the crew members.
- Return the zoom-out camera effect Alter did during the 80s-early 2000s for the Showcase Showdown
- More creative and experimental wipes.
- Return of announcer's face on the final "come on down" of the day's program.
That's all I can think of off the top of my head.
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Also, the price tag being raised a bit while covering Grand Game just doesn't seem right. Something needs to be done about that.
That *would* have been simple enough to fix had they wanted to, by making the new Giant Price Tag even more giant than the old one.
(The first thing I'd do if they hired me as director would be to learn how to direct!)
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How about getting rid of the extreme close-up/panning of the prizes? I mean, the other day, there was a lips shaped sofa and they zoomed on it so close that you could only see a big red something on camera for like 10 seconds without knowing what it is... That the worst thing in Bart's directing right now (and missing reveals...)
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I understand completely that is thread is hypothetical "what if" scenario, but I agree with Steve. There are certain things that, as a director, you can't control.
And to add, every director is going to have completely different methods to their madness. As mentioned, Marc Breslow used matte shots on prize descriptions and rapid cuts between cameras. Paul Alter had his own ideas as does Bart Eskander. I've never heard of a director purposely try to mimic other directors for the sake of history with the sole exception of R. Brian DiPirro on "Gameshow Marathon" (it was the editing that sank that show).
I'm content with the direction TPIR is going, although I don't watch it as often. All those past effects, transitions, props only would make show look antiquated. It's time to put the past behind and move on.
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I would also have stills of the contestants reaction. Rich would be shown on camera about twice a day. And (something very new) if there was a game behind the race game curtain (exept plinko) I would shoot Drew and the contestant walk over to the lowered curtian before the prize is revealed. Also, after the prize is revealed and described for games that are behind the giant price tag, I would cut to a shot of Drew and the contestant and the price tag rising; AFTER the prize is described.
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This may not fall under this category, but I would bring back the audience entrances
Get rid of JIB camera. This camera reveals some of the "inner workings" of the show, and I, for one, prefer all of those things to be a mystery.
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Had I the good fortune to direct The Price Is Right, I'd screen episodes from the 1970s through mid-'80s and take good notes. That is when the show was at its prime directorially.
Get rid of JIB camera. This camera reveals some of the "inner workings" of the show, and I, for one, prefer all of those things to be a mystery.
I'm pleased to find that someone else thinks this way. I am not a fan of shots that reveal too much of the studio setup. As with radio drama, it's better for the mind to paint its own picture.
Generally, shots from the jib camera feel out of place for TPIR. I'd rather not see the show from the perspective of hovering below the lighting grid.
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The jib works well for the closing shots, and also provides interesting angles during pricing games (Pathfinder). But, one of the biggest waste is the use of the jib during calldowns. Looking back through past episodes, the turntable-area camera that panned the audience was much more dramatic as it swept through the audience and "jumped" to find the next contestant, unlike the jib which slowly focuses in on the predetermined area.
And, while I'm at it, I agree with a previous poster to bring back the announcer picture-in-picture effect used during a calldown.
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The jib works well for the closing shots, and also provides interesting angles during pricing games (Pathfinder). But, one of the biggest waste is the use of the jib during calldowns. Looking back through past episodes, the turntable-area camera that panned the audience was much more dramatic as it swept through the audience and "jumped" to find the next contestant, unlike the jib which slowly focuses in on the predetermined area.
The use of the jib has gotten much better in recent episodes. In its initial uses for calldowns, the jib camera was panning the audience too quickly and often missed the contestants (especially during the opening). Then it transitioned to the jib camera knowing almost exactly where the person would be, practically zooming in on the person before their name was called. Lately, its been a little better in that the jib is zoomed out over the general section of the audience where the person will be, then zooms in as the person stands. This approach is something I thought of a few months ago (can't remember if I posted it here or not) and was quite pleased to see it implemented...they should just zoom in faster when the contestant stands.
Some other things I would implement:
*Have the light border on screen longer during the opening, and delay the appearance of the show's logo until the announcer starts saying "The Price Is Right". (The logo being on screen before Rich starts saying "You are the first four contestants..." kinda bugs me.)
