The Buzz - BuzzWorthy Radio

BuzzWorthy Radio: Jim Romanovich!

Jim Romanovich, Worldwide Media and Entertainment/ATI president, will be making an appearance on BuzzWorthy Radio!

Romanovich, whose company is producing the 36th Annual Daytime Emmy Awards to be telecast on The CW August 30, 2009, will be speaking about his love for daytime, as well as what can we expect from this year's awards broadcast.

Duration:: 1h 9m
Broadcast on:: 19 Aug 2009
Audio Format:: other

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We are your host, Navell Jayli and Matthew Preston live on this Wednesday, August 19, 2009. We are honored to have with us, Mr. Jihin Ramanovic, on our program. I believe he is joining us on the line as we speak. Joining you on the line as you speak. Yes, and Navell, how are you? Good, I'm doing great. Thanks for having me. Thanks for being here. Again, it's still an honor and a privilege to even have you, even to speak to you. Oh, come on, this is great, I'm happy to do it. And I appreciate the help you've given to promoting the daytime, Emmys and daytime in general. So, if anything, it's my honor to be on your show. So, thank you. Humble, I love Humble. All right, all right. All right, I had to ask, how did you get involved with producing the daytime Emmys for this year? Because for a long time, we did not even think we were going to even have a decent Emmys at all. You weren't. Now, that was really the bottom line. I've been a fan of daytime television for many, many years, too many to count, actually. And my time goes back to 1981 General Hospital. We held that classic summer with Robert Scorpio and Luke Spencer and the Ice Princess and all of that. That was a cool time. And I stayed with it ever since, and I started watching some of the other shows. And, you know, being in the business, you would know what's going on and so forth. Last year, we won a daytime Emmy for our CW special called "America's Invisible Children" with Joan London. And we produced many, especially award shows, big shows like the World Magic Awards with Neil Patrick Harris last year, the Hero Awards and a few other things. So, David McKenzie, the executive producer, the main executive producer of this show and the guy that's really making all of this happen. He is really something special on this and really thrilled that he allowed me to do everything I needed to do to make this happen. But he is the guy, he's the guy that says yes and no. So, he's been saying yes a lot on all of the ideas that I had and he brought his own ideas into it. So, really thankful for that. Anyway, in January of this year, I noticed that there was a lot of press that was kind of cryptic. Nothing specifically stating anything about the daytime Emmy's other than "Looks good, we're talking to a few people, might be this, might be that." You know, that's just, that's Hollywood to speak for, don't have anything. So, David McKenzie comes into my office in January and says, "Jim, what do you think about, what if we try to produce the daytime Emmy Awards this year? Why don't we go after that?" And I said, "You've got to be kidding." I mean, that's been locked up in networks and production companies for 20 years, 30 years. I think it's a locked business. So, he said, "Well, why don't you give him a call and see what happens?" So, I said, "Okay." So, I called the president or the soon to be president of Natas, Frank Radis, who was taking over for exiting president Peter Price. And I laid it on the line. I told him exactly where I thought that they were and how I could show them a new way of getting their program on the air, so they don't go without for a year, because once you're off the air, you're off, you're done. Never going to come back. So, I said, "You're probably not going to get the big money that you were hoping to get, like you did last year when you had ABC and before that was CBS, but I guarantee it's not going to cost you any money. And if anything, it's a total win-win situation. Give me three weeks. I'll get you a network and we'll go from there." And that's what I did. So, that's how we got involved. It only took three weeks, really? Yeah. Wow. Wow. I had a plan. Well, that's really good. And as I've been mentioning to everybody else, it's so wonderful to have someone who loves the daytime genre to actually want to see this happen for many of the fans, including myself. That we're very proud that this is happening this year. So, thank you again, and Mr. McKinsey for making this happen. Absolutely. Yeah. And yeah, I'm glad you are thanking David, because he really is the mastermind behind making all this happen. He's the guy that unleashes me to do what I need to do. So, really, I give him all of the props for making this show happen. And also, the people over at Natas, Frank and Carolyn and Daryl and Mal and Brent and everybody, for really having the foresight of knowing that this was the way to go. And this was a perfect way to reinvigorate the Emmy Awards as well, to the daytime Emmy awards. And again, not just being a fan of daytime Emmys. I'm also a guy who was a former actor years ago. And I was up for one of the parts on Days of Our Lives years and years ago. And one of my best friends is John Riley, who played Sean Donnelly in General Hospital. So, I've been around it for many, many years. So, it's a real honor for me personally to be involved. And the shows that I went to visit couldn't have been nicer to me. Couldn't have been nicer. So, I thoroughly appreciated that. And I think they appreciated me too. Absolutely. You went to every set, correct? You went to every set. No, yeah, I went to every soap set. Because they were the ones I figured needed to be seen. They needed to know that there was somebody interested in them because it's been such doom and gloom for the last two to three years that I can recall around all the soaps. You know, it's like ratings constantly dying. And people constantly leaving or being like, oh, or this or that. And shows being canceled or possibly being canceled. You know, it's, you know, the starting, you know, it was, the press was almost making it look like soaps were becoming the bastard child of the networks. And they were putting up on the pedestal, all of these, you know, talk shows and court shows and game shows, which we all love too. We all love those. Those are great. But, you know, I wanted the soaps in particular because that's where my passion lies with them. I wanted them to know they had a friend in me. Exactly. Very, very cool. Before we get into more about the Emmy, if I want to bring on the co-host of the show, Matthew Preston is joining us right now. How are you, sir? I'm doing good. How are you? Doing very well. Doing very well. Thanks. Thank you. Thank you for coming out. What I wanted to also delve into because I think this is a very interesting thing that you guys decided to do was the daytime gives back with the Susan Luci, Tony Gary, and Kelly Monica, which I believe just started airing on all my children. Dead Monday, I think, right? And I think it was Monday, yeah. Well, I mean, that's when they first made the first mention of it that I saw. But that was great. I mean, Susan's really doing a great job of it. And Julie Carruthers is my hero. So I really appreciate her insight and to making this a reality on their show. It only helps feed the children that much more. Jim, I was looking for you and I had to say thank you so much for having such a huge lift on this, as you said, doing blue and daytime. Let me ask you, what has been some of your favorite daytime Emmy moments? Oh, man, you're asking me some tough questions. I mean, that's, you know what, I can't, I don't really have a particular daytime Emmy moment that I can sing a lot and say, God, this was a great daytime Emmy moment because, you know, there's, there's a lot of great moments. You know, again, I go by shows that were of most interest to me at that time. And I, I don't want to sing a lot of any particular show now because it'll