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The Bad Guy
08-09-2011, 08:08 PM
Pretty telling piece. Those 2 guys came in about 2 months into my internship. The minute they took over, things were a lot different.

NFL Films and Network: A marriage gone bad
July 29, 2011
BY PAUL DOMOWITCH

NFL FILMS president Steve Sabol is, by nature, an optimist. A glass-half-full, everything's-going-to-be-all-right guy.

So, it hardly was surprising that when the National Football League started its own television network 8 years ago and brought in a former ESPN/ABC Sports suit - Steve Bornstein - to run it, and another former ESPN/ABC Sports suit - Howard Katz - to be chief operating officer of NFL Films, Sabol thought it would be a great thing for his company.

"We're going to be the foundation of the whole network," he told the Daily News in June 2003, 5 months before the NFL Network made its on-air debut. "I don't think there would be a network if not for NFL Films.


"If NFL Films is the Starship Enterprise, Steve and Howard are the booster rockets that are going to take us where no man has gone before."

On the surface, it seemed to make sense. You had a brand new 24/7 network that was going to need a lot of programming, and you had a respected film company with a truckload of sports Emmys that could service all of its programming needs. A marriage made in heaven, right?

Wrong.

Considering what has transpired over the last 8 years, a more apt analogy might be Films as the Titanic and Bornstein, Katz and the NFL Network as the iceberg that sank it.

In the mid-60s, pro football wasn't America's game and the NFL wasn't the $9.3 billion revenue machine it is today. It was running a distant third in popularity to baseball and college football. NFL Films helped change that.

With its unique style of filmmaking and story-telling, which featured things such as super slo-motion and orchestra music and dramatic narration, Films gave the NFL a mystique, a mythology, that mesmerized sports fans and helped pro football soar past baseball and become America's game.

Films' impact on the league, both in terms of popularity and profitability, is unquestioned. It's why, next week, Steve's father Ed, the former overcoat salesman-turned-filmmaker who started the company in Center City, will be getting his very own bronze bust in the Pro Football Hall of Fame in Canton, when he becomes just the 19th "contributor" to be inducted.

Yet, even as the league prepares to pay tribute to Sabol, the company he created finds itself battling for survival against people who seem to think it has outlived its usefulness.

Its budget has been slashed, its workforce has been gutted by two rounds of layoffs and buyouts, and it essentially has been reduced to an assembly line for cheap, quick-turnaround content for the NFL Network, which, 8 years into Bornstein's tenure, remains barely watchable.

Most of the signature programming that made Films so distinctive has been eliminated by Bornstein/Katz because it was determined to be either too costly or too yesterday or both.

"The thing that has always set NFL Films apart, the thing that has been its trademark, is the slow spiral in the air," said Comcast SportsNet's Ray Didinger, an Emmy-winning producer and writer at Films for 9 years before leaving in 2008. "One shot lasting 45 seconds. The ball leaving the quarterback's hands and being caught. That was the kind of stuff that made NFL Films great and helped make the league so popular. That was their signature.



"But you've got these guys [at NFL Network] now with ADD, they're watching that ball spinning and they're saying, 'OK, let's catch it already. Go, go, go. Catch the ball, will ya.'

"We would sit down in meetings with them occasionally when I was there and we'd be discussing programming for the upcoming season. Every time we would propose an NFL Films-type look at something, you could kind of see them say, 'Well, ya know, we were thinking of something that was a little edgier and a little punchier and a little faster.'

"The term that we used to get kicked back at us from time to time was, 'dinosaur television.' They'd say, 'That stuff is dated. Been done before. People have seen it. We're going to change the way football is presented on television.'

"That really bothered me because the one thing about NFL Films was it was distinctive. [If] you saw an NFL Films show on television, it didn't sound like, look like, feel like anything else on television. If you saw it, you said, 'That's NFL Films.' It had a uniqueness. What's unique about the NFL Network? It looks like what it is. It looks like a knockoff of ESPN."

Didinger is just one of the many talented writers, producers, editors and cameramen who have left Films the last few years, either voluntarily or as the result of layoffs. A workforce that once included more than 300 employees now has been whittled to 215.