*Wider shots of the big doors, especially during the opening.
*Restore turntable rotation shots for pricing games (at least for the game's reveal).
*Experiment with new wipes during product descriptions (a la Hole in One, Danger Price, Bullseye)
*Restore announcer's on-screen calldown shot (with PIP effect) at least once daily, before either game 5 or game 6.
*Restore the SCSD arrow (or the Gameshow Marathon variant thereof). Failing that, I'd at least center the wheel in the right half of the current split screen shot.
*Original sign & music for Plinko. Failing that, I'd restore the audience background shot, use the old music sting (from The Cats?) and have a Plinko-sign-like graphic on-screen.
*Freeze frame shots of contestants when going to commercials -- only for particularly amusing shots, and only if the contestant isn't going wild on stage as the show goes to break.
*Restore the mid show bumper. Failing that, maybe bring back the light border when the host throws to commercial after game 4.
I'm sure there'd be other things, but that's all that I can think of right now.
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Of course, some of this stuff isn't the director's territory. Wouldn't The Cats sting be Stan's turf, since he's the Music Director? (I wonder what would happen if we all wrote to Stan and asked him to bring it back? Or even better, asked him in person during the interviews...) Also, it's been said that Fremantle doesn't like their announcers shown on-camera. I can see why, considering not seeing the announcer kind of creates a mysterious, omnipotent-ish aura around the announcer. But this sort of breaks Price because they consider the announcer to be part of the big TPIR family, and if we don't see him, it kind of hampers that family feel.
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Also, it's been said that Fremantle doesn't like their announcers shown on-camera.
It's been said, but it wasn't true.
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It's been said, but it wasn't true.
So who is keeping Rich off camera? Roger? Syd? Who is responsible?
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When Rich was interviewed a few years back, he stated that "it's up to Bob" when it comes to him appearing on camera. I would assume that it's Syd's decision now.
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Hmm; if I were the director of The Price Is Right:
* I'd also have the Plinko sign on the turntable
* I'd have the $10,000 sign on the turntable for the Punchboard game.
* Of course the Arrow on the SCSD!
Here's an idea: what if they borrowed a little from the old Wheel of Fortune and announce the most a potential contestant can win right at the start of the show? Or is that sounding too greedy?
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When Rich was interviewed a few years back, he stated that "it's up to Bob" when it comes to him appearing on camera. I would assume that it's Syd's decision now.
I wish we could all put this to bed.
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If I were the director, here are a few things that TPiR needs to be improved or bring back--
* Fire Syd!
* Split screen during the Showcase Showdown
* Bring back the Family Feud '76 theme during the car cue
* "Music by Edd Kalehoff for Score Productions" during the end credits
* My avatar during the end credits
* Give Rich Fields more airtime
* Models should speak out more often
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If I were the director, here are a few things that TPiR needs to be improved or bring back--
* Fire Syd!
A show's director does not have the power to fire its executive producer.
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actually
i'd make sure we shoot in HD assuming CBS would cooperate and let us use the HD VTRs at no additional cost (since all the other equipment in studio is the same)
id go ahead and give rich the screen time he should get
and for the ticket plug
id bring back the "quad ticket plug" style breslow did on match game.
haha
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If I were director, I would use a combination of all three TPIR directors best techniques.
First of all, I would bring back the shot of the turntable spinning around with the game and the game spinning back after the pricing game was finished (including reseting Clock Game). Bonus Game being played the other day made me miss the shot of it spinning around before the prize was revealed.
Second, I would bring back the Plinko Sign with a split screen shot of the contestant's reaction as it spun around.
Third, I would bring back the original Punch-A-Bunch reveal with the above split screen shot.
Fourth, I would use the split screen shot throughout the showcase showdown.
Fifth, I would use the jib camera for more shots of the car behind the doors. It looks great on the MDS.
Sixth, I would also have a shot of Rich calling down the last contestant of the day.
Seventh, I would use a different shot of the Giant Price Tag instead of having it raised a bit for Grand Game.
Eighth, I would have a wide shot of Drew and the contestant walking through Golden Road.