sound like I'm favoring one over the other. And, and at this point, I really, I shouldn't do that. I think everybody knows I'm a, I'm a big general hospital fan. I think I've been pretty clear about it. But I'm also, I love the young and the wrestlers especially. And actually right now, I like them better than general hospital. Story wise, one life to live, I think, is even doing some things in there that are better than general hospital. But it's, you know, it's back and forth. It all depends on where you're on the swing of things. But as far as Emmy moments, I don't have any in particular. But I think seeing Jeanie Francis get up there when she won a few years back, I like seeing that. Rick Hurst, again, seeing him talking all general hospital. When he won, he gave a great speech. So, and, you know, Rick is actually my neighbor. I met him for the first time at the general hospital set on his very last day before going over to B and B. His wife is a choreographer at one of the acting schools up there that my daughter happens to attend. So, we have that in common. But those are the two that stick out. Very nice. How about Susan Lucci winning? I mean, like there was always that. Well, yeah, that's true. That's true when she finally won it. Oh, here's one that was speaking of that. That was very funny was when Jimmy Kimmel, when he and Ben Stein won, and he ran down and gave his award to Susan Lucci. I thought that was very funny. I remember that. Yeah. That's hysterical. That is hysterical. How long did it take to plan the daytime gets back? How much thought, time, everything went into doing that? And how are you able to get those three to go ahead and be a part of this? Because that was a wonderful venture. Just having to experience it was great. Well, thank you. And again, I have to give credit to David McKenzie on that. Because Feed the Children is our charity that we've been involved with for many years. It does a lot of great work. We all have kids here. I've got two daughters, preteen daughters, and so these things are important to me too. When we first got involved with this, we knew right away. As soon as Natas agreed to do this, and as soon as we got the network, it was Feed the Children at that. But we already knew we were going to do this thing in Kenya. And then I coined it daytime, give us back. I thought it was a nice catchy title that everybody understands. You don't have to explain it. So we already have that involved. What I thought was going to be the tough thing was getting stars to go. Again, it's one thing for somebody to want to contribute or to do an interview about something about what it means. And it's another thing to drag somebody halfway around the world and put them in a really impoverished situation. And have them really see this firsthand. I didn't think a lot of people would really want to do that. I didn't really think a lot of daytime stars would want to do it. And I was floored. floored that Susan Lucci wanted to do it. The fact that ABC daytime stars were there was just a coincidence. Because I mentioned it and all of a sudden I had, boom, boom. They were there doing it. Kelly Monica ran up to me and says, I've got to be there. I've got to do this. Okay, love to have you. And then I hear from Jill's office at General Hospital. And they said, would you like to have Tony? I said, Tony, you've never do this. Tony, Gary, Tony doesn't do anything. I mean, he doesn't, meaning that he doesn't want to be in the public guy when he's not doing General Hospital. He's a private guy who lives in Amsterdam when he's not working on General Hospital. And he's not going to spend his vacation time doing this. And he, I tell you, he really floored me. I have got, I've always respected Tony Gary. He's now way at the top of the pile for me. And you're going to see, I already saw the clip. You're going to see a different Tony Gary. I mean, people know Tony from as Luke to be in the cynical sort of bastard that he is on that show. And he is, but he's kind of a bastard. You're going to see somebody that will just melt you. And he breaks down and it really affected him. And it changed his life forever. And Susan too, really changed her life forever. And Kelly, you know, here's Kelly, you know, this glamorous, you know, hot looking babe, General Hospital, dancing with the stars, peep show in Las Vegas, getting down in the dirt in the dust, helping these kids, feeding them, giving them food. I mean, it just, it's, it's, how can you not be moved by that? And then the reason why the whole New York thing came up is because everybody wanted to do it. And so then I said, well, I, you know, want to do this again. And I want to do it in New York so I can make it easier, number one, for New York shows to get there. And number two is that we do this in New York and in Harlem to help the schools and the kids and the families there as well too. So it all worked out that way. And we had a great turnout from One Life to Live and from Asa World Turns. And in Susan, again, came out from all my children. Guiding like couldn't be there. They were taping their last day that day. So, or one of their last days. So I couldn't get them out unfortunately. But it was great. The only folks I was hoping to get at some point were days of our lives in the young and the restless. So I'll have to schedule something on the West Coast at some point. But I have to give all of those folks my highest regards and props. I mean, they really surprised me in a positive way. And if I had respect for them before, it's through the roof now. So that's how it all happened. That's terrific. I can't wait to see it. Can't wait to see it in about a week from Sunday. A week from Sunday, yeah. And I already saw it. I already saw the guiding light tribute. I already saw the Sesame Street. I mean, and I already saw it. Well, I can't say. But I otherwise am going to give it away. But it's going to be really a spectacular and entertainment-driven show. And I hope everybody likes it, you know? And I hope we do well, well enough for us to come back again next year. I hope for that myself. I hope for that myself. It's something that I'm so happy we always see is the last award of the night. Best daytime drama. And this year, one of my favorites shows is nominated. It's actually one of the novels as well. Both are beautiful. I'm just saying, crossing my fingers, I'm hoping this would be their first win. I'm just, I'm hoping. You know, I got to tell you, you know, the bold and the beautiful is highly underrated. Because you really have to appreciate their style of doing it. So it's unlike every, any other show that's out there right now. They tend to border it on the campy side at times. They don't mind being over the top. But they can really play, you know, I love like the Bill Spencer and the Katie Logan thing right now. I think they really played that well. I'd like to seem to draw it out a little bit more. But I loved that dynamic where they can play the romance or the Beauty and the Beast thing or what they're doing there. And then they can play the camp with Brooke writing in on a horse. You know, I'm now pronouncing man and horse, you know. That's great. You got Susan Flannery, who I think is one of the best actresses in daytime. And yeah, it's a show I really, really admire. And you know what? I also think the 30 minute episode, the pacing of it is, it helps a lot too. How do you figure because of the speed of the show? Yeah, because I think you have to get more story in less time. So, you know, the problem with hour long shows is that, and I, we all know this to be true, is that you see a lot of repetitive scenes. You know, how many more times do you see it? How many more times in general hospital can we see Olivia go over to Sonny and say stay out of my life? I mean, I've seen that scene 12 times in the last four weeks. That's what I call Phil. And both great actors, by the way, I love them both. But when you have an hour long show, you got to kind of keep filling