Since Steve Sabol was diagnosed with brain cancer in March, morale at Films' Mount Laurel, N.J.-based headquarters, which already wasn't very good, has sunk to an all-time low.

"People are afraid to leave because they don't know what they're going to do, but they're also afraid of what's happening right before their eyes," said former Films vice president Phil Tuckett, who spent 36 years with the company before resigning in 2007.

"They're destroying that company. It's a cold-blooded killing. Bornstein and Katz are just cold-eyed network killers. They don't care about what we represented. With every action spoken and unspoken since they got there, they've said, 'We're in charge now. We don't want to hear this nonsense anymore about the topcoat-maker making home movies of his kid.'



"Their approach is how much cheap crap can you turn out as quickly as possible so we can stick it on this godawful network that we've created.' "

Bornstein declined an interview request by the Daily News for this story. Katz acknowledged that the increasing demand for quick-turnaround content for the NFL Network and other league-related outlets such as nfl.com has reduced the number of long-form, post-production shows Films is making. But he disputed Tuckett's "cheap crap" contention.

"We won five Emmys last year," Katz said. "People can say we're not [producing high-quality shows anymore], but we won five Emmys for the stuff that we do best. We have people doing wonderful stuff here. I'm not sure there's anything that we used to do that we don't do anymore.

"We went through a couple of tough years here. I don't feel great about having to make decisions that involved people losing their jobs. There's nothing worse than that. But I think we came through it, and having gone through it, we're a better company for it."

In truth, there's a great deal that Films used to do that it doesn't do anymore. Since the arrival of Bornstein and Katz, several quality shows, including critically acclaimed "Game of the Week" and "Lost Treasures," were deep-sixed. "Game of the Week" was replaced by "NFL Replay," which is nothing more than the network broadcast of a game whittled down to fit in a 1-hour window.

" 'Game of the Week' was an old-standard show," Didinger said. "It had been around a long time. It was a fully formed, fully scripted show that told you a story about the game and the people in the game and the strategy in the game.

"It was always a good, solid show. One of the best things we did. But it was a four- or five-producer show with a lot of post-production and was more expensive. It's easier for them to tell one producer to get the network feed of the Chargers-Broncos game and just cut it down to 1 hour."

In 2006, NFL Films produced a series for NFLN called "America's Game: the Super Bowl Champions." It was one of the best projects the company has ever done. It was well received. It won an Emmy for best sports series. But when Steve Sabol pitched the idea of a sequel to Bornstein, it was shot down.



"We didn't get the order for the [America's Game] sequel, but we got the first order for it," Katz said. "As for 'Game of the Week,' I wish we still were producing it for the network. It kills me that we're not. I think it's the best show not on television today.

"I don't want to speak for Steve Bornstein. I can't speak for him. He makes programming decisions for the network that I'm not involved in. Do I think 'Game of the Week' is a better show than 'NFL Replay?' I'd watch 'Game of the Week' every day of the week because I love that approach to it.

"But at a totally different level, people are making programming decisions about what works on that particular network. Some of them are cost-related. Some of them are strictly ratings-related. And some of them are a combination of, OK, we can spend this much money and get this rating, or we can spend this much money and get the same rating. They have a responsibility of trying to figure out within a given programming budget how to spend those dollars."

For much of its existence, Films had enjoyed almost complete autonomy. "It was the secret to success," Ed Sabol said in a recent interview with the Daily News. "They left us completely alone. I took it for granted."

Sabol started his own film company in 1962 at the age of 45 with a 16mm Bell & Howell windup camera that he and his wife had received as a wedding present years earlier. Three years later, he convinced the NFL's owners to chip in $20,000 apiece to buy his company and let him continue to run it.

They left Ed and Steve alone to do what they did best, which was produce high-quality films that promoted pro football. Cost seldom was a factor.



"Our autonomy was protected vigorously through the years," Tuckett said of a company that Sports Illustrated once called the most effective propaganda organ in the history of corporate America. "[Pete] Rozelle believed that the ownership shouldn't be dictating to Films how these things should be done. [Paul] Tagliabue essentially carried on the same philosophy. Leave these guys alone. They're doing the job for us. We'll just screw it up if we go down there and try to change substantially what the model is and has been for all those years."



