Adrian Samish: Flip side of the Harlan Ellison punchline

Adrian Samish title card for a first-season episode of The Streets of San Francisco

Another in a series about unsung figures of television.

There are some people who are destined to be remembered as the punchline of an anecdote or joke.

One such person was Adrian Samish, who had a career as a producer and television network executive.

He’s the guy who had his pelvis broken as the result of a fight with writer Harlan Ellison over a Voyage to the Bottom of the Sea script.

In the usual telling, Samish was the small-minded ABC executive who didn’t appreciate Ellison’s enormous talent.

For example, there’s this review at The New York Review of Science Fiction.

Harlan is in a conference with a “universally despised” ABC censor, Adrian Samish, discussing a Voyage to the Bottom of the Sea episode. Samish’s notes are uniformly moronic. Harlan counters them, losing patience. Samish loses patience, exclaiming, “You’ll do it! Writers are toadies!”

This anecdote was told for years, especially by Ellison himself. It even was mentioned in the obituary published by The New York Times, although Samish wasn’t mentioned by name, nor was Voyage to the Bottom of the Sea.

Rarely, however, is life so black and white. With that in mind, this post takes a closer look at Samish’s career.

For one thing, Samish did extract a bit of revenge. Ellison pitched a story for the Batman television series for a story featuring the villain Two Face.

But Samish, on his way out the door at ABC, vetoed the idea. At least that’s the gist of this 2013 Den of Geek post. In 2014, Ellison’s story was adapted by Len Wein for the Batman ’66 comic book. Wein, co-creator of Wolverine and Swamp Thing, dies last year.

After his tenure at ABC ended, Samish landed at QM Productions.

“The acid-tongued, perfectionist Samish demanded scripts so tight, so in keeping with a series’ format, more than one writer assaulted him physically,” according to the preface of the 2003 book Quinn Martin, Producer.

Adrian Samish title card for an episode of The FBI during the 1966-67 season where he got top billing over Arthur Fellows.

Samish came aboard QM for shows produced for the 1966-67 season. He was given the title “in charge of production,” which Samish shared with a key Quinn Martin lieutenant, Arthur Fellows.

Samish focused on pre-production while Fellows supervised the QM editing and post-production operation. Their shared credit would appear near the conclusion of the end titles. Both names appeared separately, with the two men alternating top billing.

Thus, is would appear, “In Charge of Production Arthur Fellows | And Adrian Samish” or, “In Charge of Production Adrian Samish | And Arthur Fellows.”

According to Quinn Martin, Producer author Jonathan Etter, the two didn’t have much use for each other. Fellows thought Samish had no talent, Etter quotes Richard Brockway, a QM editor, as saying.

On the other hand, John Elizalde, a QM music supervisor and post-production supervisor, told Etter that Samish was a valuable member of the team.

“Adrian was one of the good guys,” Elizalde told Etter. Samish, he said, was “brilliant, and very creative, and a victim of his own devices…Adrian was the major-domo for Quinn in the writing department.”

One fan was actress Lynda Day George, a member of the “QM Players,” of frequently employed actors at the production company.

“Adrian was very concerned that a show maintain its integrity,” George told Etter. “He wanted to be sure that characters were understood, that what was wanted by the production was understood.” Etter wrote that Quinn Martin trusted Samish’s judgment.

However, Samish on more than one occasion aroused anger during a run of several years at QM.

Philip Saltzman and Mark Weingart, the producer of associate producer of The FBI, had written extra scenes for an episode that was running short. Samish called Saltzman, angry that the extra material hadn’t been approved in advance.

An argument ensued. “I threatened to go over to Adrian’s office and beat him up,” Saltzman told Etter. “And I’m not a physical guy.”

In this instance, no blows took place. Quinn Martin called Saltzman after seeing Samish in his office. “He’s as white as a sheet,” Saltzman quoted Martin as saying. “What happened?”

After an explanation, Martin reportedly responded, “Aw, you know. People get set in their ways.” Saltzman told Etter that after the incident “I never had any trouble with Adrian.”

Starting with the 1968-69 season, Samish was given a new title, supervising producer, while Arthur Fellows retained “in charge of production.”

Adrian Samish title card for a first-season episode of producer Aaron Spelling’s Starsky and Hutch series. 

