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The University of Iowa Libraries

Guide to the Marian Rees Associates

Collection Overview

Date Span: 1981-2000
Creator: Marian Rees Associates
Extent: 86.00 linear feet.
Collection Number: IWA0274
Repository: Iowa Women's Archives
Summary: Film production company founded and directed by University of Iowa Sociology alumna Marian Rees.

Access: The records are open for research.

Use: Copyright held by the donor has been transferred to the University of Iowa.

Acquisition: The records were donated by Marian Rees Associates.

Preferred Citation: Marian Rees Associates records, Iowa Women's Archives, University of Iowa Libraries, Iowa City.

Repository: Iowa Women's Archives
Address: 100 Main Library
University of Iowa Libraries
Iowa City, IA 52242
Phone: 319-335-5068
Curator: Kären Mason
Email: lib-women@uiowa.edu
Website: http://www.lib.uiowa.edu/iwa

University of Iowa Sociology alumna Marian Rees (Bachelor of Arts 1951) created her production company, Marian Rees Associates (MRA) in 1981. During her first 29 years in the television entertainment industry Rees worked with legends such as Fred Astair and Frank Sinatra and with Producers Norman Lear and Bud Yorkin on groundbreaking programs such as All In the Family. Rees' response to realizing the limitations of working in a male-dominated industry holding few real opportunities for women and an awareness of declining in quality in television programming, was to create a company offering unlimited possibilities for women with a focus on quality content. Beyond offering work and creative possibility, MRA has also built a solid reputation in the industry by producing television programming that informs and entertains. In one interview, Rees states that she sees television as having the potential to "reform" the public's ideas on social issues. Rees saw herself as a "working sociologist" and as such, MRA brings to television different perspectives on contemporary and complex social issues. It is the goal of MRA to do so in such a way that the television viewing public is made aware of issues such as drunk driving, child abuse, adoption issues, and discrimination based on age, race and/or gender. The stories MRA produces are often true tales of challenges overcome by "real"people.

Since creating MRA, Rees has served as Executive Producer for the company's many "hand-crafted" films, which have aired on the three major networks and cable networks including HBO (Home Box Office) and Lifetime. To date, eight of these productions have been for the Hallmark Hall of Fame. As of April 2002 MRA productions have won eleven Emmy awards and thirty-six Emmy nominations as well as two Golden Globe awards, six Christopher Awards, the Humanitas Prize, a Peabody Award, two Gabriel Awards, two Monte Carlo Television Awards and numerous other industry and public honors. There are several characteristics that go into making MRA productions notable; one of these is production values that are a hallmark of the company. Marian Rees is on record as referring to MRA films as "hand-crafted" - pointing to her direct involvement in MRA production processes and on an insistence on the highest quality at all levels of production; from the writing to the final editing. Another distinguishing feature of MRA is the range of topics on which the company has chosen to focus and the impact that MRA movies have on millions of viewers. Some examples of this include the productions of "Love Is Never Silent," "Miss Rose White," and "Resting Place."

Airing in December of 1995, "Love Is Never Silent" won several Emmy awards and has the distinction of being one of the first programs on television to be close captioned for the hearing impaired. The story focuses on the personal and social challenges a family faces when deaf parents struggle to raise a daughter in a hearing world. In order to remain true to the spirit of the novel "In This Sign" by Joanne Greenberg, MRA staff and production crew learned American Sign Language (ASL). This provided insights to the challenges of deaf community members and also made possible communication with deaf cast and staff members. One of the more important aspects and aims of this production is to illustrate that there exists a culture of deafness that defines the world for the hearing impaired but that is unrecognized by the hearing world.

Another winner of multiple Emmy awards, "Miss Rose White" deals with issues of anti-Semitism, immigration and the process of becoming "American" within the context of a family that has survived the holocaust through separation and loss. Adapted from the play "A Shayna Maidel" by Barbara Lebow, the story looks at how a young woman comes to terms with her Jewish heritage and history. Some of the issues the movie addresses include a father-daughter relationship that is often in conflict, the importance of extended family, personal sacrifice, survival and self-acceptance.

"Resting Place" (April 27, 1986) is an adaptation of the short story written by Walter H. Davis. The story centers on a small community divided over the burial an African American soldier killed in Vietnam in the towns only cemetery; one for "whites only." The story takes an honest look at issues of racism, loss, and the ways in which prejudices negatively shape perceptions.

An interesting side note is that MRA productions casting directors have displayed a talent for utilizing young rising actors before they become famous. Some of these actors include Denzel Washington, Sarah Jessica Parker, Lawrence Fishburne, Stephen Dorff and Bill Pullman.

The Marian Rees Associates (MRA) records date from 1981 to 2000 and measure 86 linear feet. The records document the production of each Marian Rees Associates film since the company was established in 1981. The records are arranged chronologically by airdate, starting with the earliest films produced by Marian Rees Associates. Although the titles of some films changed over the course of production, the series titles reflect the final titles used for the film when it was broadcast.  In the box list, this "As Broadcast" title is followed by the earlier versions of the title and by the films' original broadcast date. There is some variation in the process that a production takes from concept to final product, bit in general the process follows a certain order. This order is reflected in the subseries that are common to most, but not all, of the productions: Script library, Production files, Post-production files and Publicity.  In particular, the records of the earlier productions are sparse and do not include all of these series. Some productions include additional subseries: Pre-production files, Location files and Awards.

Whether the project being developed is an original idea for television or an adaptation of an existing literary work, the Script library illustrates the transformation of an original idea or the printed page into a television program.  This subseries often includes drafts that have been submitted by various writers along with their revisions reflecting the process of character and story development. Notes from the producers and directors offer insight into the process that within the MRA organization can often take several years; this subseries generally ends with either the final shooting script or the "As broadcast script."