it with stuff to make people relevant, or to keep them to know that there's still a relationship between these two people. When you have a half hour show, it's basically just, you know, it's all, let's get to the meat and potatoes of it. No, let's just get going. This has happened, and this has happened, and this is happening, credits. And it moves faster. And that's why I think the campiness of it comes out a little bit more. There's a fun feeling to it. There's a sense of fun about the bold and the beautiful. Really is. The gold, what was it, Donna, got the honey and the glitter and all of it. Yeah, you can't do that. I'm the young and the restless. You can't do that. I'm guiding you. Right. You know, you can only do it on a show that is as superficial as the fashion business is. And, you know, and that's what I love about the bold and the beautiful. And I think that's one of the reasons why it's there. I mean, they can play the romance. You know, high drama, you know, is not really them. You know, as far as really is getting sad and pouty and all that other stuff, that's not really what they're all about. But they just have a real sense of fun about them that I think some other soaps could take note and put a little bit more into their shows. I agree with that. I do want to share opinion on this one as well. When the nominations came out and we saw days of our live cast members finally getting in, getting in on the action of this year, what was your first reaction to that? Because I think I think Dave Ralaz has definitely been sheltered out many, many years. And finally seeing all these nominations come to the forefront, I think that was great for them. And they got some nice, they got some really good competition. You asking me that question? Yes. Is that? Yeah. You know what? Ironically, that was the show I auditioned for back in 1994 when they were recasting Mike Horton. When Michael T. Weiss left, they were auditioning some new people for it. I made it up there pretty far. I don't think I ever went to the producers, but they ended up going with Roark Critchlow. So I have a real spot for days of our lives. And I know about the last five years or so they've had some problems mainly because NBC may have not been supporting it as much, you know, they weren't doing the daytime. So they opted out of their rotation. Passions was kind of on its last legs, again, my buddy John Riley, taking over the role of Alistair Critchlow on that show. So once passions went dead, you know, days of our lives was really looking at death's door there, too, at that point, because they just figured, okay, well, NBC is out of the game. So, therefore, let's give rid of days of our lives that you've only got a few months left on the contract. And lo and behold, they make some changes. They do a few things here and there, some controversial changes that people may have certain issues about. But what happened was is that something got reinvigorated with that show. The stories really got fine-tuned, characters were drawn out a little bit more. It was a very tight ensemble. They're really a tight, tight ensemble. And I really -- I love everybody on that show. And I think -- I got to spend more time with them, too, because I think they do a great job. And they deserve -- they deserve to be in there this year. So I am really happy for them. And I wish them the best. It's really cool to see -- it really is cool to see each network is competing. Yeah. Exactly. You know that all the CBS fans are just in the room for the Golden Beautiful, AMC's Room Brave. It's just -- it's really -- it's fun this year. It really seems like Emmys just looks at a lot of fun. Yeah. And that's what I believe we're going to bring to it. You know, that sense of fun and a little bit of glitz and a lot of showbiz, you know, the stuff that, you know, when people are asked in stars, too, when they were asked about what their favorite times were in the daytime Emmys and what their favorite year was, it's -- I think it's the one with Radio City Music Hall a few years ago because it was big. It was splashy. It was well-produced. It looked like prime time shows should look. And the ones since then have been kind of technically very, very well done. I don't want to take anything away from the production company or the networks on it. But, you know, it's like they were trying to find ways to be trendy or current rather than be entertaining. And I think that's where you kind of lose viewers because if you're in prime time, you got to entertain people that may not necessarily watch daytime, but maybe you want them to. But in order to do that, you got to entertain them. You just can't hand out awards to people they don't know or don't recognize. And the other thing about daytime fans that's different than prime time fans is that daytime fans are loyal to what -- to shows they watch. And that is not necessarily all of daytime. So, in other words, there's general hospital fans that are only general hospital. They don't -- we're live, right, so they can't cuss. But they don't care about guiding light, right? You know, guiding light is a two o'clock show, too, I believe. So you know that -- and that's been one of the problems that the daytime Emmys in the past when fans were in is that you get a lot of cheers for general hospital and a lot of booze when it wasn't. Yeah. So, that's another reason why fans aren't allowed in this year out of respect for all of the shows. And it's also a little bit smaller venues and we needed the room for the celebrities and the nominees. But, you know, that's about it, I mean, fans are cheering for their particular show. So you need to be broader and entertain people, which is why I wanted Vanessa, you know, she was always on my short list, she was on my short list before Hugh Jackman did the Oscars. But once he did the Oscars, then I knew she was the right one. And she is. And she is everything you could imagine. She's the triple threat. Nice. Yeah. Great. I do have a caller for you if you want to take it. Are you up for it? Yeah. If I can answer it, I'd be more than happy to. Hope it's a nice one. All right. Don't be mean. Don't be mean. All right. 617. Hi, Navell. What's up? How you doing? Hey. How are you? Okay. I won't be mean. I won't be mean to you guys. But you might think I'm going to be mean to somebody else, but I'm really not. I'm concerned about the way the daytime Emmys are chosen. And Navell, you know the name I'm about to mention. Last year, I really consider that Van Hancis was robbed as best actor, best younger actor against Tom Pofrey, who won. And it's nothing against Pofrey's talent. I think the problem with the system is that they choose one or two individual episodes and the entire year is judged on those episodes. So in Tom Pofrey's case, he's off the show, he came back, he cried when his girlfriend died, he burned the mansion down, and he was out of town before Valentine's Day hit. Whereas Van turned in excellent performances over a 52 week period. And it seems like it would be more fair if they allowed the actors to submit a reel of scenes throughout the year so that Van or any actor would have had the opportunity to pick a wonderful scene from February, a great one from June in something from November, and put it together and be judged in that way rather than being judged on one episode where one part might have been a spectacular performance and maybe they were a little weak at a different point. And then they lose. And I was wondering if you thought that that idea had any merit and if you think the changes need to be made in the way the actual awards are chosen? Is that a question from you or for you, Navalle? Actually for both of us. For both of us. Why don't you answer first? I answer first. Gee, thank you for putting me on the spot. You want me to answer first? I'd be more than happy to. First of all, as the producers of the show, we don't get involved in the nomination or the selection process. So I'm not exactly sure specifically how