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If I were the director, here are a few things that TPiR needs to be improved or bring back--
* Fire Syd!
* Split screen during the Showcase Showdown
* Bring back the Family Feud '76 theme during the car cue
* "Music by Edd Kalehoff for Score Productions" during the end credits
* My avatar during the end credits
* Give Rich Fields more airtime
* Models should speak out more often
Eh, what's up, Doc? Steve was right when it comes to the director not having control over the executive producer. But as for the other ideas, including the last two, I like those ideas. I was glad that Gwendolyn Osbourne-Smith had a speaking role on TPIR News. Th-th-th-that's all Folks!
Hector Manuel Torres Jr.
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I'd bring back the Plinko sign and have Penny Ante rebuilt and brought back. Superball would also come back. And I'd give Rich more camera time, let models talk more, as well as bring the animals back promoting pet adoption.
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I'd bring back the Plinko sign and have Penny Ante rebuilt and brought back. Superball would also come back. And I'd give Rich more camera time, let models talk more, as well as bring the animals back promoting pet adoption.
I think there is perhaps one item in this post that the director would have control over. Maybe zero items.
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I think there is perhaps one item in this post that the director would have control over. Maybe zero items.
So that's the EP's job?
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Ultimately those decisions are made by the E.P., which is not to say that others on the production staff can't lobby for them and try to influence him. The network might want to put in its $0.02 worth as well.
Emcees can have directors fired, at least there is precedent for it.
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Emcees can have directors fired, at least there is precedent for it.
What precedent is that?
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Bob had original director Marc Breslow fired in 1986 over camera shot issues and Paul Alter was fired after being subopenaed to testify against Bob in Holly Hallstrom's lawsuit in 2000.
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Bob had original director Marc Breslow fired in 1986 over camera shot issues and Paul Alter was fired after being subopenaed to testify against Bob in Holly Hallstrom's lawsuit in 2000.
Yeah, but wasn't Bob EP by then?
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Frank Wayne was the EP when Marc Breslow was fired.
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I think it was Wayne that actually fired Breslow, but he did it to keep Bob from quitting. Or, at least that's how I understand it.
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I think it was Wayne that actually fired Breslow....
I think "fired" is too harsh a description. It was an orchestrated transition that occurred over a period of time. Paul Alter sat in on numerous Price Is Right tapings to observe Marc Breslow direct the show. Once Alter felt ready to take the reins, Breslow took his leave and assumed the new role of "creative consultant" for which he was paid handsomely. Also, Marc continued to direct other Goodson properties.
I'm not saying there wasn't a lot of bad mojo going on -- only that it wasn't an abrupt dismissal.
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One thing that concerns me is the staging of Double Prices. I think that it should be played behind the giant price tag at least some of the time. And if the director doesn't have control of that, then it will remain at door #2, but the reveal will be slightly different. There will be a straight on shot of the door as it opens, and the podium will be inside the doors, and will be revealed right after the prize a la 1 Right Price.
It will also be staged at door #3 some of the time too.
And, I don't think the director has control over this, but if I could, I would reform contestants row. The colors would be the same, but I would bring back the asterisks that were on the displays prior to 1975. And instead of Drew reading the ARP off of a card, he would read it off of an orange egg-crate display centered on top of the bid displays. It will display the ARP and will flash along with the winning bid. Anyone else like this??
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And, I don't think the director has control over this, but if I could, I would reform contestants row. The colors would be the same, but I would bring back the asterisks that were on the displays prior to 1975. And instead of Drew reading the ARP off of a card, he would read it off of an orange egg-crate display centered on top of the bid displays. It will display the ARP and will flash along with the winning bid. Anyone else like this??
I don't know what you mean about the asterisks on the displays, but I personally don't like the ARP idea. I like Drew reading it from a card. The only thing I'd change about contestants' row is the yellow onebid display. The digits don't stand out as well as the other colors. Sure, the yellow goes along with the studio curtains and such, but sometimes it's hard to read that one display.
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I don't know what you mean about the asterisks on the displays,
The original Contestants' Row displays that were used for most of the first three seasons had an asterisk on the left side that would light up to indicate the winner.
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Here's a picture...
