
Imagine Television has signed a new deal with 20th Century Fox Television, where the TV division of Ron Howard and Brian Grazer’s production company has been based since 2000. During its dozen years at 20th TV, Imagine has developed and produced such series as the Emmy-winning 24 and Arrested Development as well as Lie To Me and Shark. Imagine and 20th TV are behind the upcoming ABC comedy How To Live With Your Parents For The
Rest Of Your Life. (Separately, Imagine TV also produces the NBC dramedy Parenthood with Universal TV.) “What we really like about them is that Imagine is attracted to unique ideas, their shows are never down the middle, they feel distinctive,” 20th TV chairman Gary Newman said. “Ron and Brian always look forward, trying to find something they feel passionate about, and out of that passion come great shots at television series.”
For the past two years, Imagine TV has been headed by Francie Calfo, who will continue as Imagine TV president under the new deal. “In a rapidly changing business, I think the stability of this relationship has been great for everyone involved,” Calfo said of Imagine’s 12-year-old partnership with 20th TV.
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Maybe they should be running Fox. A studio should have people running it who, first and foremost, appreciate story and where the director serves plot and character and not the other way around. Howard and Clint Eastwood are the most prominent examples today of people like Sydney Pollack, Norman Jewison, George Roy Hill (in my opinion.) Auteurism is great – but these guys take (took) pride in versatility and the absence of authorial voice – the equivalent of old and dependable studio hands. The inability of working directors today who can actually tell story visually – when they care to even bother – is alarming. (Nichols and Beatty are a little of both auteur and this type of filmmaker – also interesting.)Watched Hill’s “Hawaii” recently. It’s not perfect by a long shot but there’s some great stuff in it – some of it expressionistic – and worth seeking out. Imagine the history of Hollywood without filmmakers such as these. You can make the case (I think) that the contemporary impulse of auteurs wouldn’t have (or had after the fifties) anything to react to.