Samish, over time, also took on the task of producer of QM TV movies and pilots. Sometimes by himself (House on Greenapple Road, which resulted in the Dan August series, as well as the pilots for Barnaby Jones and The Manhunter). Sometimes with Fellows (the pilots for Cannon and The Streets of San Francisco).

Samish ended up departing QM in the 1970s to work for producer Aaron Spelling. Samish died in 1976 at the age of 66.

Gene L. Coon: More than just Star Trek

Poster for The Killers, a pre-Star Trek credit for Gene L. Coon

Poster for The Killers (1964), a pre-Star Trek credit for Gene L. Coon

Another in a series about unsung figures of television.

For the purposes of this post, we’re stretching the definition of “unsung.” Gene L. Coon was a major figure for the original Star Trek series (where he was producer for part of the first and second seasons) and he’s mostly remembered for that.

However, the writer-producer performed work in other genres. That included 1960s spy shows, serving as a producer for some episodes of The Wild Wild West and It Takes a Thief. He also wrote episodes of war dramas and westerns.

Coon also did the script for the 1964 version of The Killers, with a cast headed by Lee Marvin, Angie Dickinson and Ronald Reagan. The crew included composer John Williams.

The Killers was intended by Universal to be a made-for-television movie. What producer-director Don Siegel delivered was deemed to be too violent for the small screen. So The Killers got a theatrical release instead.

Coon had a reputation as a hard worker. He had an admirer in director Ralph Senensky. Here’s what Senensky said about Coon in a reply to a post about an episode of The Wild Wild West titled The Night of the Druid’s Blood:

I think Gene Coon is one of the unsung heroes of television. Both on this series and later on STAR TREK his work (and he was a rewriting machine) set a standard that elevated both series to levels that were seldom reached after his departure.

Coon produced only six episodes of The Wild Wild West near the end of that show’s first season (1965-66). The following television season, he joined Star Trek as producer, working under creator-executive producer Gene Roddenberry. Coon’s main task was to secure and produce a steady stream of scripts.

Coon’s major contributions included the Klingons and co-writing Space Seed, the episode that introduced Ricardo Montalban’s Khan character. Khan would be brought back twice (once with Montalban and once with Benedict Cumberbatch) as villains in Star Trek movies.

Put another way, Coon’s contributions had an impact on Trek productions long after he first made them.

The writer-producer continued into Trek’s second season but departed. He ended up at Universal’s television operation. However, he did some moonlighting, writing some Trek scripts under the pen name Lee Cronin.

One of them, Spock’s Brain, in which Spock’s brain is taken from him, still generates groans from Trek fans decades later. Well, everyone has an off day and the writing conditions (doing it on the side while working full-time at Universal) weren’t ideal.

Gene L. Coon died of cancer on July 8, 1973, just 49 years old. His final writing credit was for an episode of The Streets of San Francisco titled Death and the Favored Few. That show aired in March 1974.

Richard Markowitz’s wild wild TV scoring career

A sampling of Richard Markowitz's title cards.

A sampling of Richard Markowitz’s title cards.

Another in a series about unsung heroes of television.

Composer Richard Markowitz, over more than three decades, produced one of the most memorable television themes and contributed to many series.

Yet, more than 20 years after his death, Markowitz is far from a household name. With each passing year, Markowitz passes further into obscurity, save for those few (led by writer Jon Burlingame) who follow the careers of television composers.

Markowitz’s primary legacy is the theme to The Wild Wild West. The composer scored the pilot to the 1965-69 series’ pilot. Originally, CBS hired Dimitri Tiomkin (who earlier wrote the theme song to the network’s Rawhide series) to write the show’s theme song.

According to a Markowitz audio interview that’s an extra on the season one set of The Wild Wild West, producer Michael Garrison didn’t want the Tiomkin theme (which Markowitz described as a ballad). Markowitz, according to this account, was a last-minute hire. Markowitz, in the interview, says he was paid considerably less than Tiomkin.

Regardless, Markowitz came up with a classic theme. During the run of the show, Markowitz only received a credit (“Music Composed and Conducted by”) for episodes he scored. (According to his IMDB.COM ENTRY, that was 29 of the show’s 104 episodes). He wasn’t credited for the theme.  Thus, when other composers did scores for the show, there was no mention of Markowitz.