The subseries Production Files focuses on the practical elements necessary to move a project from the script library and onto film.  This sub-series often includes correspondence with networks and corporate sponsors, agents, crew and cast members.  Information can be found regarding financial, accounting and budget realities and research on locations and shooting schedules.  For most of these productions the last folders will be called "€œProduction Book" while in other productions these folders will appear at the end of or after, the Post-Production files.  Regardless of the location, these folders contain the day-to-day progress of the production as recorded by Production Executives.  The Production sub-series illustrates the range of practical and material challenges that face different productions from shooting and travel schedules to daily script revisions and shipping film from often remote locations

The Post-production files subseries often highlights the steps that shape the end product.  From the Post production crew list to editing, negative cutting and continuity, dialogue repair and musical scoring this sub-series focuses on the ways in which raw film footage becomes a "movie." In many of the productions, information on "Publicity" will be included in the post-production files; for other productions, there exists a sub-series titled Publicity; both will contain much of the same type of information.

In the case of some but not all productions, there may be subseries that do not exist in other productions.  One of these sub-series is called Pre-Production.  Where it does exist, it may contain preliminary historical information and research that relates to the period of the story.  When necessary, information on clothing and customs of the period are also included.  Another one of these occasional sub-series is called Location files.  This subseries will have information particular to filming in a particular location such as local contact information on housing and goods and services necessary to the film company.

The subseries Publicity folders will include a range of information from Inter-office correspondence announcing network airdates to newspaper and magazine cast interviews and reviews.  Generally, Press Kits are included in the the Publicity subseries.  These are mostly comprised of publicity "stills"- photographs from the film of the cast along with biographical information on the cast, MRA and Production Executives.  Awards information is related to the Publicity subseries and is at times a subseries in its own right.  For many of the productions, especially those that have won critical acclaim and received numerous awards, there will be multiple folders with reviews, interviews and print information.  There may also be photographs and programs from the event itself as in the case of the Emmy awards or the Monte Carlo Film Festival.
Marian Rees Papers, IWA.

Browse by Series:
Series 1: ANGEL DUSTED
Series 2: MARVA COLLINS
Series 3: THE ALL-AMERICAN BEAUTY PAGEANT
Series 4: BETWEEN FRIENDS
Series 5: LICENSE TO KILL
Series 6: LOVE IS NEVER SILENT
Series 7: A RESTING PLACE
Series 8: CHRISTMAS SNOW
Series 9: THE ROOM UPSTAIRS
Series 10: FOXFIRE - 1987
Series 11: LITTLE GIRL LOST
Series 12: HOME FIRES BURNING
Series 13: THE SHELL SEEKERS
Series 14: A SON'S PROMISE
Series 15: DECORATION DAY
Series 16: MISS ROSE WHITE
Series 17: FOR THE LOVE OF AARON
Series 18: ONE MORE MOUNTAIN
Series 19: THE GIFT OF LOVE
Series 20: IS THERE LIFE OUT THERE?
Series 21: IN PURSUIT OF HONOR
Series 22: WHEN THE VOWS BREAK
Series 23: KEEPING THE PROMISE
Series 24: CONVICTIONS
Series 25: RUBY BRIDGES
Series 26: PAPA'S ANGELS
Series 27: MARIAN REES ASSOCIATES

