"On the serial form" I believe with all my heart that this form is the most compelling and the most important form in television: the power of a serial to illuminate and to inspire, to help people in real, fundamental psychological ways, and to provide role models, to provide a sense of family if they don't have a family. All of that is overwhelming, and it's a tremendous responsibility. --Claire Labine, Creator, RYAN'S HOPE, former Head Writer, GENERAL HOSPITAL THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART AND HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc.
"On directing" My job as the director is to tell the story. It's true of all of our jobs here--as actor, director, producer, or as writer. But particularly as a director, you really can't lose sight of the fact that you're not here to make pretty pictures unless that shot is telling the story the best possible way. If it's not, it's just so much garbage getting in the way of telling the story. --Gary Tomlin, Director, ONE LIFE TO LIVE. THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART AND HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc.
"On plotting" Sometimes, when we are discussing ideas for future episodes, somebody will say something specific about a character, and I'll say, no, because I feel an innate sense of caution--don't do anything that cuts off future story. There's a tendency, when you bring on a new character, to say things like, "He has three daughters" because you want to flesh out the character. But don't have them say anything or do anything that limits the story and doesn't move the plot forward. I learned that from coming on GUIDING LIGHT after Doug Marland, whose characters had lots of family. --Richard Culliton, Head Writer, GENERAL HOSPITAL. THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART AND HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc.
"On the power of soaps" There is a great need in human beings for other people's stories. You can follow a story for six weeks on a soap and learn a little something about different kinds of relationships, about life. I think young people tune in, and always have, because they are generally optimistic about life, and looking forward to romance and happy endings, which is just what soaps dwell on. --Harding Lemay, former Head Writer, ANOTHER WORLD. THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART AND HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc.
"On comedy" For awhile, ANOTHER WORLD was known for its comedy. We were actually credited at one time for being the first soap to incorporate comedy, and that goes back to Gretchen Oehler. Gretchen was the wonderful actress who played this wacky maid Vivien Gorrow, from 1978-84, to Iris Cory Bancroft, then played by Beverlee McKinsey. She was a theater-trained actress and --I don't think it was intentional--she developed this comedic style on the show. The writers picked up on it, and soon the madcap antics of this very priim and proper Iris and her wacky maid, who was tripping over things and getting phone messages wrong, became hysterical. The audience loved it. --R. Scott Collishaw, Producer. THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART AND HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc.
"On directing" My job as the director is to tell the story. It's true of all of our jobs here--as actor, director, producer, or as writer. But particularly as a director, you really can't lose sight of the fact that you're not here to make pretty pictures unless that shot is telling the story the best possible way. If it's not, it's just so much garbage getting in the way of telling the story. --Gary Tomlin, Director, ONE LIFE TO LIVE. THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART AND HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc.
"On plotting" Sometimes, when we are discussing ideas for future episodes, somebody will say something specific about a character, and I'll say, no, because I feel an innate sense of caution--don't do anything that cuts off future story. There's a tendency, when you bring on a new character, to say things like, "He has three daughters" because you want to flesh out the character. But don't have them say anything or do anything that limits the story and doesn't move the plot forward. I learned that from coming on GUIDING LIGHT after Doug Marland, whose characters had lots of family. --Richard Culliton, Head Writer, GENERAL HOSPITAL. THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART AND HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc.
"On the power of soaps" There is a great need in human beings for other people's stories. You can follow a story for six weeks on a soap and learn a little something about different kinds of relationships, about life. I think young people tune in, and always have, because they are generally optimistic about life, and looking forward to romance and happy endings, which is just what soaps dwell on. --Harding Lemay, former Head Writer, ANOTHER WORLD. THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART AND HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc.
"On comedy" For awhile, ANOTHER WORLD was known for its comedy. We were actually credited at one time for being the first soap to incorporate comedy, and that goes back to Gretchen Oehler. Gretchen was the wonderful actress who played this wacky maid Vivien Gorrow, from 1978-84, to Iris Cory Bancroft, then played by Beverlee McKinsey. She was a theater-trained actress and --I don't think it was intentional--she developed this comedic style on the show. The writers picked up on it, and soon the madcap antics of this very priim and proper Iris and her wacky maid, who was tripping over things and getting phone messages wrong, became hysterical. The audience loved it. --R. Scott Collishaw, Producer. THE MUSEUM OF TELEVISION & RADIO WORLDS WITHOUT END THE ART AND HISTORY OF THE SOAP OPERA (1997) Harry N. Abrams, Inc.