It wasn’t until 1979’s The Wild Wild West Revisited TV movie that Markowitz an on-screen credit for his greatest creation. The theme showed up in a scene in the 1999 Wild Wild West theatrical movie, but the composer yet again didn’t get an on-screen credit.

Also, according to that same audio interview, Markowitz had clashes with Morton Stevens, who took charge of CBS’s West Coast music operation in the spring of 1965. That contributed to Markowitz not being around when the show concluded with the 1968-69 season.

Despite that, Markowitz had too much talent for other television productions to ignore.

Quinn Martin’s QM Productions hired him frequently (including 16 original scores for The FBI, an episode of The Invaders and some episodes of The Streets of San Frnacisco). He scored nine episodes of Mission: Impossible, including the show’s only three-part story. Universal’s TV operation was another frequent employer, including 71 episodes of Murder, She Wrote.

Markowitz died on Dec. 6, 1994 at the age of 68.

The FBI season 8: time of transition at QM Productions

"Sorry, Arthur, no time to talk right now. I'm ordering season eight of The FBI."

“Sorry, Arthur, no time to talk right now. I’m ordering season eight of The FBI.”

The eighth, and next-to-last, season of The FBI is now available from Warner Archive The 1972-73 season marked a time of transition at QM Productions.

From the fall of 1967 (when The Fugitive ended a four-year run) to the fall of 1971 (When Cannon began the first of five seasons), The FBI kept producer Quinn Martin in business.

Some of Martin’s series, such as The Invaders, were cult hits but didn’t last that long. The Invaders, about an architect’s one-man battle against invading aliens, ran 43 episodes over two seasons. Banyon, a 1930s detective show, and Dan August, a contemporary police show, had short runs.

By the fall of 1972, things had begun to change. Cannon’s second season was starting and QM’s The Streets of San Francisco, was beginning a five-year run. In early 1973, QM added Barnaby Jones to the mix, which would run eight seasons.

Meanwhile, for its eighth season, The FBI continued to cruise along. It was the fourth season under producer Philip Saltzman. It would be his last work on the series. He’d be shifted to Barnaby Jones starting during that show’s second season. Eventually, Saltzman became executive producer of all of QM’s shows after Quinn Martin sold his company in the late 1970s.

Season 8 would also be the last as a regular for William Reynolds, who played sidekick Tom Colby to Efrem Zimbalist Jr.’s Inspector Lewis Erskine. Reynolds had been around The FBI even longer than Saltzman, joining the series as a regular in the third season and had been a guest star in the first and second seasons.

Season 8 hasn’t been included in previous syndication packages for The FBI. For information about ordering, you can CLICK HERE.

Hank Simms, extraordinary announcer, dies

An end titles from the first season of The FBI

An end titles from the first season of The FBI

Hank Simms, an announcer best known for the words “a Quinn Martin production!”, died last month at the age of 90, according to THIS OBITUARY But he did lots of other announcing work, including movie trailers and the Oscars television broadcast.

Simms first work for QM was The FBI in 1965. He went on to be the announcer for other QM hit shows including Barnaby Jones, Cannon and The Streets of San Francisco not to mention less successful series such as Dan August, Caribe and Banyon.

Simms also did “bumpers” for Mannix, as in, “Mannix…brought to you by…” followed by the name of a sponsor.

Simms worked the microphone at the Oscars, including when John Stears got his Oscar for Thunderball (explaining that Ivan Tors was picking it up in Stears’ place) and when Roger Moore and many viewers were surprised when Marlon Brando declined his Oscar for best actor.

His work could also be heard in trailers including movies edited from episodes of The Man From U.N.C.L.E. such as TO TRAP A SPY and ONE SPY TOO MANY as well as THE GLASS BOTTOM BOAT, the Doris Day spy comedy, and POCKETFUL OF MIRACLES, the final Frank Capra film.

The announcer’s voice was so distinctive when the makers of the 1982 comedy Police Squad! decided to do a QM-style opening, there was only one man for the job:

Rest in peace, Mr. Simms.

UPDATE: Here is the very first Hank Simms announcing job for Quinn Martin:

UPDATE II (Oct. 13): The Academy of Television Arts & Sciences put up an obituary for Hank Simms on its Web site on OCT. 2.