(http://img152.imageshack.us/img152/9669/72show34hf4.jpg)
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There is no sugar coating it: Breslow was relieved of his directorial duties on TPIR by Mark Goodson. He was effectively fired from the show over issues involving Barker. Yes, there was an orderly transition and Paul sat in on some tapings, just as he did when taking over other shows. Goodson gave Breslow a generous severance package and continued to use him on other shows, and his name remained on the TPIR credits as "creative consultant" even though his presence was no longer required on the set or in the booth. He was a talented director, no question about it, but many found him difficult to work with.
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He was a talented director, no question about it, but many found him difficult to work with.
Mr. Breslow did not suffer fools gladly -- that is for sure. But he tended to get along well with people who performed to high standards.
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Thanks for the picture of the old onebid displays. Still not a fan of that asterisk idea, though.
By the way, are there any pictures of Marc Breslow/Paul Alter/Bart Eskander anywhere? I always like to put a face to a name! :D
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Mr. Breslow did not suffer fools gladly -- that is for sure. But he tended to get along well with people who performed to high standards.
Not with Bob Barker.
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Here you go!
Marc Breslow (in 1982)
(http://i103.photobucket.com/albums/m152/tpirfanatic/MarcBreslow.jpg)
(Courtesy of j-shea.com)
Paul Alter (on an episode of Family Feud in 1979)
(http://i103.photobucket.com/albums/m152/tpirfanatic/PaulAlter.jpg)
(Courtesy of a YouTube clip)
Bart Eskander w/Drew rehearsing games (in 2007)
(http://i103.photobucket.com/albums/m152/tpirfanatic/BartEskander.jpg)
(Courtesy of priceisright.com)
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BART: "Sometimes I show the game-winning reveal, sometimes I don't."
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Thank you, goldroadfanatic, for those pictures! Much different than what I imagined :)
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After reviewing all of those concepts and thoughts.
If I were to Direct TPiR.
1. Bring back the Plinko sign to the turntable with the "cats" theme
2. Bring back the Punchboard sign to the Turntable.
3. More Camera shots of the Giant Price Tag for PG or Prizes.
4. Get rid of the darn Jib Camera.
5. More camera time for Rich along with the famous Callout Window Shot. More conversation time with the host and Rich if time permits.
6. Rich would get some skits to perform during the showcases.
7. SCSD, bring back the arrow shot and get rid of the shoutouts. This ain't a Radio Show!
8. Zoom out from the contestant who has survive their turn at the wheel, to the contestant who is spinning.
9. Bring back different kinds of wipeouts when it comes to winning a new Car rather than the same wipeout that is used for almost everything. Example: A Dodge, bring back the Dodge logo wipeout.
10. Dice Game, rather than the host going to GPT, from behind the turntable like if they were to play Plinko or Hole in One.
11. I don't know why Bart doesn't decide what to do if he wants to zoom in to find a contestant or use the Jib. Zoom in to the contestant and that's final.
12. Total Winnings bumper- Once in a while when it's necessary, if it's over than $50,000. Otherwise pass the camera shot to where the host is located.
13. Last but not least. The Turntable. A zoom in when the host is going up to the turntable with the contestant, zoom out to open the turntable door to reveal what PG it is.
That's all for now, but This could be much better to what's going on now...
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The only thing I'd change about contestants' row is the yellow onebid display. The digits don't stand out as well as the other colors. Sure, the yellow goes along with the studio curtains and such, but sometimes it's hard to read that one display.
To continue this line of drift, I would make the colors of the displays blue, green, orange and purple, to match the four areas with the hypocycloid pattern--the doors and the turntable area.
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4. Get rid of the darn Jib Camera.
And this week, they practically have.
I'm thinking that the recent "toning down" of the jib may be so that it's more dramatic when used in primetime. Just a thought.
Some of the other changes indicated above seem to be confusing the "director" with the set designer. I doubt the director has the authority to change colors of the set and change the type of digital read-outs. The director is is more likely to call the camera shots and angles.
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I'm thinking that the recent "toning down" of the jib may be so that it's more dramatic when used in primetime. Just a thought.