Since Roger Goodell succeeded Tagliabue as commissioner in 2006, the bottom line has become a much more integral factor in league policy and decision-making. Goodell rose to power in large part because he impressed the owners with his ability to cut costs and save them money.

Under the Sabols, Films never had been a how-much-does-it-cost business. They were about the story and making it as good as it possibly could be. Ed Sabol used to tell his cameramen, "Let the film run like water." That philosophy was why Tuckett still was shooting at the end of the Eagles-Giants "Miracle in the Meadowlands" game in 1978 and got that classic footage of Herm Edwards picking up that fumbled handoff for a game-winning touchdown. It's why another Films cameraman, Ernie Ernst, was there to capture Franco Harris' "Immaculate Reception."

'For so many years, we had a like-minded group of peers and artisans of craft and production and staff people who believed what we were doing was important to the success of the league," Tuckett said.

"Walking down the halls, there was just this energy that was always there," Tuckett said. "No matter how tired we were from what we were doing, it was [about] the next assignment. It was Steve coming up and saying, 'If we do a piece on [former Kansas City Chiefs running back] Christian Okoye, how do you think we should handle the fact that he's from Africa?' And I would say, 'We should go there. Go to the town he's from. That's the only way to do it.' And he'd say, 'OK. We'll work that out.' Next thing you knew we were on a plane to Africa to do the Christian Okoye story.

"It didn't seem odd. It didn't seem rash. It didn't seem arbitrary. Because everybody was on the same wavelength. We had the right people with the right equipment in the right places at the right time over and over and over again. So many times that it just became our reality. Which is why, when that reality changed, it just became a cataclysmic blow to what we'd always known."

Steve Sabol will be the first to admit that he's never been all that interested in the business aspect of his company. He was an art major in college.



"Steve's title is president, but he's really the artist in residence," Films vice president Barry Wolper said.

Said Sabol: "I have no business sense. None. I'm the creative leader."

The NFL never cared whether Films made money. But when Bornstein and Katz arrived, it suddenly started caring how much it was losing. Katz wouldn't say how much that was, but according to another league executive with knowledge of Films' finances, it was somewhere in the neighborhood of $20 million a year.

"Eight years ago, there was less attention paid to the business of NFL Films," Katz said. "We're a better company today because we've been forced, partially through the volume and deadlines that were established by the NFL Network, to establish a degree of financial responsibility that I think is necessary in today's environment."

Katz said that when he became Films' COO, nobody at the company even knew the cost to the company of filming a game.

"That was good because nobody cared about anything but the creative product, but it had gotten a little out of control,'' he said. "So now we know how much film we shoot. Now we know what it costs to do certain things. And we make smart decisions."

Not always. The NFL made a really dumb - and costly - decision in 2003 when it started NFL Network. A year earlier, Films had moved into a brand new, 214,000-square foot headquarters in Mount Laurel that cost the league $45 million to build.

There was plenty of room at Films to house the new network - the entire third floor of the building still is unoccupied. But when the league was courting the Los Angeles-based Bornstein, he made it clear that he and his wife weren't interested in relocating. Rather than hire somebody else, the league acquiesced and agreed to put the network in Bornstein's back yard.

"A lot of people felt this would have been an obvious place to put the network," Katz said. "Obviously, we have the real estate here, the infrastructure here [to house NFL Network]. We have access to a lot of teams within driving distance of here. But that decision was made and you go on and live with it.

"I think the reasons [for putting the network in Los Angeles rather than in Films' headquarters] was this feeling that there would be more access to more talent, particularly in the offseason. That tons of players either live in the LA area or spend time there in the offseason. That there was a vision of marrying sports and entertainment and getting celebrity types involved in NFLN studio programming. Clearly, LA is more conducive to that.



"I think there also was a decision at the time that maybe we as a league were maybe closer to getting a team in LA than we actually were at the time. And that ultimately, making the network studio facility a part of a complex that would involve a team out there might be a really smart vision. It didn't turn out that way, but it may have been part of the thought process at the time."

Eight years into its existence, the NFL Network still isn't on all of the nation's cable systems. It finally struck a deal with Comcast 2 years ago, but still hasn't come to terms with the nation's other top cable provider, Time Warner.