it all works. I do know that everybody is responsible for submitting their own reels. First of all, I like your idea. So I think there needs to be a little bit more of a variety. And I think they do select a particular scene, a show selects a particular scene, and a lot of people from what I understood this year were upset that the Young and the Restless was not nominated for a best show. And from what I also heard was that the clip chosen for the Young and the Restless was probably not the best representation of against the other clips, shall we say. By itself, it might have been great from what I understand that what was selected from the Young and the Restless was more of a character piece, which is what YNR is all about. Great show, my opinion. But we're talking about an out of context excerpt, and people that are watching it are going to be watching for something exciting in 30 seconds or less, whatever that might be. And I think all my children submitted tornadoes and general hospitals submitted some other crisis that happened and so forth, so everything was kind of like big plot driven action sequences. Young and the Restless supplied probably a great acting scene that happened. I don't know which one. And they didn't get chosen, but they're selected by all of their peers. So you might be right that maybe they should select like the three best scenes or actors should do that. And I heard Peter Wreckle saying in an interview that he just chose one scene. He only had one good scene last year, from what he said personally, and that's the one that got him the nomination. Maybe that's all it takes. You know, Tony Gary, I know selects one great scene. I think this year he chose his Pearly Gates one guy, whether he was his one where he had a heart attack died and went to the Pearly Gates and had the trial and all of that. So it's a very subjective thing, so whatever the academy does next year, I don't know. But you know, certainly the suggestions you have sound like it makes sense. Right. Because a good example of that was this past New Year's Eve on As the World Turns. Jake Silverman had a beautiful scene, the final scene of the episode, but he was in virtually none of the rest of the show. I think he had three lines through the remainder of the show. So it was a weak opportunity for him to submit that entire episode, even though the five minutes scene at the end was brilliant. And he lost out on a nomination as a result of that, whereas it seems like he had a better opportunity if he could have picked chosen. And also on the issue of the show, I know that a couple of years ago, General Hospital One, mainly based on the Metro court hijacking storyline, which was brilliant. I love that too. Like you, I've been a general hospital fan for 30 years, so I definitely appreciated it. But in the sense that really isn't what the show represents year and month in and month throughout the year, and it seems like they should be required to submit maybe three separate episodes or scenes that were filmed four or six months apart, give some sense of what the show is over the year, rather than what the show is in the middle of one spectacular stunt where they poured all their money into that two week period. Yeah, but you're assuming that the shows would do that if given the choice. I can tell you right now, if you gave that choice to General Hospital, they would pick the Metro court. They'd pick probably the train wreck and they'd pick some other stunts, some other stunt that they do for the ratings months and so forth and so forth. They do tend to do better than any other show. Yeah, but that's what they do. They've been criticized for it as much too, but that's been their strength. They're still number two in the demo and so until they drop out of the coveted demo, you're not going to see any major changes on General Hospital. And that goes for anybody else. Basically, when you're submitting something, it's really a commercial for both of me vote for me as opposed to it should be of this and it should be this we need one dramatic scene with two people, we need this and we need that. I think they're just going to say shows you're on your own, pick the best of what you think what the best is and people vote, they vote with their time, which a lot of these judges do not have. I can tell you that because I had talked to a few and they barely have time to watch one thing now. So the quicker you make it and the more exciting you make it, chances are they're going to vote for it. That's just human nature. If you give them a scene of two people talking and it's a great acting scene but not as much as really happening, they're going to tune out. Because people just can't stay focused that long when they have to look through a lot of submissions and there are a lot, by the way, in tapes and they've got their own shows to run or they're acting in their own shows and I forget some people tend to vote for friends and all of that is part of it too. I think, I don't know for sure, but again, just speaking in human nature, I think you tend to vote for people who you like. I know that Ben Hances did make a comment on when they asked him what he chose to submit and he chose the emotional breakup scenes, which were a lot of screaming and crying and yet six months later he did a particular scene with the character of Brian where they spent virtually the entire episode sitting in the living room talking and they were some of the longest scenes that show has done in years and it was a beautiful interplay between the characters but I totally see how that wouldn't win him an Emmy and that's why he didn't submit it. Exactly. And this is this, I'm sorry, go ahead. In my opinion, the subtlety of the interdynamic of those two characters in that talking scene actually showed a greater appreciation of his talent than the overwrought emotional scenes that he did submit even though they were excellent as well. I'm sorry, go ahead, Nabelle. I was going to say, if you take that into context, I mean, look back, you know, I'm going to go back 10 years ago, when Luke had that talk, that long monologue scene that he had with a lucky template by Jonathan Jackson, and I know Jim, you know what I'm talking about, and it did that scene when he was basically going ahead and explaining to his son about him raping Laura, I mean, if you look at that, that's just as raw, that's just this gritty, that is just this pretty much kind of, is that what you're kind of like referring to with that time as well, that that kind of those kind of scenes could garner him the attention for an Emmy or like that, like that, if I'm following you correctly. Well, I'm not sure which of the two of us here. I think he's talking to you. At the top, yeah. Well, I certainly thought that the chemistry between Tony Gary and Jonathan Jackson was off the charts in a way that it hasn't been with any lucky sense of that. Without a doubt. There was a magic between those two actors, and that choice you gave, Nabelle, was actually like halfway between those two scenes that I mentioned. It was a talking scene, but however, it was deep and raw and emotional because they were cutting to the core of a problem in the family dynamic there. I mean, how do you, how does the father explain to his son that he raped the mother and that's how they got together? How do you sell a scene that's so absurd on his face as that, but yet through the talent of Tony Gary and Jonathan Jackson, it worked. And I thought that was an excellent scene because it did show that the talent of the characters superseded the plotting, which is often the plotting talk that the weak point on soaps, the absurdity of what's going on in a particular storyline. But it's how the actor sells the moment that means the most it may. And a good example of that being the scenes on days of our lives when Bo and Hope deal with the death of their son. Yes. Quiteably raw scenes, brilliant performances, I think probably some of the best work that Tom Peter was going to