Or maybe because so few people like it!
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Or maybe because so few people like it!
Then why must it be kept? Yet again we see a situation of "If it ain't broke, don't fix it!" Perhaps another lesson might be learned as was seen with the disposal of the Hollywood mural.
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Some of the other changes indicated above seem to be confusing the "director" with the set designer. I doubt the director has the authority to change colors of the set and change the type of digital read-outs. The director is is more likely to call the camera shots and angles.
Agreed--which is why I referred to my set tweaks as drift.
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I feel the Jib Camera is like a potent seasoning...if it's used sparingly and correctly (pathfinder, the sweeping shot from the ceiling the audience in the intro, the showcase turntable shot) it accents and highlights a fine product. But used too much, it distorts the outcome and can make it less appealing (the shots in the first few weeks)
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Well said!
Lets hope the gopher cam doesn't emerge in daytime regularly....
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I'm thinking that the recent "toning down" of the jib may be so that it's more dramatic when used in primetime. Just a thought.
It is not outside the realm of possibility that someone above Bart Eskander saw some of the comments about the jib cam on a game show discussion board and realized we were right. Stranger things have happened.
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10. Dice Game, rather than the host going to GPT, from behind the turntable like if they were to play Plinko or Hole in One.
Huh?????
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Huh?????
Basically, he wants Dice Game to move from being a GPT game to a curtain game. He'd rather see the turntable being used as the backdrop for Drew saying "You can win this!" than the tag.
Why? I have no clue.
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This is my very first post! Here is what I would do if I was the EP:
1. I would mic up the models like on Deal or No Deal!
2. Have some guest stars, like Drew's castmates from his show!
3. Get Rich Fields on camera more often!
4. BRING BACK SUPERBALL!
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2. Have some guest stars, like Drew's castmates from his show!
Wasn't he gonna have Kathy Kinney (Mimi) guest model for a day sometime?
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Wasn't he gonna have Kathy Kinney (Mimi) guest model for a day sometime?
I do recall reading a USA Today article about this being a possibility as he mentioned in the interview something about a "special guest model in January." Being that it is now March, I doubt this has or will happen in the near future.
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I do recall reading a USA Today article about this being a possibility as he mentioned in the interview something about a "special guest model in January." Being that it is now March, I doubt this has or will happen in the near future.
There's always April Fools Day.....
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There's always April Fools Day.....
That too. But the storming colors she wears I can tell what i'm seeing either the color shots from either the curtains or doors or her?
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4. BRING BACK SUPERBALL!
There is no conceivable way to do this. Super Ball!! was timed at 7 minutes -- longer than any game in the current rotation, and quite possibly longer than any other game ever (I could maybe envision it being tied with The Phone Home Game). It is not realistically possible to bring it back.
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There is no conceivable way to do this. Super Ball!! was timed at 7 minutes -- longer than any game in the current rotation, and quite possibly longer than any other game ever (I could maybe envision it being tied with The Phone Home Game). It is not realistically possible to bring it back.
What about On the Nose?
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Are you asking about bringing it back or how long it was timed at? Every retired game was retired for a reason, and On the Nose was retired for a really good reason.
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John and I were discussing this...he gave a guess of 6 minutes for On the Nose, but a guess is all it is.
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John and I were discussing this...he gave a guess of 6 minutes for On the Nose, but a guess is all it is.
I watched the premiere of On The Nose on YouTube and from the ARP to the commercial break it's around 5:20. Considering the slightly lengthed explanations and the game was won on the last pitch, I'd say 5 minutes would be around the correct time.
However, this is an extremely uninformed opinion.
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Are you asking about bringing it back or how long it was timed at? Every retired game was retired for a reason, and On the Nose was retired for a really good reason.
Timing compared to Superball, sorry I wasn't clear.
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John and I were discussing this...he gave a guess of 6 minutes for On the Nose, but a guess is all it is.
I suppose with that particular game, it can vary from playing to playing really, depending on how long it takes to guess the correct car price, and how many turns are taken at whatever event is played that day.