Yet, the owners continue to throw money at Bornstein, the league's second-highest paid executive behind only Goodell at $8 million a year, and his network, even as it continues to pinch pennies at Films. Several months ago, they closed the cafeteria in the building.

Katz, though, insists the league isn't trying to put Films out to pasture. He insists the company remains as relevant as ever.

"We produce great content, and there's always going to be a meaningful market for great content," he said. "Whether that's short features on mobile devices or giving people access to our shows on Hulu, this company has an enormous future."

Others, like Tuckett, disagree. What the league has done to Films and the way it has upended the lives of employees who gave decades to a company that made the NFL a $9.3 billion-a-year cash cow still makes him furious 4 years after he walked away.

"They're doing what they wanted to do," Tuckett said. "But they've left a lot of heartache and tragedy in their wake. What they've replaced us with [NFL Network] is so bad that it still grinds in my gut. I'm upset with the callous and cruel way this was done to a company that had given so much and that so many people had worked so hard to build.

"Our track record at the end of the day will be so much more full of pride and credibility than this crap that they've replaced it with."

Molitoth
08-09-2011, 08:16 PM
In before "too long".

chefsos
08-09-2011, 08:21 PM
In before "too long".I read it all...

OnTheWarpath58
08-09-2011, 08:21 PM
Didn't read, but I'm guessing Katz and Bornstein weren't painted in a great light.

I read a book on the founding of ESPN, and those two come across as fucking idiots that almost burned down the franchise.

chefsos
08-09-2011, 08:27 PM
"I think the reasons [for putting the network in Los Angeles rather than in Films' headquarters] was this feeling that there would be more access to more talent, particularly in the offseason. That tons of players either live in the LA area or spend time there in the offseason. That there was a vision of marrying sports and entertainment and getting celebrity types involved in NFLN studio programming. Clearly, LA is more conducive to that.I don't know why this is something that's appealing to them. It's always forced and hokey, and I, for one, am not interested in that crap.

Douche Baggins
08-09-2011, 08:29 PM
"The thing that has always set NFL Films apart, the thing that has been its trademark, is the slow spiral in the air," said Comcast SportsNet's Ray Didinger, an Emmy-winning producer and writer at Films for 9 years before leaving in 2008. "One shot lasting 45 seconds. The ball leaving the quarterback's hands and being caught. That was the kind of stuff that made NFL Films great and helped make the league so popular. That was their signature.

"But you've got these guys [at NFL Network] now with ADD, they're watching that ball spinning and they're saying, 'OK, let's catch it already. Go, go, go. Catch the ball, will ya.'

That breaks my heart.

Best shot from the Chiefs' Yearbook this year was Charles running in slow motion for about 20 seconds.

http://i56.tinypic.com/302tcsl.jpg

The "new" NFL Films could learn something from the way the NBA handles it's video promotion stuff on youtube. Seemed like every week during the playoffs they had a video up highlighting only slow motion shots. It was gorgeous.

CoMoChief
08-09-2011, 08:30 PM
Is Howard Katz related to Andy Katz (NCAA bball ESPN guy)???

Douche Baggins
08-09-2011, 08:38 PM
In 2006, NFL Films produced a series for NFLN called "America's Game: the Super Bowl Champions." It was one of the best projects the company has ever done. It was well received. It won an Emmy for best sports series. But when Steve Sabol pitched the idea of a sequel to Bornstein, it was shot down.

I bet the sequel was about the Super Bowl losers. Would have been great. What an awful guy Bornstein is. America's Game probably taught more kids about the history of the NFL than anything ever produced in the history of the league.

Al Bundy
08-09-2011, 09:14 PM
They pretty much suck all around. They should spend the hours of the day airing old games instead of replays of the same Americas games and Total Access.

sportsman1
08-09-2011, 09:15 PM
I have enjoyed watching there stuff for years. Always seems like its on late at night. Totally agree with article that NFL Network = ESPN. Something bizarre.. my dish network package at my new apartment in Idaho carries NFL network, CBS Sports, and ESPNU but no ESPN,ESPN2 ESPN News, FSN,Root nothing of the sort. Damnedest thing.