remember now. So those opportunities are out there, but sometimes it seems to me that the subtle, quiet moments are what really shows the talent of the actors, and it also better represents what the show is, and that needs to get lost. Yeah, I would agree with you, it gets lost to me, and that's why people were asking me about the clips in the shows. We're going to have a lot of actor clips in the shows because before there weren't that many. And I told people, I said, "To be honest with you, I don't think the actor clips ever did any actor, any justice. If anything, it pointed out how bad it looked because, and I mean this would all do respect because when you take these scenes out of context, they look pretty silly." And because there's some that's either over-emoting crying or over-emoting yelling, and that's what you basically see. And when you show those clips, and then you go to the actor and you go, "There's always this embarrassed look on their faces." You know, because they know that. And to me I thought it would be better to do something, and fortunately we couldn't do it this year because of time and money and effort to do it, but to do more of a tribute, for example, of Kirsten Storms as the nominee, rather than have her doing a yelling or a crying scene, which they probably would pick, maybe one with Georgie perhaps, then it wouldn't be better to have Brad Anderson say a few nice things on camera. And behind him, green screen, you see montages without sound, but montages of Kirsten Storms at her best, some of her best moments. So you see the visual of it as you're hearing him really saying what she means to the show. And what she means to him, and how she makes him that much better. I think viewers in the audience would love that much more than just seeing the standard over exaggerated clip, because you can never see it in context. Yeah. And a good example of what you're saying is that if you go on YouTube and put in Martha Burns' name, and you see a video that somebody made called to the song of "I Will Remember You," and it's shown with just a montage of clips of Lily through the ears. And you see little bits and pieces of various scenes that she's growing up on the show. It's a beautiful tribute to Martha in a way that no one clip being pulled out of the archives could ever do. Yeah, that's right. And I agree with you. I think some of the moments where nothing is being said are the most dramatic, and you know, because acting is reacting, right? And sometimes reacting is not saying anything or doing anything. It's just being there in that moment. And that's why I have such amazing respect for these actors in daytime, because it's a tough thing to do with doing these one act plays every day. I mean, it's unlike anything else in the entertainment world right now. It's much harder to do than a play, because a play you're doing the same two hours every day for eight weeks, ten weeks, whatever it is, daytime you're doing, you know, 50 pages or more, maybe 30 pages, I don't know, every day. And that's not an easy thing to do, and to sell it successfully every day is an amazing thing. As well as the fact that they have to sell a plot line which you can put it down on paper, a good example is it was a scene on, as the world turns, where Noah is consoling Luke, and although what's exactly in the dialogue, Luke says, "How do I deal with my father being dead, even though we know he's not really dead, because it's the bodies?" And Noah says, "Well, you can react the same way I reacted when I thought my father was dead, but he wasn't really dead because he came back to life a couple of weeks later." And that's sort of the undercurrent, of course, that's not what the actors are saying, but that's what the audience knows is happening, because we know these characters come back from the dead all the time. But yet the actors manage to sell the moment, to sell the emotion of the scene even though the dialogue, even they've admitted they're like, "How do I sell a plot line like this?" Yeah, that's true. And it's the real talent of the actors that they can pull it off. No? Well, Tony, thank you so much for calling in. Thank you. That's Tom, by the way, not Tony. I'm sorry, Tom. Wow. You had so many great ideas. Hey, I was, you know what, maybe I was thinking Tony's hearing, that's fine. I don't know. You were thinking Tony's hearing. Right, all right, talk about the federal law. Then I'll take that. We'll take that. Well, thank you for calling in. Thank you very much, guys. Have a good night. Jim, something else that the daytime Emmy Award also nominates, not only do you nominate the best in soap operas, but also game shows and talk shows, do you think, when we see Ellen DeGeneres get dethron, because she's been like, she's been taking like so many awards for the past, she deserves it, she totally deserves it. Do you think the view, I don't know, maybe the view will get some awards? Well, maybe, you know, you never know. It's hard to say who's going to get what. I mean, honestly, I honestly don't know. Again, it's really who you like, right? Ellen is such a likable personality in daytime. You know, Oprah's removed herself from it, so she's not even involved, otherwise she probably would win every year, too. And I think at some point, maybe Ellen's going to do the same thing, but if it seems like she's going to be getting an award every year, yeah, it's hard to say, you know, and with game shows, too, it's like, that's what's tough about it for me, I'd say, is let's make a deal or deal or no deal, I should say not let's make a deal, I'm not sure yet anyway, but, you know, is deal or no deal better than who wants to be a millionaire? I don't know. Is Howie Mandel better than Meredith Theorem? I think they're both great. They're both great at what they do. It's not like, they don't seem competitive to me. It seems like they both fit in there, and it's hard to say, you know, they're doing the same thing every day, right? So it's not like they're doing a new storyline and they're bringing fresh actors. It's basically the same game. So how does one get better one year over the other, you know, how does one win? I don't know. So as far as Alan is concerned and the talk shows, yeah, you know, people are going to vote for really who they like or who they think they like. Some people vote on what's cool or what's trendy, so, you know, just so that they can have water cooler conversation and say, yeah, no, I voted for the cool trendy one. It's so subjective and it's so personal, and, you know, most of the time it doesn't always have to do with talent. It just has to do with personal taste with all judges because we're all human and we all like what we like and we don't like what we don't like. So I just think there's the same people voting every year that just like Alan a lot. Yeah, that's true, you know. So one of the things, and we have talked about this, we have talked about, I mean, God, Twitter, Twitter is like my CEO here, I'll end all lately since I'm on it constantly and I have tweeted back and forth with you in regards to the all my children moving west subject. Right. And you actually said it was a great move for them. Great move. Why do you think that? Well, here's your option, move west or power down. So that to me is the bottom line, you know, and if it's not power down AMC then it's power down one life to live. So one of those shows was going to be sacrificed without a doubt. So to me, if you're a true soap fan, what option, there is no option. It's like, you know, move and live, stay or die, move and live. That's what they chose and that just shows a real sign of faith in the show and I have to commend ABC for really getting behind it because they're not ready to throw in the towel on daytime. If anything, you know, they're reinvigorated by this and I think they are the, they're having the best profit margins of all of the daytime shows, all the ABC shows are owned by ABC. So they can do whatever they want with it and the profit