  • Series 1: ANGEL DUSTED
  • Box 1:
  • Final draft - 1981
  • Contracts (two folders) - 1981
  • Film advisory board - 1981
  • Correspondence - 1981
  • Releases - 1981
  • Banff Film Festival - 1981
  • Series 2: MARVA COLLINS
  • Box 1:
  • Final draft - 1981
  • Contracts (two folders) - 1981
  • Releases - 1981
  • Correspondence - 1981
  • Box 2:
  • Publicity (4 folders) - 1981
  • Christopher Awards - 1981
  • Humanities Awards - 1981
  • Series 3: THE ALL-AMERICAN BEAUTY PAGEANT
  • Sub-Series:
  • Box 2:
  • Script Library
  • Writers considered for
  • Rina: The Story of the Israeli Girl Who Became Miss Universe
  • Marie Griffling, How to be a Beauty Contest Winner, August - 1980
  • Nancy Audley, Afterglow, April 12 (two folders) - 1980
  • Outline, April 22 - 1980
  • Outline, April 24 - 1980
  • Box 3:
  • First draft, July (two folders) - 1980
  • Revised pages (two folders) - 1980
  • Notes: August 6 - 1980
  • Paste-up, July 29, 31 - 1980
  • First draft, August (two folders) - 1980
  • General Notes: August (two folders) - 1980
  • Scene sequence, September - 1980
  • Box 4:
  • Paste-up, September 29 - 1980
  • Paste-up, October 8 - 1980
  • Scene locations, October 31 - 1980
  • Notes: November 7 - 1980
  • Notes: November 13 - 1980
  • Second draft, November 18 - 1980
  • Final draft, December 2 - 1980
  • Box 5:
  • Paste-up, December 8 - 1980
  • Final draft, December 9 - 1980
  • Revisions (two folders) December 17 - 1980
  • Character sketches, February 10 - 1981
  • Character sketches (notes), February 11 - 1981
  • Outline (Emily Tracy), February 19 - 1981
  • Outline (Emily Tracy), February 26 - 1981
  • Rewrite: polish, April 3 - 1981
  • Rewrite: Notes: April 7 - 1981
  • Rewrite: revisions, April 10 - 1981
  • Rewrite: notes from meeting with P. Frankovich, June 9 - 1981
  • Box 6:
  • Rewrite: scene breakdown, draft April 10 - 1981
  • Rewrite: story meeting Notes: July 20 - 1981
  • Rewrite: second draft, Aug. 21 - 1981
  • Rewrite: Notes: Sept. 2 - 1981
  • Rewrite: Sept. 12 - 1981
  • Rewrite: Sept. 13 - 1981
  • Scene breakdown, Dec. 2 - 1981
  • Rewrite, Sept. 13 - 1981
  • Notes: CBS meeting, Dec. 3 - 1981
  • Notes: general, Jan. 13 - 1982
  • Notes: on September rewrite, Jan. 12 - 1982
  • Polish rewrite, Feb. 12 - 1982
  • Polish rewrite, general Notes: Feb. 16 - 1982
  • Box 7:
  • Polish rewrite, revisions, March 4 - 1982
  • Script analysis, March 1 - 1982
  • Scene breakdown on polish, March 5 - 1982
  • Possible directors, memo, April 23 - 1982
  • Program practices, CBS, April 26 - 1982
  • Scene rundown, April 28 - 1982
  • Cut and paste script, May 1 - 1982
  • Meeting Notes: E. Tracy, May 21 - 1982
  • Casting breakdown, June 1 - 1982
  • Rewrite, June 21 - 1982
  • Final draft, June 22 - 1982
  • Rough final draft, June 23 - 1982
  • Box 8:
  • Cut and paste, (pp. 40-66) June - 1982
  • Cut and paste, June - 1982
  • Scene rundown, June 24 - 1982
  • Final draft, (two folders) June 24 - 1982
  • Revised scene rundown, June 30 - 1982
  • Final draft, CBS program practices, June 30 - 1982
  • Revised pages: July 1 - 1982
  • Revisions (two folders) July 19 - 1982
  • Revisions (three folders) July 21 - 1982
  • Revisions (three folders) July 24 - 1982
  • Revisions, July 26 - 1982
  • Revisions, July 27 - 1982
  • Revisions (three folders) August 7 - 1982
  • Final shooting script, Aug.19 - 1982
  • As broadcast script, Dec. 29 - 1982
  • Mirror, Mirror (AKA. Pageant, Inc.)(MM)Agreements and correspondence - 1984-1986
  • Box 9:
  • (MM) MRA/Niemack-Hassett sublease agreement, February 27 - 1985
  • (MM) pilot, first draft, January 18 - 1985
  • (MM) pilot, second draft, February 5 - 1985
  • (MM) pilot, revised second draft, February 11 - 1985
  • Sub-Series: Production
  • Box 9:
  • Budgets
  • Contracts: American Federation of Musicians
  • Contracts: Audley, Nancy (writer)
  • Contracts: Audley, Nancy (writer), Writers Guild of America
  • Contracts: cast
  • Contracts: CBS
  • Contracts: CFI agreement
  • Contracts: Chihara, Paul, composer
  • Contracts: crew
  • Box 10:
  • Contracts: David Graham
  • Contracts: Directors Guild of America
  • Contracts: Marie Griffing
  • Contracts: David Dukes
  • Contracts: FPS, Inc.
  • Contracts: Glen Glen Sound
  • Contracts: Alice Hirson
  • Contracts: Lewis Horwitz Organization (financing)
  • Contracts: Bob Huddleston
  • Contracts: Robert Jessup
  • Contracts: Brian Kerwin
  • Contracts: Diane Lane
  • Contracts: Cloris Leachman
  • Contracts: MARAN Productions (Marcy Gross & Ann Weston) dispute
  • Contracts: masters (for actors)
  • Contracts: Jayne Meadows
  • Contracts: Merchandise/Facility Credit Exchange
  • Contracts: Polygram, agreement
  • Contracts: Polygram, lab access agreement
  • Box 11:
  • Contracts: releases
  • Contracts: Screen Actors Guild, casting information
  • Contracts: Steven Stern
  • Contracts: Taritero Claim
  • Contracts: Taritero Productions (two folders)
  • Contracts: Emily Tracy (writer) (three folders)