Brock
08-09-2011, 09:22 PM
Just another thing Goodell has fucked up.

The Bad Guy
08-09-2011, 09:26 PM
Didn't read, but I'm guessing Katz and Bornstein weren't painted in a great light.

I read a book on the founding of ESPN, and those two come across as ****ing idiots that almost burned down the franchise.

I never met Bornstein, but Katz was really odd.

The guy they hired from ESPN that oversaw all the studio work was a real gem.

It sucks because I know a lot of the producers laid off. People would literally work 20 hour days during the season. The 3rd floor they are referring to is the one the producers would use to sleep on during the season.

I have a real, real hard time believing that NFL Films was losing that much money that they had to scale back the entire operation. The sponsors for their stuff alone bring in tons of cash.

The Bad Guy
08-09-2011, 09:27 PM
I bet the sequel was about the Super Bowl losers. Would have been great. What an awful guy Bornstein is. America's Game probably taught more kids about the history of the NFL than anything ever produced in the history of the league.

It was.

They ran a few episodes of the teams that almost won titles. 1990's Bills, 1998 Vikings.

Douche Baggins
08-09-2011, 09:31 PM
It was.

They ran a few episodes of the teams that almost won titles. 1990's Bills, 1998 Vikings.

That would have been great. At the end of the day the only difference between the Super Bowl winners and the losers is one game. The story of the loser is almost as dramatic and sometimes even moreso.

ChiefsCountry
08-09-2011, 09:32 PM
That would have been great. At the end of the day the only difference between the Super Bowl winners and the losers is one game. The story of the loser is almost as dramatic and sometimes even moreso.

Patriots in 2007 would have been a classic.

milkman
08-09-2011, 09:47 PM
NFL Game of the Week was must see TV back in the day.

NFL Network has been a huge disappointment since it's inception.

Phobia
08-09-2011, 10:00 PM
I don't know whether I get NFL Network or not. The only time I even check is if the Chiefs are playing on a Thursday night. Enough said, I guess.

beach tribe
08-09-2011, 11:15 PM
It was.

They ran a few episodes of the teams that almost won titles. 1990's Bills, 1998 Vikings.
That was called "The Missing Rings". Cool show.

<iframe width="425" height="349" src="http://www.youtube.com/embed/XMQ4wjVIqpI" frameborder="0" allowfullscreen></iframe>

Rausch
08-09-2011, 11:18 PM
That was called "The Missing Rings". Cool show.

I'm guessing Marty did a guest spot...

beach tribe
08-09-2011, 11:22 PM
<iframe width="425" height="349" src="http://www.youtube.com/embed/zMuFr5dEFxM" frameborder="0" allowfullscreen></iframe>

beach tribe
08-09-2011, 11:23 PM
I'm guessing Marty did a guest spot...

'Fraid not.

Rausch
08-09-2011, 11:24 PM
I can't even watch the whole thing.

Jeebus.

Denny Green was both the exact same while being completely different from Marty.

We were all defense and he was all offense.

You can tell that the losses just fucking eat both of them away...

chefsos
08-09-2011, 11:27 PM
'Fraid not.Shit, Marty should be President of Missingringistan.

beach tribe
08-09-2011, 11:39 PM
Google's first pick of teams when searching for "missing rings" are the Patriots, but the show doesn't actually exist.

Deberg_1990
08-10-2011, 07:04 AM
I used to love the MNF halftime shows with the Howard Cosell slow mo highlights back in da day, and the football follies...all that old NFL films stuff.....

I will admit for whatever reason NFL films style feels dated now, so i can understand why these ESPN execs might feel that way. MOdern audiences are probably just used to the constant real speed highlights now.

I like NFL Network for the most part....gives me a nice alternative to ESPN.

Dayze
08-10-2011, 08:24 AM
I like NFLN; particularly more then ESPN. I used to watched it virtually every day when I'd get home from work for an hour or so.

Now it seems like the only programming that's on there is Total Access; or yet another "Top 10 Players Who Like Orange Gatorade" etc.
I'm sure part of that is because of the off-season etc; not all that much to talk about. But it's definitely soured me a bit. Hopefully their regular season programming will improve.

