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BUZZR Lost and Found 2020
JMFabiano:
--- Quote from: PYLdude on September 02, 2020, 05:51:15 PM ---The Davidson Pyramid, if I’m not mistaken, is split because they changed distributors and production companies in between seasons. At least part of it would be in possession of NBCUniversal (the second season) through succession. The first season was an Orbis Communications property, so I would assume whoever owns the distribution rights to Joker 90 also is in possession of that.
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I think that would be the Peter Rodgers Organization? (who also hold the rights to Celebrity Bowling)
Second season was Multimedia Entertainment, who also distributed Donahue. And yes, that's where NBCU comes in.
BrandonFG:
--- Quote from: Chief-O on September 02, 2020, 05:16:44 PM ---
--- Quote from: golden-road on September 02, 2020, 10:43:01 AM ---I've always wondered who owns LMaD'90. I've read for years that Disney themselves own it, but couldn't that be confusing it for the other Clark/Greenberg show that was on the air at the time?
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I just pulled up an ep. on YouTube, and I didn't see any Disney/Buena Vista logo at the end (just the mention of Disney/MGM Orlando as the taping location). I'm sure there's probably some confusion with "The Challengers" somewhere.
I'd probably think that between the 2 production companies, DCP would probably (still) hold the rights. But then again, Fremantle may have gotten a hold of it along with the other previous incarnations....?
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Yep. AFAIK, LMAD was a Ron Greenberg and Dick Clark Production, being on NBC. It was “The Challengers” that was distributed by Buena Vista.
Adam Nedeff:
--- Quote from: CoreyArcher on August 31, 2020, 09:25:41 PM ---As for High Rollers, I'd assume only Wink's version is available? It's entertaining, but Trebek's was a gem.
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All of the 1974-76 run High Rollers survives, which I learned only about a year ago. I'm honestly shocked that an effort hasn't been made to digitize some chunk of it because of the amount of goodwill name value Alex's name carries now.
One frustrating thing I've come to learn in the past few years is that much, MUCH more of certain things exist in various vaults than we realize, and the fact that we're not seeing it is a matter of economic sense. CBS has unedited, complete prints in black & white of the final year of Password that we've been seeing in their chopped up-for-syndication form all these years, but why bother with those when the average viewer is fine with seeing the cut up versions in color? Save for the first month or so, Bud Collyer's entire daytime To Tell the Truth exists in the CBS vaults, but why go to the trouble of making a deal with the CBS vaults and spending a small fortune converting them to a usable form when we already have the batch of prime time episodes in a form that's easier to work with?
(Video Village still exists, too.)
Bryce L.:
--- Quote from: Adam Nedeff on September 02, 2020, 11:44:31 PM ---One frustrating thing I've come to learn in the past few years is that much, MUCH more of certain things exist in various vaults than we realize, and the fact that we're not seeing it is a matter of economic sense. CBS has unedited, complete prints in black & white of the final year of Password that we've been seeing in their chopped up-for-syndication form all these years, but why bother with those when the average viewer is fine with seeing the cut up versions in color? Save for the first month or so, Bud Collyer's entire daytime To Tell the Truth exists in the CBS vaults, but why go to the trouble of making a deal with the CBS vaults and spending a small fortune converting them to a usable form when we already have the batch of prime time episodes in a form that's easier to work with?
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Is Fremantle aware of the existence of these prints in CBS' possession?
thomas_meighan:
Something I’d like to see on Buzzr is that 1969 “Match Game” with Peggy Cass and Tony Randall that one of the Paley Center branches has.
My inner nerd that’s fascinated with preservation would like to see a color tape and B&W kinescope from that final year of “Password” edited together so that we could see exactly how much had to be cut from each episode. (Don’t know if general viewers would appreciate that approach, however, given the inevitable shifting in picture and audio quality.)
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