  • Box 12:
  • Continuity, action and dialogue
  • Correspondence
  • Credits
  • Crew list (revised)
  • Dialogue continuity script
  • Director (Gus Trikonis)
  • Insurance
  • License Fee, General Foods and CBS
  • Newspaper inserts
  • Notices of tentative writing credits
  • Program practices, CBS, May 13 - 1982
  • Revised scene rundown, May 11 - 1982
  • Proposed production schedule
  • Shooting schedule
  • Box 13:
  • Stock footage, lab and camera reports (two folders)
  • Sub-Series: Post-Production
  • Box 13:
  • Film Advisory Board
  • Library of Congress
  • Main and end titles
  • Miscellaneous
  • Music clearance
  • Reel measurements and continuities
  • Sheet music
  • Series 4: BETWEEN FRIENDS
  • Sub-Series: Script Library
  • Box 13:
  • First draft, ‘Nobody Makes Me Cry’ November 9 - 1982
  • Story outline, Intimate Strangers
  • Revised first draft, Nov. 16 - 1982
  • Box 14:
  • Revised first draft with Notes: November 16 - 1982
  • Scene breakdown on first draft, November 20 - 1982
  • Final draft, January 7 - 1983
  • Cut and paste, January 7 - 1983
  • Revised pages: January 18 - 1983
  • Revised pages (green) January 27 - 1983
  • Final Revised pages: January 24, 26 - 1983
  • Revised pages (yellow) January 28 - 1983
  • Character Notes: January 17 - 1983
  • Sub-Series: Production
  • Box 14:
  • Accounting, budget (two folders) - 1982-1985
  • Box 15:
  • Accounting, budget - 1982-1985
  • Accounting, statement of profit participation, August 15 - 1985
  • Contracts: Carol Burnett
  • Contracts: Robert Cooper (includes financial correspondence)
  • Contracts: HBO
  • Contracts: Alan Landesburg
  • Contracts: Shelley List and Jonathon Estrin (two folders)
  • Contracts: List and Estrin, net profit schedule and misc.writer/producer
  • Contracts: William Morris Agency
  • Contracts: Elizabeth Taylor
  • Correspondence:miscellaneous
  • Correspondence:regarding title “Intimate Strangers”
  • Credits
  • Crew list
  • Research
  • Shooting schedule
  • Sub-Series: Publicity
  • Box 16:
  • Cable Ace Awards [PHOTO], December 4 - 1984
  • Photo: Carol Burnett, Marian Rees and Elizabeth Taylor, May - 1983
  • Press kits and advertising
  • Reviews and news articles
  • Series 5: LICENSE TO KILL
  • Sub-Series: Background
  • Box 16:
  • Letter from C. Mesedahl to District Attorney, June 10 - 1976
  • Sub-Series: Script Library
  • Box 16:
  • Bill Schwartz
  • Story outline DUI, June 23-July 10 - 1981
  • Synopsis, Schwartz, July 14-20 - 1981
  • Script, August, 17 - 1981
  • Script, Pages 61-82, Sept. 8 - 1981
  • Script, Pages 83-95, Sept. 15 - 1981
  • Script, Pages 96-102, Sept. 17 - 1981
  • Notes on meeting, Sept. 28 - 1981
  • Scene breakdown, Sept. 29 - 1981
  • Bill Schwartz, first draft, Oct. 26 - 1981
  • Cut and paste
  • CBS program practices on first draft, Nov. 10 - 1981
  • Box 17:
  • Notes: Nov. 25 - 1981
  • Scene breakdown, Nov. 25 - 1981
  • Partial second draft, Dec. 15 - 1981
  • Second draft, pages 59-80, Jan. 4 - 1982
  • Second draft, pages 81-100, Jan. 8 - 1982
  • Notes: Jan. 11 - 1982
  • Second draft, Jan. 14 - 1982
  • Second draft, scene breakdown, Jan. 14 - 1982
  • Notes (Anne Hopkins), Jan. 27 - 1982
  • Cut and paste
  • Revisions (blue), Feb. 2 - 1982
  • Scene rundown (handwritten), undated
  • Revised second draft, Feb.2 - 1982
  • CBS program practices, notes on second draft, Feb. 2 - 1982
  • Revised pages (blue), Feb. 2 - 1982
  • Jonathon Rintels: outline, act 3-7, March 11 - 1982
  • Jonathon Rintels: acts 1 and 2, March 12 - 1982
  • Rewrite, Robert Levin, May 3 - 1982
  • Scene breakdown (A. Hopkins), May 3 - 1982
  • Notes (A. Hopkins), May 8 - 1982
  • Revisions from both outlines, May 10 - 1982
  • Box 18:
  • Rewrite (R. Lewin), May 22 - 1982
  • Robert Lewin, revised rewrite, June 1 - 1982
  • Backup material
  • CBS program practices, June 15 - 1982
  • Mike Robe rewrite, Aug. 6 - 1982
  • Rewrite, pp. 91-128, Aug. 10 - 1982
  • Revised rewrite, Sept. 1 - 1982
  • Scene breakdown, Sept. 7 - 1982
  • Revised rewrite, Sept. 8 - 1982
  • Rees, notes to consider, Sept. 8 - 1982
  • Script notes (A. Hopkins), Sept. 1 - 1982
  • Box 19:
  • Revised rewrite, Sept. 15 - 1982
  • CBS program practices, Sept. 30 - 1982
  • Notes (M. Robe), Oct. 1 - 1982
  • Mike Robe, rewrite Oct. 12 - 1982
  • CBS program practices, Oct. 19 - 1982
  • M. Robe, preliminary revision ideas, Feb. 27 - 1983
  • M. Robe, rewrite scene breakdown, March 1 - 1983
  • Scene breakdown, recommended cuts
  • Notes (A. Hopkins) March 22 - 1983
  • Notes with comments (A. Hopkins), March 22
  • Notes (A. Hopkins), March 30 - 1983
  • Notes to review, March 30 - 1983
  • Cut and paste, April 4 - 1983
  • Scene breakdown with suggested revisions, April 4 - 1983
  • Final draft, April 12 - 1983
  • DeForest Research Group, notes/comments, April 19 - 1983
  • M. Robe, revised pages to be incorporated into new final draft-
  • (not colored) April 20-23 - 1983
    (folder 1 of 4)