goes directly to them. Not so with CBS and certainly not so with days because you've got the others involved with days, but you know, it's sad that they have to move because my personal feeling and I'll tell you this honestly, I think all the soap should be in New York because I think it's, I think soaps belong in New York, there's something very cool about soap operas being in New York City. If it were possible to be in New York, they should stay in New York, but it's not because of the budgets, unions, and I'm a member of a union, but you know, unions are powerful and they can dictate what you can or can't do and sometimes it's beyond what you can do. So you just don't. So you go to Connecticut, which is where all of them go, or you go to Los Angeles where it's a little easier, or you go elsewhere. Morey and a lot of the universe, I think all the universal shows went to Connecticut. And you know, all my children didn't go to Connecticut because I think they want to keep everything together, you know, in a close proximity in Los Angeles, you know, the general hospital and all my children. And hopefully this will give one life to live some renewed strength as well too, they have a bigger space to work out of to do more things with their sets and so forth because I think one life to live is a really well done show. Most of what goes on there I think is very, very well done and they deserve to stay around. But you know, that's it. It's sad that people are going to lose their jobs, there's going to be crew members that are definitely going to lose their jobs that have been on that show for many, many years. It's, you know, it's a real shame that that had to happen. But it was going to happen anyway if they stayed because they would have, one of those shows would have been canceled, somebody would have lost their jobs regardless. They've offered all of the stars of the show to go and I think maybe even key production people to go as well too. And I believe they have until after Labor Day to make the decision. I hear that some people may or may not go and I certainly understand that. A person may not go because, you know, his wife is on one life to live and he's got a family in New York and he, maybe they'll move him to one life to live, you know, you don't know about that. Susan Lucci, I don't know what she's going to do. I mean, boy, if she's not on all my children, that would be a very sad day. So I hope she does make the move. I'll understand if she doesn't because she's so associated with New York royalty. You know, she is New York. Her life is in New York and maybe she doesn't have to do the movie. You know, maybe it's, she's done it for 30 years, almost 30 years, you know, maybe she doesn't need to go to LA to play Erica Kane. I don't know. Maybe you guys know better than I do on that. But that's my feeling about the move. It's a great choice because it's what had to be done. Either save the show or kill the show and they chose to save it. I so agree with you about the coldness factor of soaps being in New York City, maybe it's because I'm a huge East Coast fan. I totally agree. It seems like in the 70s and the 80s, that's where a lot of your soap operas were filmed and... Yeah. Life. Yeah. Yeah. That was a great time. I'm from Chicago. So I was born with concrete under my feet. And you know, I love, and I love New York. I've always said if I could live on the Upper West Side of New York with my kids, I would, but I can't afford it. That's why I live in LA. It's just the way it is. New York is just too damn expensive. But it's a great, great city, and I love it to death, and I try to get there as often as I can. Same here. I'm a west coaster. I'm sorry. I am a west coaster. I love, you know, I live on the East. I love traveling to Texas. I'm from Jersey, but I don't know how to do it. Well, the Midwest starts after the George Washington Bridge, right? That's true. Yeah. No, I live in LA. Actually, I don't live in LA. I live outside of LA in a nicer, nice community that's great for kids and all of that. So I'm out of the rat race of it all, but yeah, I mean, I like California, I think it's a beautiful state and, you know, there's really a lot to offer people here. So I don't want to downplay California at all, because I've lived here for 20 years. But that being said, I think New York is really where, if it could be affordable, is where soaps should be. But that will never happen again, unfortunately. Yeah. Yeah, I agree with that. And it's so cool and it's interesting that, you know, ABC wants to do whatever it takes in order for their shows to survive, because, again, as you mentioned, ABC owns all their shows. ABC owns them all, and the other two networks don't own their shows. That's right. And, you know, and it just makes me think about this in a little bit. I mean, you made mention of the fact that there is the guiding light tribute that you guys are going to be airing at the Emmys I know Michael Faribin is head of hell. Michael Faribin has done a great job, by the way. He's really put together something nice. I saw it yesterday and did a spectacular job. One of the nicest guys, by the way, that I've met, and a really talented smart guy. But I want to tell you this is not, you know, I don't want to call this a tribute. I've been telling everybody, this is the farewell. You know, a tribute is, they already did the guiding light tribute three years ago. This is now your goodbye because you're never, ever, ever going to see these people again in one place for this reason. So this is not a tribute. This is the farewell. The farewell. Okay. And that's a big statement, you know, you're never going to see these people again. This was 70 years in the making. You'll never, ever see them again. That's a big statement to make. So I think it's going to be a very moving part of the show. Well I was trying to find ways. I was on the phone with TeleNEX and those guys, you know, trying to see where they were with guiding light to see if they made any, you know, inroads to cable and all that. Unfortunately they didn't do it. We were, we here at Associated Television were trying to find ways to see if we could somehow do it in a different way and bring it back in some way or another that might be interesting. And, you know, I don't know, you know, obviously we don't own the show. We have to deal with somebody that does and that might be a big problem. But it was in our minds, it was in our minds. Nice. Very nice. Yeah. I think it's very hard. It's so hard because either do you, I think the fans do wrestle with this, is it good to see, you know, just say goodbye or is it, you know, do you want to try to get out and then camp the wood again? I mean, so yeah, I personally, yesterday, if you guys missed it, I did listen to it. And no, along with other veteran cast members, it's an amazing job for a guy in my tribute. It's, it's really, like you said, I'm looking forward to that part of the show. But just feeling you talk about that and saying goodbye, like it's, it's hard, it really is hard. Yeah, because, you know, you're going to see them all one last time, all together. And you're going to get a big standing ovation and then goes to black, and that's the end. Yeah. And, you know, just hearing the word guiding life farewell, like especially now, I mean, I said this yesterday that it is now only a month away before we last, before the last episode, before the final, before the final show. And it's now starting to dawn and hit me that after 72 years, we're not going to have this daytime icon of a soap opera anymore. I mean, it's now, it's now going to be leaving our television streams and it's not going to be coming back in any way, shape or form. Yeah. I mean, this is turning into like an Agatha Christie mystery, you know, it's not. And then there were seven, you know, it's going to, I, I hope this, you know, next year we don't say, and then there were six, you know, I hope as the world turns, uh, finds a way to keep itself going, but I'm not