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It's wishful thinking but:
*Sell TTM prop on EBay (You might as well play range game)
*Experiment with random contestant selection (EVERYONE attends to come on down, somoene claims that some are too lame to play and although Stan made this claim in his book, I challenge this claim as it is used on TPIR live)
*Offer both domestic and foriegn cars as prizes (While I do prefer GM cars, there is no reason to limit cars to Ford, GM and Chrysler unless TPIR feels these dealers have a contract with them)
*Bring back popular retured games like Superball or walk of fame.
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Being the Marc Breslow fan I am, if I was the director, I would:
1. Bring back the shot of the turntable whenever Drew and the contestant would go up there. Show the turntable in action after the prize is described. Unless if it's Bonus Game, which would be, of course, before. Then, turn it back the other way at the end.
2. Show the giant price tag, whenever there is a game concealed behind it. For God's sake, they put some money into redoing the tag, they should show it off to the people at home.
3. Take a tight shot at Door #3 as it reveals the Lucky $even board.
4. Not open Door #2 before they actually get back there for Safe Crackers.
5. Show Rich Fields whenever he is calling a contestant. He is as important as anybody else on that stage and should receive his camera time, too. If not that, let him be in a showcase or two.
6. Get rid of the total winnings graphic at the end. Unless, if it is a 6-digit amount on the daytime version, and a 7-digit amount on the nighttime version.
7. Bring back the arrow graphic for the SCSD.
8. Bring back a shot of the Range Game at the beginning, if it's being played.
9. Have the SCSD graphics for the winnings ($1,000, $5,000, $10,000) resemble the Grand Game board.
10. On the opening, wait for the contestant to get down there before calling the next one.
11. Whenever a new person is called to come on down, for the next item up for bid, I would focus on that one contestant, take a shot at their friends/family/etc., then the item.
12. Fix the font on all the games that have been altered, so you can actually read the items.
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I suppose with that particular game, it can vary from playing to playing really, depending on how long it takes to guess the correct car price, and how many turns are taken at whatever event is played that day.
That's no different that Three Strikes taking three chips to finish as opposed to Three Strikes taking fourteen.
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That's no different that Three Strikes taking three chips to finish as opposed to Three Strikes taking fourteen.
Touche
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I watched the premiere of On The Nose on YouTube and from the ARP to the commercial break it's around 5:20. Considering the slightly lengthed explanations and the game was won on the last pitch, I'd say 5 minutes would be around the correct time.
But timings include the entire act, so that's at least another minute (I'm not sure how much time they factor in for the IUFB).
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But timings include the entire act, so that's at least another minute (I'm not sure how much time they factor in for the IUFB).
I'm glad I said that it was an uninformed opinion. Six minutes makes sense to me now.
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#1 have marc breslow, paul alter, and bart eskander as my associate producers,
drew's entrance:
-close up of door #2 then as drew enters zoom out
-opening monologue, much like bob did in the 80s and early 90s
-use the light border when a contestant wins and comes up to the stage
the pricing games
-for turntable games, reinstate the head on shot of the turntable that was used from day 1-halfway thru season 20 as drew and contestant ascend the steps
-show the turntable games spinning to face drew and contestant
-return the plinko and punchboard signs to the turntable
-show the race game curtain rising up for games like plinko and 3 strikes
-on the grand game and other cash games, bring back the bold white $10,000 win buldozer graphic that was used during the mid 80s
-for race game they should offer season tickets to lakers, chargers, dodgers, and kings games, also use the "william tell overture" as the race game music, that would be sweet
-for buy or sell they should show the big board prior to the prize reveal
-up the amount for check game say 7,500-10,000 to allow bigger ticket prizes, and use the range game think cue
-in make your move, go back to dinging and highlighting the contestant's guesses prior to the reveal, and use the range game think cue (has the more pensive feel to it than the one used now)
-for 3 strikes put three strikes back in the bag, and zoom in on the individual numbers with the current "NO" grapic
-when a pricing game is revealed at center stage, they should show an overhead shot of contestant, drew, and game, then slowly zoom downward
-have a three permanent model set and interviews with them and drew after a playing of a game
-bring back the mid show bumper
the set:
i like the new set design and they're headed in the right direction with the step on the carpet being green, the entire carpet should be green to cut back on the use of blue on the set imo
showcase showdown....