  • Box 20:
  • Revised pages: April 19 - 1983
    (folders 2-4 of 4)
  • Final draft April 26 - 1983
    (Xerox copy sent from Dallas)
  • Robe, final shooting script, April 27 - 1983
  • Revised pages (blue), April 28 - 1983
  • Revised pages (pink), May 4 - 1983
  • Revised pages (yellow), May 13 - 1983
  • Revised pages (yellow), May 14 - 1983
  • CBS program practices, June 24 - 1983
  • Robe, final shooting script, Dec. 19 - 1983
  • Final shooting script (French) Dec. 19 - 1983
  • As broadcast script, Jan. 10 - 1984
  • Box 21:
  • Final shooting script with script supervisor’s Notes: April 26 - 1983
  • Sub-Series: Production Files
  • Box 21:
  • Budget (two folders)
  • Close captioning
  • Contracts-cast: Jacqueline Brooks
  • Contracts-cast: James Farentino
  • Contracts-cast: Penny Fuller
  • Contracts-cast: George Martin
  • Contracts-cast: Ari Meyers
  • Contracts-cast: Donald Moffat
  • Contracts-cast: Don Murray
  • Box 22:
  • Contracts-cast: Milly Perkins
  • Contracts-cast: three day players
  • Contracts-cast: Denzel Washington
  • Contracts-cast: casting director, Mary Colquhoun
  • Contracts-cast: CBS agreement
  • Contracts-cast: Consolidated Film Industries (CFI) agreement
  • Contracts-cast: crew
  • Contracts-cast: Film Production Services, Inc. (FPS) agreement
  • Contracts-cast: Glen Glenn Sound
  • Contracts-cast: music, American Federation of Musicians, signatory
  • Contracts-cast: music, licensing agreement, Phil Kurnit (Includes information on MRA vs. Phil Kurnit)
  • Contracts-cast: music, Marion Rees Assoc. (MRA) vs. Phil Kurnit
  • Contracts-cast: music, Marion Rees Assoc. (MRA) vs. Phil Kurnit-affidavits and declarations
  • Box 23:
  • Contracts-cast: music, Marion Rees Assoc. (MRA) vs. Phil Kurnit-Correspondence:affidavits and declarations
  • Contracts-cast: music, Marion Rees Assoc. (MRA) vs. Phil Kurnit-notes and memos
  • Contracts-cast: Robert Lewin, writer’s agreement
  • Contracts-cast: Writer’s Guild agreement
  • Contracts-cast: Candy Lightner, rights agreement
  • Contracts-cast: Metromedia papers
  • Contracts-cast: producer, Dorothea Petrie
  • Contracts-cast: D. Petrie Productions, Inc. (two folders)
  • Contracts-cast: program practices, CBS
  • Contracts-cast: releases
  • Contracts-cast: general
  • Contracts-cast: promotional
  • Contracts-cast: Mike Robe
  • Contracts-cast: M. Robe, writer
  • Contracts-cast: Laurence Rosenthal
  • Contracts-cast: L. Rosenthal, composer
  • Box 24:
  • Contracts-cast: Screen Actors Guild (SAG)
  • Contracts-cast: William Schwartz
  • Contracts-cast: writer’s agreement
  • Contracts-cast: Jud Taylor, director
  • Contracts-cast: Kristin Vigard
  • Contracts-cast: Denzel Washington
  • Contracts-cast: Susan Weight
  • Correspondence:general
  • DeForest Research
  • Insurance
  • Library of Congress
  • License fee
  • Miscellaneous and contact sheets
  • Music
  • Production schedule and meeting notes
  • Screen credits
  • Screen and paid ad obligations
  • Box 25:
  • Shooting schedules
  • Staff and crew lists
  • Status
  • Tentative writing credits
  • Publicity
  • The Christopher Awards - 1985
  • Film Advisory Board
  • Press kit (Includes photos)
  • Screenings
  • Rebroadcast of Sept. 4 - 1985
  • Union releases, etc.
  • Video requests
  • Series 6: LOVE IS NEVER SILENT
  • Sub-Series: Script Library
  • Box 25:
  • Synopsis
  • Suggested opening sequence, Oct. 8 - 1981
  • Notes for script adaptation, Oct. 8 - 1981
  • Storyline, Anne Hopkins, May 28 - 1982
  • Storyline, J. Fjeld, June 17 - 1982
  • Revised storyline, A. Hopkins, July 7 - 1982
  • Story Notes: A. Hopkins, Oct. 3 - 1983
  • Outline, D. Craviotto, Jan. 30 - 1984
  • Notes: (Julianna’s) Feb. 1 - 1985
  • Notes: (A. Hopkins) Feb. 1 - 1985
  • Revised story outline, (D. Craviotto) Feb. 1 - 1985
  • Scene breakdown, (D. Craviotto) April 23 - 1985
  • Julianna Fjeld Notes: April 24 - 1985
  • Script Notes: May 1 - 1985
    (A. Hopkins)
  • First draft, D. Craviotto, undated
  • Second draft, June 7 - 1985
  • Box 26:
  • J. Fjeld, Notes: June 7 - 1985
  • Richard Kendall’s Notes: June 10 - 1985
  • Scene breakdown, (D. Craviotto) June 11 - 1985
  • Notes (second draft), Julianna, June 17 - 1985
  • Richard Kendall’s Notes: June 19 - 1985
  • Julianna’s Notes: June 21 - 1985
  • Hopkins’ Notes: June 26 - 1985
  • Hopkins’ revised Notes: June 27 - 1985
  • Script library (cont.)
  • Outline/revision (D. Craviotto), July 1 - 1985
  • J. Fjeld Notes: July 3 - 1985
  • CBS program practices, July 3 - 1985
  • Script outline, July 9 - 1985
  • Detailed Notes: July 11 - 1985
  • Script breakdown, July 12 - 1985
  • D. Craviotto, act one, July 23 - 1985
  • D. Craviotto, acts two and three, July 26 - 1985
  • Cut and paste, (2 folders) July 29 - 1985
  • Cut and paste, includes voice-overs, July 29 - 1985
  • Notes: J. Fjeld, July 24, 29-30 - 1985
  • Approach to rewrite, July 30 - 1985
  • Act four, July 30 - 1985
  • Revised second draft, July 31 - 1985