I love watching Sound FX / shows where coaches/players are mic'd up; would LOVE to see some new programming like the Missing Rings etc and wish they would bring back the traditional NFL Films style 'Game of the Week'. NFL is making money hand over fist; no reason why they can't select 1 game per week to which they can dedicate a little more effort and passion. Even if doing so (heaven forbid) costs a little more than the normal NFL Replay garbage.

Bob Dole
08-10-2011, 08:55 AM
Is Howard Katz related to Andy Katz (NCAA bball ESPN guy)???

Dr. Jonathan Katz.

Lzen
08-10-2011, 08:59 AM
That was called "The Missing Rings". Cool show.

<iframe src="http://www.youtube.com/embed/XMQ4wjVIqpI" allowfullscreen="" frameborder="0" height="349" width="425"></iframe>

Wow. That was great and sad at the same time. You gotta feel bad for guys like Randle. But those guys should have learned to play better defense.

Saulbadguy
08-10-2011, 09:30 AM
Dr. Jonathan Katz.

Heh.

SNR
08-10-2011, 10:21 AM
"If NFL Films is the Starship Enterprise, Steve and Howard are the booster rockets that are going to take us where no man has gone before."The Enterprise doesn't use booster rockets.

Dumbfuck.

gblowfish
08-10-2011, 10:43 AM
When bean counters get involved with people who create art, the art suffers immediately.

NFL Films is art. Steve Sabol is a film artist. His dad was the wheeler dealer business man. Since Big Ed is in his 90's now, there's not much that can be done once the bean counters take control of the process.

I've had NFL Network for a couple years. The best things they show are old NFL films. Their self produced stuff is a cheap knock off of ESPN. They show the same commercials and promos over and over and over and over and over until you want to puke. It could be so much more if NFL Films oversaw the network.

This story is ironic, as NFL Network has been running the history of Ed Sabol as a HOF Inductee this week. His story is compelling. The NFL owes much of its appeal today to Ed Sabol. Very sad to see his company crumbling.

That's the way of the world though. It's all about the dollars, and nothing but the dollars. All else is just lip service.

Deberg_1990
08-10-2011, 10:46 AM
When bean counters get involved with people who create art, the art suffers immediately.



You sound so much like Dane its disturbing...

gblowfish
08-10-2011, 10:59 AM
Both Sabols - Big Ed and son Steve, are ill. Big Ed is 94 and in fragile health, and Steve is doing Chemo for a brain tumor. Here's part of a recent story from the NY Times:

Few father-and-son acts have endured longer than Ed and Steve Sabol’s. Ed founded NFL Films in 1962, and Steve perpetuated it with a creative buoyancy that matched his father’s entrepreneurial zeal.

Ed Sabol, who left his job as an overcoat salesman to make football films with his 16mm camera, will be inducted into the Pro Football Hall of Fame on Saturday.

Now, both are ill. Ed is 94. He nearly died from pneumonia last year and gets around in a wheelchair, difficult for a fizzy, rubbery-faced tummler who once danced a soft-shoe if you pointed a camera at him.

Steve is 68 and being treated for a brain tumor. He has lost his hair. Sometimes he cannot conjure the words he wants to say. Memories, his greatest possession, are still archived in his brain like the miles of footage at NFL Films headquarters in Mount Laurel, N.J. But he cannot access them as he once did.

“I feel better than I sound,” he said in a telephone interview this week. “Sometimes, I’m better than others. Sometimes I sound like Professor Irwin Corey. But I have no pain. A lot of the effects of the chemo, I’m told, take months to see. The effects are worse than the disease.” He said he had lost his appetite.

Despite their illnesses, the Sabols will be in Canton, Ohio, for Ed’s induction into the Pro Football Hall of Fame on Saturday night. Much of the presentation will consist of highlights from NFL Films.

An hour-long retelling of his story can be seen on the NFL Network on Saturday at 2 p.m., in “Ed Sabol: King of Football Movies,” a documentary produced by Ken Rodgers of NFL Films.