-bring back the arrow graphic used during alter's directorial days, the one from marc's era imo cut away from the full wheel shot way too early
-the red carpet looks good the way it is and they should keep it it's color goes in with the color scheme of the wheel
the showcases
-bring back more themed showcases (april fools day, thanksgiving, with rich acting out roles, much like rod and johnny did)
-up the margin of error for a double showcase win to $500, though $250 is a step up from the longstanding $100
-drop baloons and confetti for double showcase wins
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#1 have marc breslow, paul alter, and bart eskander as my associate producers,
Do you even know what an associate producer does?
(I don't even know what an associate producer does.)
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I'd give Bart back his job.
For many years he has merely done what he has been told. It will take time to reestablish some old habits or create new ones, just because I don't believe he's accustomed to having as much responsibility.
The crew are already making changes over time to the show, even bringing back some stuff. It won't be perfect all of the time, but the fact that they are willing to do something new and fresh or return to lost old habits is good.
Besides, if enough people are demanding things then they will eventually happen.
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*Experiment with random contestant selection (EVERYONE attends to come on down, somoene claims that some are too lame to play and although Stan made this claim in his book, I challenge this claim as it is used on TPIR live)
If the claim had no merit don't you think they would have tried it by now?
Random selection is a disaster on the live show. You get all manner of disoriented, befuddled, personality-challenged and just plain dense contestants who don't understand the simplest of games and wouldn't react if you took a million dollars and shoved it up ... ahem. Granted the TV show is not totally foolproof but the difference between the two is stark. The TV show has a much better batting average with contestants and is a testament to the value of the contestant spotters.
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Do you even know what an associate producer does?
(I don't even know what an associate producer does.)
I don't think he knows what a director does.
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I'd give Bart back his job.
For many years he has merely done what he has been told. It will take time to reestablish some old habits or create new ones, just because I don't believe he's accustomed to having as much responsibility.
The crew are already making changes over time to the show, even bringing back some stuff. It won't be perfect all of the time, but the fact that they are willing to do something new and fresh or return to lost old habits is good.
Besides, if enough people are demanding things then they will eventually happen.
I agree with keeping Bart, he's much better than Ken Fuchs! Trust me with Fuchs at the helm, what is next! Dancing?
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I agree with keeping Bart, he's much better than Ken Fuchs!
Wow, Ken Fuchs must be really awful.
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to clarify, no i created the associate producer positions becuase i would like to see the combined camera work of marc, paul, and bart in motion along with my directing since they have the wealth of experience, as to be by guide of sorts, a coaching team if you will....
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to clarify, no i created the associate producer positions becuase i would like to see the combined camera work of marc, paul, and bart in motion along with my directing since they have the wealth of experience, as to be by guide of sorts, a coaching team if you will....
So basically, no, you don't.
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to clarify, no i created the associate producer positions becuase i would like to see the combined camera work of marc, paul, and bart in motion along with my directing since they have the wealth of experience, as to be by guide of sorts, a coaching team if you will....
Let me put it this way: sometimes directors don't make good producers. An associate producer has producer's tasks, but is more of a right hand man to the producer at large. It's not an assistant, per se, that's a different term.
What you have described is not even close to this definition.
I think the term you're looking for is more of a consultant role than anything else.
The key to being a good director is to have your own style. You can take inspiration from other directors, I take some from Marc Breslow myself, but I adapt some of his ideas and revamp them into my own style. But, nobody will direct the same way as I do, and that's what makes every director unique.
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Wow, Ken Fuchs must be really awful.
He's the dummy who is directing Family Feud. He started his run along side Richard Karn, and he did some pretty dumb stuff, especially the support signs, supporting each family.
Overall, Bart has a upper advantage than Fuchs!
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to clarify, no i created the associate producer positions becuase i would like to see the combined camera work of marc, paul, and bart in motion along with my directing since they have the wealth of experience, as to be by guide of sorts, a coaching team if you will....
You're trying to downgrade them from Directors who are the masterminds behind the cameras and props to just associates who are behind the producers and Director.