    and compilation of all delivered acts
  • Acts five and six (pp. 95-124) July 31 - 1985
  • Box 27:
  • Rough script that led to draft, Aug. 2 - 1985
  • Production script, Aug. 2 - 1985
  • Rough production script, Aug. 3 - 1985
    [script that Anne worked on that led to Aug. 5, 1985 draft]
  • Box 28:
  • Production script, Aug. 5 - 1985
  • Scene breakdown Aug.6 - 1985
  • CBS/Rick Berger Notes: Aug. 7 - 1985
  • Notes to polish, Aug. 13 - 1985
  • CBS program practices, Aug.21 - 1985
  • Carol Sobieski rewrite, Aug. 21 - 1985
  • Carol Sobieski rewrite, production script, Aug. 23 - 1985
  • Carol Sobieski rewrite, draft that was used to type from Aug. 25 - 1985
  • Carol Sobieski rewrite, production script, Aug.23 - 1985
    (revised Aug. 29, 1985)
  • Carol Sobieski rewrite, Revised pages: (blue) Sept. 5 - 1985
  • Carol Sobieski rewrite, revised pages (pink) Sept. 9 - 1985
  • NBC program practices Notes: Sept. 12 - 1985
  • NBC program practices Notes: Sept. 13 - 1985
  • Revised pages: (pink) Sept. 13 - 1985
  • Revised pages: (yellow) Sept. 16 - 1985
  • NBC broadcast standards, Sept. 20 - 1985
  • Revised pages: (green) Sept. 21 - 1985
  • Revised pages: (orange) Sept. 24 - 1985
  • Revised pages: (orange) Sept. 25-27,1985
  • Revised pages: (beige) Oct. 1 - 1985
  • Box 29:
  • Production script with all revised pages
  • As broadcast script, Dec. 9 - 1985
  • Sub-Series: Production Files
  • Box 29:
  • Accounting, general
  • Accounting, costs-MRA
  • Accounting, trial balance
  • Budgets
  • Canada
  • Cast list
  • Contracts: American Federation of Musicians
  • Contracts: Else Blangsted (music dditor)
  • Contracts: George Burns
  • Contracts-cast, Sid Caesar
  • Contracts-cast, Louis Judson Fant, Jr.
  • Contracts-cast, Phyllis Frelich
  • Contracts-cast, Cloris Leachman
  • Contracts-cast, Fredric Lehne
  • Contracts-cast, Ed Waterstreet
  • Box 30:
  • Contracts-cast, Mare Winningham
  • Contracts-cast, day players
  • Contracts: cast and crew deal memos
  • Contracts: CBS negotiations
  • Contracts: Mary Colquhoun (Casting Director)
  • Contracts: D. Craviotto (Writer), agreement and payment schedule (two folders)
  • Contracts: agreement between Julianna Fjeld and Joanne Greenberg
  • Contracts: Fjeld/Greenberg profit participation &Warner Bros. Agreement.
  • Contracts: Billy Goldenberg
  • Contracts: David Gribble
  • Contracts: Hallmark agreement
  • Contracts: Richard Kendall agreement
  • Contracts: Metromedia Producers Corporation
  • Contracts: Dorothea Petrie (Producer)
  • Box 31:
  • Contracts: SAG (Screen Actors Guild)
  • Contracts: Salt of the Earth (Ron McHaffle)
  • Contracts: Joseph Sargent (Director)
  • Contracts: Dorothy Scheuer/Scholastic, Inc. and MRA agreement
  • Contracts: Carol Sobieski (Writer)
  • Contracts: Synchronization License
  • Contracts: Teamsters agreement
  • Contracts: Telepictures/Lorimar
  • Correspondence - 1981
  • Correspondence - 1982
  • Correspondence - 1983
  • Correspondence - 1984
  • Correspondence - 1985
    (folder 1 of 2)
  • Box 32:
  • Correspondence - 1985
    (folder 2 of 2)
  • Correspondence - 1986-1991
  • Correspondence:general - 1984-1990
  • Correspondence:congratulatory letters
  • Hallmark
  • Insurance
  • License fee
  • NBC, general
  • NBC, presentation: cast and crew biographies, resumes & credits
  • NBC, close captioning
  • Box 33:
  • Credit references
  • Credits
  • Documentary
  • Film notes
  • Hallmark Hall of Fame logo
  • Music (two folders)
  • NBC, delivery requirements
  • NBC, program practice notes
  • Title/credits
  • Vancouver, production-daily
    (folder 1 of 3)
  • Box 34:
  • Vancouver, production-daily
    (folders 2 and 3 of 3)
  • Sub-Series: Post-Production
  • Box 34:
  • Dubbing
  • General
  • Releases
  • DeForest research script notes
  • Thank you letter crew/location
  • Marian Rees, production log book
  • Marian Rees, production book
    (folders 1 and 2 of 4)
  • Box 35:
  • Marian Rees production book
    (folders 3-4 of 4)
  • Production reports
  • Sub-Series: Publicity
  • Box 35:
  • Brochures/press kits
  • Correspondence:general (two folders)
  • Correspondence:Hallmark
    (Kansas School for the Deaf)
  • Box 36:
  • Anne Hopkins paragraph, Sept. 6 - 1985
  • Newspaper clippings, deaf issues
  • Newspaper clippings, Emmy Award
  • Press reviews (3 folders)
  • Box 37:
  • Programs and media from awards presentations
  • Screening, Nov. 25 - 1985
  • Screening, Dec. 5 - 1985
  • Re-broadcast, Dec. 1 - 1986
  • Photographs
  • Sub-Series: Awards and Nominations
  • Box 37:
  • Academy of Television Arts and Science (Emmys), March - 1986
  • Acapulco World Festival, Nov. - 1987
  • American Women in Radio and Television
  • Golden Reel Awards
  • The Humanitas Prize
  • Media Access Awards - 1986
  • Monte Carlo Film Festival
  • Writers Guild of America Award
  • Series 7: A RESTING PLACE
  • Sub-Series: Script Library
  • Box 38:
  • W. Davis, story, Oct. 5 - 1978
  • Scene outline, undated