“My hope is that adrenaline will kick in for Steve and Dad,” Blair Sabol, Steve’s sister and her father’s caregiver, said from Scottsdale, Ariz. “Once their moment comes, they’re both showmen, they’re pure entertainers. They’ll run their touchdown. All I want is for Dad to take three steps to the podium.

“And I told Steve, ‘All you have to do is say, “Here’s Ed!” ’ ”

She said that her family had been in a medical race to get to Canton since Ed was named a Hall of Fame finalist in January, for the first time. Steve’s diagnosis came two months later after he had a seizure at a banquet in Kansas City, Mo. When his mother, Audrey, learned of his brain tumor, she sent him a short note with a barnyard epithet. “I laughed,” he said. “That’s my mother.” Then, in May, she broke her leg.

“I was thinking I could start the Sabol pavilion,” said Blair, a fashion and lifestyle writer.

When Ed Sabol — called Big Ed — heard about his son, he told Blair that she might be the only Sabol to reach Canton. “Not me, this isn’t my moment,” she said she told him. “If you two don’t go, nobody’s going.”

She added: “I think this will catapult them into healing. Steve’s going to be fine. That’s my gut. And Dad, he’s going to live three more years, signing autographs.” She said that her father resisted physical therapy — “it was like ‘The King’s Speech’ ” — and has done only enough to get to the podium.

“He’s delicate,” she said, “but his spirit is extraordinary.” She likened her father and brother to another father and son who have fought serous illnesses: Kirk Douglas, who is also 94, and Michael Douglas, 66.

You can read the whole story here:
http://tinyurl.com/3nbe4f7

The Bad Guy
08-10-2011, 11:11 AM
I think after Steve dies that NFL Films will be put out to pasture.

58kcfan89
08-10-2011, 12:03 PM
I was lucky enough to intern there last year, on the "Playbook" show, which is probably one of those shows that the article references, geared toward the modern audience with no attention span... But that's one of the few "new" shows I (obviously) enjoy.

Anyway, the 3rd floor isn't empty anymore, there's a few empty offices and a big storage room on one end of the building, but the Playbook War Room and a bunch of HR and producer's offices are up there now.

And I was told by my supervising producer when I left last year that I should give them a call about a temp (or possibly entry level) job, but when I contacted them before this summer, I was told they weren't hiring anyone at the time. I asked if it was because of the lockout and was told "yes and no," which I took to mean they were cutting back anyway. Sad to hear that the future doesn't look so hot...

The Bad Guy
08-10-2011, 12:43 PM
I was lucky enough to intern there last year, on the "Playbook" show, which is probably one of those shows that the article references, geared toward the modern audience with no attention span... But that's one of the few "new" shows I (obviously) enjoy.

Anyway, the 3rd floor isn't empty anymore, there's a few empty offices and a big storage room on one end of the building, but the Playbook War Room and a bunch of HR and producer's offices are up there now.

And I was told by my supervising producer when I left last year that I should give them a call about a temp (or possibly entry level) job, but when I contacted them before this summer, I was told they weren't hiring anyone at the time. I asked if it was because of the lockout and was told "yes and no," which I took to mean they were cutting back anyway. Sad to hear that the future doesn't look so hot...

You sould like you did the same job as I did when I was there in 2004.

The intern coordinator was let go in the middle of my internship.

I also worked on Playbook when I was there. I also had a part-time job lined up to do the stat work for Playbook before I left. On the last day of my internship, the new production supervisor (can't remember his name) said they had to rescind their offer and they were going to continue using interns.

Sucked, but it all worked out for me.

They've been making crazy cuts for a while now. What supervisors did you work with?

Rams Fan
08-10-2011, 01:32 PM
I don't know whether I get NFL Network or not. The only time I even check is if the Chiefs are playing on a Thursday night. Enough said, I guess.

Don't the markets in which teams that play on Thursday Night Football get the game, even if you don't have NFLN?

Also, MLB Network>NFL Network.

58kcfan89
08-10-2011, 01:51 PM
You sould like you did the same job as I did when I was there in 2004.

The intern coordinator was let go in the middle of my internship.

I also worked on Playbook when I was there. I also had a part-time job lined up to do the stat work for Playbook before I left. On the last day of my internship, the new production supervisor (can't remember his name) said they had to rescind their offer and they were going to continue using interns.