sure. What do you think? Yeah. That's a good point that you make only because there have been rumors circulating that it's now next when it's dropping vlogs and everybody's saying that PGP, telomex wants to get out of the soap business. They don't really want to see the soap survive. They really want to intentionally kill it. I personally try not to think that way. I try to think of the glass being half full instead of half empty. And I like this. I, you know, I like to believe that they want to try to have as well terms and make it. I, I do. I mean, if any of you heard the news today, I mean, Leslie Kay is going to be pulling double duty. Yeah. I thought, you know, I read that and I thought that she, because I hadn't seen her on the bold and the beautiful and forever. Uh, so I thought maybe that, uh, she was, uh, no longer on the shore. Is she recurring on the show as is now or is she a contract player? She's on contract on the beautiful, she's on contract and how come they haven't used her? You wouldn't know it. Yeah. You wouldn't know it. I can't think of the other active place storm, um, willing to, uh, what's his name? Oh, sorry. Thorn. You said I'm sorry. Thorne. Yeah. Thorne was the other guy that got killed off while. Yeah. Yeah. Yeah. Yeah. He wouldn't know. All these great names. Yeah. Thorne. So yeah, uh, yeah. So I haven't seen him lately either. So I thought these guys might have been bumped to recurring because both of the beautiful has been bringing out a lot of people lately. So, you know, they, you know, they brought in Don Diamant and, um, you know, Rick Hearst. And, you know, when you bring people in, some people get kicked back a little bit. You know, I haven't seen Kyle Lauter do much, you know, whatever happened to the Rick and stuffy story. That kind of faded away, didn't it? No, right. I'm always like stretch my head. They're still together. Yeah. I mean, I don't know what's going on. And then you've got, you know, Marcus, right? I mean, he's kind of in the wings there and don't know what's going on with him. You know, they kind of dropped that. You know, that's, that's what, that's what happens in daytime. You know, you kind of, you're in the moment in a particular momentum of storytelling and you need to kind of see it through. And I think maybe Rick and stuffy got stale for a while where you just got to go, let's rest this. You know, it's like going back, if I will, she will, won't she, will she or won't she? You know, again, how many more scenes can you see of Ridge and, um, Rick, you know, threatening each other or Brooke and, and, uh, Ridge, you know, having the same conversation. Again, just like we talked about Olivia and Sonny where it's like, we can't, I can't do this. I can't do this Logan, you know, you know, I feel about Rick, but I love my son. Yeah. Well, you know how I feel about it. Well, you know, it's, you know, it's, you know, you can't do those scenes forever without people going, okay, we got it. There's a problem. So. And, yeah, and it's wide on the soup so much. Yeah. Exactly. It's on the soup because it's fun and, you know, that's what you, you're not going to see guiding light on the soup because there's no fun in guiding light and not to disparage that at all. I mean, it's, it's a great show and really tried to hang on and great actors and all of that, but it's a different style and, but bold and beautiful is so, you know, in your face and fun and campy and, you know, it's something that should be made fun. And, and by the way, bold and beautiful is the most popular soap in the world by far. When I go overseas, I mean, bold and beautiful is on par with any primetime show that we have here in the US. So they're doing something right. They must be here and you know what, nobody, nobody in France knows who General Hospital is. They don't know who Tony Geary is. They don't know who Maurice Bernard is. They barely know Kelly Monaco from Dancing With The Stars. They don't know. So they know days of our lives. The days of our lives is a big one overseas as well, too. So there you go. Does, you guys actually remember a good point, overseas, I mean, especially, it seems like the campiness factor, really, it's all commitment in America, it's sort of the opposite. I mean, for example, telenovelas are huge. There's always, that's their primetime, you know, for telamundo, it's primetime. Oh, you're absolutely right. I mean, telenovelas in particular are the biggest selling programs in the world. Asia loves the Spanish telenovelas, you know, the ones that come out of Venezuela. That's where they're all produced in Venezuela for telamundo or for Univision. And, you know, they're so broad, and they're so for the top, everybody is beautiful. Every woman is beautiful on that show, that's for sure. Everything is very ultra-dramatic. And when you look at the bold and beautiful, it's like, yeah, that's kind of the same. I can see that. Everybody's too good looking to be true, and they're in a business that's too good to be true, and they're too rich to be true, you know, and it's, you know, having all of these larger-than-life problems, and that people like, it's a show that has a lot of visual appeal to it, and that's the key for international, for people that don't speak English, is that if you have visual appeal, you'll do well. Guiding Light is not a visual-appealing show. So... Yeah, that's true. That is true. And Bold and Beautiful was also the first one to have the Spanish F.A.P. on it, if I'm not with you. Yeah, yeah, exactly. And, you know, I also believe Bold and Beautiful did some locations shooting in Europe, if I'm not mistaken, for one of their shows. They always would go to Portofino, at least once a year. Yeah, so they go to Italy for that shirt. So I mean, and that's helps. I mean, when you're there, and you're doing all of that, you're part of that culture. And we are, you know, we live in a world that is not an American world anymore. We're in a, you know, because I deal with all of the international as well, and I meet with all the international buyers and the BBC, and TF1 in France, and RTL in Germany is one of my production partners for a few of our shows. And we, you know, it's not the old days where you can just shovel any amount of garbage of American programming down the throats of a German broadcaster and expect them to take it. It doesn't work that way anymore. It has to be great. And as a matter of fact, a lot of their stuff comes our way via formats. A lot of your top shows right now are all either Dutch formats, German formats, British formats, Spanish formats, you know, deal or no deal. Who wants to be a millionaire? American Idol. None of those are American shows. Those all came from overseas. We bought the format for them. So it's a different world. So you have to take that into consideration when you're producing stuff here. And that's where the bold and the beautiful succeeds is that they understand the mentality of the international audience, the non-English speaking audience. Here in the States, as well as overseas, and they have the right formula. And I think being a half hour show also helps, I really do. Yeah. We also, before we start off, we have a fan question and he wants to know, what do you think, Jim, that as a world term needs to do story-wise and production-wise to save itself from cancellation? Well, I think you summed it up best now though before is that if it's already on the radar, I don't think nothing much can be done because if somebody wants it dead, it'll be dead. And if P&G or Telenex has it on the radar, that they cannot afford to do the show, the profit margins are just not there, or maybe they're even operating at a loss. I have no idea. Then no amount of great storytelling is going to do anything to say this show. The problem with ratings and daytime, there's a number of problems, first of all, number one Nielsen, which is not the most accurate of all systems, but it's the only one that they really have. It doesn't really account for a