  • First draft-Nov. 27 - 1985
  • Second draft, Dec. 19 - 1985
  • Script Notes: Dec. 23 - 1985
  • Scene breakdown (A. Hopkins)-Dec. 30 - 1985
  • Script Notes: Jan. 3 - 1986
  • Scene rundown, Jan. 3 - 1986
  • Technical Notes: Jan. 8 - 1986
  • Technical revision, Jan. 15 - 1986
  • Additional technical notes (Col. Schmitz), Jan. 16 - 1986
  • John Korty meeting, Jan. 16 - 1986
  • Col. Schmitz’s endorsement letter, Jan. 17 - 1986
  • Possible structure (A. Hopkins), Jan. 22 - 1986
  • J. Korty-Johnson and Laird scene
  • W. Davis, second draft, Jan. 24 - 1986
  • W. Davis, Revised second draft, Jan. 27 - 1986
  • Summary of Walter’s plans, Jan. 27 - 1986
  • Notes: Jan. 28 - 1986
  • Tentative requirements-military manpower & vehicles, Jan. 28 - 1986
  • Box 39:
  • Vietnam era shipment of remains, Jan. 28 - 1986
  • Army desired changes, Jan. 29 - 1986
  • Scene rundown (A. Hopkins), Jan. 29 - 1986
  • J. Korty-Mrs. Johnson audition scene, Jan. 21 - 1986
  • ‘Wild’ scene, Jan. 27 - 1986
  • Scenes 12A and 12B
  • Pages 1-10, Jan. 29 - 1986
  • Revised scenes, pages 1-10, Jan. 30 - 1986
  • Revised scenes, pages 12A and 12B, Jan. 30 - 1986
  • Kellum DeForest Notes: Jan. 31 - 1986
  • Cut and paste script, Jan. 31 - 1986
  • Revised rundown, Jan. 31 - 1986
  • J. Korty-story time/character ages
  • CBS Notes: Jan. 31 - 1986
  • Notes: Anne Hopkins, Feb. 3 - 1986
  • DeForest Notes: Feb.4 - 1986
  • Scene rundown, Feb. 5 - 1986
  • Revised pages: Feb. 6 - 1986
  • J. Korty-revised pages (blue) Feb. 9 - 1986
  • Scene breakdown, Feb. 10 - 1986
  • J. Korty Revisions (pink) Feb. 12 - 1986
  • Scene breakdown-Feb. 12 - 1986
  • J. Korty-Revised pages: (eight folders) Feb. 12-18 1986
  • Scene rundown, Feb. 19 - 1986
  • J. Korty-Revised pages: (blue) Feb. 21 - 1986
  • J. Korty-Revised pages: (blue) Feb. 22 - 1986
    Scene 37
  • J. Korty-Revised pages: (blue) Feb. 24 - 1986
    Scenes 38 and 42
  • J. Korty-Revised pages: (six folders) Feb. 24-March 3 - 1986
  • J. Korty-Revised pages: (blue) March 5 - 1986
    Scene 14
  • J. Korty-Revised pages: (blue) March 5 - 1986
  • News articles for scrapbook
  • J. Korty-copy of revised final draft, Feb. 15 - 1986
  • Korty/Trostle-Revised Final Draft, March 14 - 1986
  • Revised draft, Victoria T., March 13 - 1986
  • Box 40:
  • Final draft, March 5 - 1986
  • Korty/Trostle-revised final draft, March 14 - 1986
  • Dwyte’s last letter, March 27 - 1986
  • As broadcast Script, April 27 - 1986
  • Sub-Series: Production Files
  • Box 40:
  • Accounting-Banks, Beverly Hills and Atlanta
  • Budget, Dec. 30 - 1985
  • Cast list
  • Cast and Crew list
  • CBS format and delivery requirements
  • Contracts: Richard Bradford
  • Contracts: Richard Brooks
  • Contracts: Paul Chihara
  • Contracts: Walter Davis
    (folder 1 of 2)
  • Box 41:
  • Contracts: Walter Davis
    (folder 2 of 2)
  • Contracts: Walter Davis-claim before WGA Arbitration Tribunal
  • Contracts: deal memos
  • Contracts: Morgan Freeman
  • Contracts: Hallmark
  • Contracts: Buck Herron
  • Contracts: Marsh Kleinman (casting services)
  • Contracts: John Korty (Director)
  • Contracts: John Korty/Victoria Trostle (re-write services)
  • Contracts: John Lithgow
  • Contracts: John Philbin
  • Box 42:
  • Contracts: C.C.H. Pounder
  • Contracts: Hal Roach (distribution/syndication proposals)
  • Contracts: Hal Roach, financial materials relating to
  • Contracts: Hal Roach, miscellaneous and syndication
  • Contracts: S.A.G. (Screen Actors Guild)
  • Contracts: G.D. Spradlin
  • Contracts: Francis Sternhagen
  • Contracts: Brian Tarantina
  • Contracts: M. Emmet Walsh
  • Contracts: Tegan West
  • Correspondence:congratulations, and thank you notes
  • Box 43:
  • Correspondence:general (three folders)
  • Correspondence:credits, and titles
  • DeForest Research notes
  • Emmy Awards clips
  • Ford Theatre
  • Insurance: certificates, general
  • Legal: claims, infringement (Shannon and Hughes)
  • Legal: claims (Elissa Ward Johnson)
  • General
  • License fees
  • Location releases
  • Main and end titles
  • Box 44:
  • Music, scores
  • Script supervisors script
  • Shooting schedule
  • Sub-Series: Post-Production Files
  • Box 44:
  • Awards, Writer’s Guild of America (WGA)
  • Film competition entries, Festival De Deauville
  • Film competition entries, Monte Carlo Film Festival
  • New York World Television Festival
  • Publicity, photographs
  • Press kits
  • Box 45:
  • Publicity, reviews
  • Production book (four folders)
  • Series 8: CHRISTMAS SNOW
  • Sub-Series: Script Library
  • Box 46:
  • Anne Hopkins’ synopsis of ‘London Snow’
  • ‘Savannah Snow’ outline and character sketch
  • Suzanne Clauser, first draft, June 3 - 1986
  • Scene breakdown, June 3 - 1986
  • Script Notes: June 20 - 1986
  • Xerox copy of Paul Theroux’s ‘London Snow’
  • S. Clauser, second draft, July 23 - 1986
  • Scene breakdown, July 23 - 1986
  • NBC program practice Notes: Aug. 5 - 1986
  • Script notes (A. Hopkins), Aug. 8 - 1986