Sucked, but it all worked out for me.

They've been making crazy cuts for a while now. What supervisors did you work with?

I edited SOTs of players & coaches, this was the one of mine that I know aired... (:30-1:10, nevermind the random shot of Tomlin at the end LMAO)
http://www.nfl.com/videos/nfl-network-playbook/09000d5d81a956b0/Playbook-Harrison-checks-out-CJ2K

It's kinda funny that your intern coordinator was let go, because the Technical Football Analyst (I think that was his title, he was our direct supervisor in Playbook) got canned about 3 weeks after I got there last year.

Chim was the TFA when I first got there, they hired a former WR from Mizzou to take his place about 2 weeks before I left. Mike was the line producer for the show and the intern coordinator's names were Cara and Ron (can't remember last names).

ChiefsCountry
08-10-2011, 02:00 PM
I wonder if the networks are putting pressure on the NFL as well. You know they would rather have their flim being shown on the air than the NFL' own stuff.

Brock
08-10-2011, 02:10 PM
You sound so much like Dane its disturbing...

You sound like a sportscenter watcher.

The Bad Guy
08-10-2011, 02:14 PM
I edited SOTs of players & coaches, this was the one of mine that I know aired... (:30-1:10, nevermind the random shot of Tomlin at the end LMAO)
http://www.nfl.com/videos/nfl-network-playbook/09000d5d81a956b0/Playbook-Harrison-checks-out-CJ2K

It's kinda funny that your intern coordinator was let go, because the Technical Football Analyst (I think that was his title, he was our direct supervisor in Playbook) got canned about 3 weeks after I got there last year.

Chim was the TFA when I first got there, they hired a former WR from Mizzou to take his place about 2 weeks before I left. Mike was the line producer for the show and the intern coordinator's names were Cara and Ron (can't remember last names).

Chim was there when I was. He was pretty much a dick most of the time. He came across like he was from the Jersey Shore.

Did you work with Bob Angelo or Dave Neupauer? I worked with both of them when I was there. They were awesome.

I drove Sterling to his hotel after the show a lot. Sterling was a real great guy. Became pretty friendly with Bill Conaty, who used to play for the Bills. He was doing a player internship when I was there.

I remember in the control room during the show shoot, the graphics guys in the back would spend most of the time looking up boob pics on webshots.

58kcfan89
08-10-2011, 03:30 PM
Chim was there when I was. He was pretty much a dick most of the time. He came across like he was from the Jersey Shore.

Did you work with Bob Angelo or Dave Neupauer? I worked with both of them when I was there. They were awesome.

I drove Sterling to his hotel after the show a lot. Sterling was a real great guy. Became pretty friendly with Bill Conaty, who used to play for the Bills. He was doing a player internship when I was there.

I remember in the control room during the show shoot, the graphics guys in the back would spend most of the time looking up boob pics on webshots.

I'll be honest: the day Chim left was one of the best days of my summer. I got about 4x's more stuff done in the time he left than the time he was there.

Didn't work with Neupauer, but met Angelo a couple times. Worked with Greg Cosell, he was a good guy (to me, at least. I've heard he wasn't so cool with another intern but whatever).

They had a Broadcast Boot Camp where they brought in plenty of current & former players during the summer to learn how to be broadcasters. Had David Diehl, Muhsin Muhammad, Curtis Conway and Hines Ward in my group, Jeff Saturday & Shaun O'Hara were in other groups. All of em seemed pretty nice, Diehl was the coolest guy in the group and driving Greg Camarillo and a van full of other players to the airport in a bunch of traffic was the funniest thing ever.

And I never actually got to sit-in on a shoot, I was a summer intern & left about a week after the HOF game. Sounds like fun, though...

Groves
08-10-2011, 05:34 PM
When bean counters get involved with people who create art, the art suffers immediately.

http://www.youtube.com/watch?v=pMNqfxKtP3M&feature=related

crispystl420
08-10-2011, 06:46 PM
Wow. That was great and sad at the same time. You gotta feel bad for guys like Randle. But those guys should have learned to play better defense.

That was never aired? Holy shit that was one of the best football documentaries I have ever watched.