lot of the non -- well, I mean, there's a lot of viewers out there that it doesn't account for, it just takes a sampling. I also feel that people watch daytime television differently than they watch prime time television. It's like I see every week, "Oh, ratings are up for young in the rest." "Oh, ratings are down for general hospital. Ratings are up. Ratings are down." For the last three years, I said, "You know what? It's up, down, up, down. Who cares?" It all stayed relatively the same. They're all losing a little bit as we go along, but the fact that general hospital is down to number four and not number three means absolutely nothing because the way people watch soaps is they watch by habit. They don't watch by episode. If you're watching something on, whether it's 24 or some other show that's on, a weekly show that you like, and you go, "Oh, this is about this this week. I won't watch it this week." That makes a big difference in the ratings if people don't like that particular episode because then it goes down because you're only talking about week to week. But when you're on a daily show, week to week doesn't really mean that much. You have to really look over a course of six months to eight months to really see a trend, and people are like the young in the restless, for example. They've been number one for 20 years now, right? As far as the housing. That's never going to change. Never ever going to change, ever. As long as soaps will be on the air, young in the restless will continue to be number one because the habits have been set. People will continue to watch them and they won't watch anything else. As I said before, fans are devout to their shows regardless of what happens. So when something goes up and down, I don't even know what that means or how they regulate them. Maybe somebody just happened to be out that day and forgot the Tivo. I don't know. Maybe that's why the ratings go down. But it's not because of anything that particularly happens. I think it's just now the habits are set. Young in the restless is number one, bold, and the beautiful is number two. General Hospital or Days of Alive is number three and that fluctuates here and there. But it doesn't mean that much. The only thing that means anything of any particular relevance is when the whole drops. And that you can tell by looking on a half year to a year trend, then you can see, wow, they went from four three down to three eight to three and okay, that's fine. But from week to week going, oh, General Hospital is out of two, one, oh, two two this week. Wow, they went up. Oh, they didn't. I mean, they're basically the same. You know, it's crazy and that's why you can't, you can read anything you want into the Nielsen ratings. The H General Hospital when it drops people can say, oh, you see, you know, nobody likes the mob, you know, that's that's the, and people may not. Some people may not like the mob, but you know, it's not because of that. It's not because of that. The viewers are set and that's just the way it is. You have to look at the overall trend over a period of time, not week to week for the soaps. Did I answer any of that question in there? I don't even remember the question. I think so. No, no, you did answer it, full horse you did, but you did. Well, you know, I think people, you know, I have a lot of respect for the fans out there. I really do. And the fans are everything to the soaps and they're everything to us, for the daytime Emmys because, you know, if the soaps go away and we're only left with talk shows and game shows and courtroom shows, daytime Emmys are dead because nobody's going to give a rat's ass about who wins best court show, who wins best talk show, who wins best game show because it's the fans that care. Once that happens, all of stuff is going to be, you know, put back into the prime time Emmys is just a, you know, a segment in their prime time Emmys show. And so to keep the daytime Emmys alive means we're trying to keep the soaps alive. And the soaps have more to say they're not, you know, I think if there's some smart producers and networks out there, they'll find a way that if daytime TV is not the ticket for them anymore, they'll find a way to make new technology for these shows and monetize them so it does make sense because there's a great fan base out there that is unrecognized that should be recognized, that should be counted and not what Nielsen says all the time. Nielsen is a very small sampling and at best inaccurate, but it's the only one we have. So, yeah, it's the only one we have. So the fans really need to support us, the daytime Emmys and all of their shows, not just their particular shows, but all of the shows because if one goes away, that's just another slice out of the pie that's gone and, you know, the house of cards is going to tumble. Well, Jim, thank you so much for coming on. I mean, I would say that we need more people like you in daytime, hopefully. Well, thanks very much. You know, after the Emmys award, Emmys awards you probably won't hear much from me because my relevancy will have ended by the Emmys awards, but that doesn't mean that I'm not doing anything. I'm already hard at work trying to see what I can do for 2010 as far as venues and so forth. So I'm already in that mindset. So you may not hear me tweet as much or blather on as much or wax on about what I know or don't know, but I'm still around. Nice. Well, hopefully you had a good time in the show and I thank you both very, very much for having me on and I appreciate the work that you guys do and, you know, keep it up. I appreciate it. Thank you. Thank you so much. Make sure everybody that you check out the daytime Emmys on the CW, the live pre-show with Lars Spencer and the other guy's name escapes me to Kevin Frazier. Kevin Frazier. Oh my gosh. Oh my gosh. Oh my gosh. The Frazier from E2, yes. How did I forget his name? I remember Lars' name. I did. Yeah, he got Lars. That's right. I did get Lars. It's at 7 p.m. Eastern time on the CW followed by the day time, the 36th annual daytime Emmys awards hosted by Vanessa Williams at H. I'm looking forward to it. I know everybody else is, Jim. Thank you so much again. Thank you. Thank you, Navell. Appreciate it. And you guys have a great afternoon. See you later. Thanks. All right. Navell, when are we going to be on the next? Well we're not going to be on for a little bit, I think. We're going to take a little time off. What's that? You might take a little time off. Well, you're going to take a little time off. Navell is going to be planning to go to the West Coast, man. That's true. I'm going to start packing this weekend, and I'm going to be making my trek over there to California, check in to my little hotel room, go to some young and restfuls, full and beautiful events, as well as the daytime Emmys awards. So I'm going to have fun for that. So you won't be hearing from me until maybe about a week and a half. So make sure you guys just check out the website as much as you can. Follow us on Twitter at buzzworthyradio. Follow us on our Facebook page, Facebook.com/buzzworthyradio and buzzworthyradio.net for latest news and information. So that is all I have for you guys as of now. If you have any upcoming shows, I'll definitely let you know before I make the trek out over to the website. But for now, we're signing off. Navell Taylor, Matthew Preston, here on Buzzworthy Radio, making sure you guys get the latest buzz with BWR. We'll see you guys next time. Take care. See you later. Hi. This is Dr. Blochstein and you're listening to Buzzworthy Radio on blood. What? No, I can't do it like he does it. I just can't. Alright, I'll try. It is Buzzworthy Radio, where you can get the latest buzz on all your favorite shows and signs. Buzzworthy. God, that hurts my voice. Can't get enough of Buzzworthy Radio. Knock on now to www.buzzworthyradio.net to get the latest news on upcoming guests, past shows and videos of all your favorite stars. Keep getting the latest buzz with Buzzworthy. (rock music)