  • Notes: Aug. 15 - 1986
  • S. Clauser-production draft, Sept. 4 - 1986
  • Paragraph, Sept. 15 - 1986
  • NBC program practice Notes: Sept. 12 - 1986
  • S. Clauser, revised pages (blue), Sept. 25 - 1986
  • DeForest report, Sept. 25 - 1986
  • S. Clauser, revised pages (pink), Sept. 30 - 1986
  • S. Clauser, revised pages (yellow), Oct. 8 - 1986
  • Script/drafts
  • Production draft, Sept. 4 - 1986
  • Sub-Series: Production Files
  • Box 46:
  • Accounting
  • Budget
  • Canada-information
  • Cast and crew list
  • Box 47:
  • Contracts: Alexander Group Productions, Inc.
  • Contracts: Elise Blangsted
  • Contracts: Anita Brandt
  • Contracts: Sid Caesar
  • Contracts: CFI
  • Contracts: Suzanne Clauser
  • Contracts: Michael Convertino
  • Contracts: General Cast
  • Contracts: Melissa Joan Hart
  • Contracts: Katherine Helmond
  • Contracts: insurance
  • Contracts: Kimble Joyner
  • Contracts: Marsha Kleinman
  • Contracts: Music Clearances
  • Contracts: David Tochterman
  • Contracts: Gus Trikonis
  • Contracts: writers agreement
  • Copyright registration
  • Deal memos: crew
  • Deal memos: Melissa Hart and Kimble Joyner
  • Deal memos: David Tochterman
  • Deal memos: Gus Trikonis
  • Distributions agreement with Hal Roach Studios
  • Editor (Marilyn Madderon)
  • ICM
  • Insurance
  • Box 48:
  • Legal-general
  • License fee
  • Location-photos
  • Main end titles
  • NBC
  • Option-Paul Theroux
  • Production schedules and reports
  • Screen credits
  • Writers
  • Sub-Series: Post-production
  • Box 48:
  • Correspondence:thank you letters
  • Film festivals
  • Music-Michael Convertino
  • Cue sheets
  • Publicity, biographical information and photographs
  • Box 49:
  • Reviews
  • Screening, December 18 - 1986
  • Special effects
  • Title report
  • Rees: Production book (two folders)
  • Series 9: THE ROOM UPSTAIRS
  • Sub-Series: Script Library
  • Box 49:
  • Synopsis, Feb. 27 - 1986
    (never sent to anyone)
  • Synopsis, Feb. 27 - 1986
    sent to Carol Sobiesky
  • Scene breakdown (Steve Lawson), June 6 - 1986
  • Outline notes (Anne Hopkins), July 1 - 1986
  • Story outline, July 9 - 1986
  • Scene breakdown and scene revision, July 18 - 1986
  • Rough first draft, Aug. 8 - 1986
  • The Alexander Group Notes: Aug. 12 - 1986
  • Script Notes: A. Hopkins, Aug. 16 - 1986
  • Notes: The Alexander Group, Aug. 19 - 1986
  • Box 50:
  • Second draft, S. Lawson, Aug. 28 - 1986
  • Revised second draft, S. Lawson, Sept. 4 - 1986
  • Scene breakdown, Sept. 5 - 1986
  • Scene breakdown, S. Lawson, Sept. 5 - 1986
  • Alexander Group Notes: Sept. 10 - 1986
  • Script Notes: Sept. 11 - 1986
  • Character Notes: Sept. 15 - 1986
  • Cut and paste “Sequence of scenes” Sept. 18 - 1986
  • Draft, S. Lawson, Sept. 30 - 1986
  • Victoria Trostle, Notes: Oct. 6 - 1986
  • Victoria Trostle, scene rundown, Oct. 8 - 1986
  • Alexander Group Notes: Oct. 6 - 1986
  • Notes: A. Hopkins, Oct. 10 - 1986
  • Notes: (Larry Strichman, NBC, Brian Pike), Oct. 15 - 1986
  • V. Trostle: cut and paste, Oct. 20 - 1986
  • V. Trostle: cut and paste, Oct. 21 - 1986
  • Draft cut and paste, A. Hopkins, Oct. 22 - 1986
  • Scene rundown, Oct. 24 - 1986
  • Scene rundown, Oct. 27 - 1986
  • V. Trostle: Oct. 31 - 1986
  • Revised pages (blue), Nov. 3 - 1986
  • Box 51:
  • Production draft, S. Lawson, Nov. 1 - 1986
  • Production draft, Revised pages: Nov. 4 - 1986
  • Deforest Research (S. Lawson) Nov. 7 - 1986
  • Revised production draft (pink) Nov. 4 - 1986
  • Revised pages (blue) S. Lawson, Dec. 4 - 1986
  • Revised pages (yellow) Dec. 5 - 1986
  • Revised production draft (white) S. Lawson, Dec. 9 - 1986
  • Paragraph
  • As broadcast script, March 31 - 1987
  • Sub-Series: Production files
  • Box 51:
  • Accounting, City National
  • CBS delivery requirements
  • Contracts: Alexander Group
  • Contracts: Joan Allen
  • Contracts: James Brook
  • Contracts: Clancy Brown
  • Box 52:
  • Contracts: Stockard Channing
  • Contracts: Johnny D’Agostino
  • Contracts: Echo Film Services
  • Contracts: Renee’ Estevez
  • Contracts: Robert Folk
  • Contracts: general, performers
  • Contracts: Hallmark
  • Contracts: James Handy
  • Contracts: Linda Hunt
  • Contracts: Marsha Kleinman
  • Contracts: Denice Kumagai
  • Contracts: Stephen Lawson
  • Contracts: Stuart Margolin
  • Contracts: NCI
  • Box 53:
  • Contracts: Jerry O’Connell
  • Contracts: Sarah Jessica Parker
  • Contracts: releases
  • Contracts: Hal Roach Studios
  • Contracts: Murray Schwartz
  • Contracts: Screen Actors Guild (SAG)
  • Contracts: Screen Credits
  • Contracts: Carol Sobiesky
  • Contracts: Victoria Trostle
  • Contracts: Sam Waterson
  • Contracts: Devoreaux White
  • Correspondence:general
  • Correspondence:thank you letters
  • Insurance
  • Invoices
  • Lists, crew and cast
  • Production book
    folder 1 of 5
  • Box 54:
  • Production book
    folders 2-5 of 5
  • Sub-Series: Post-production files
  • Box 54:
  • ASCAP applications
  • Clearance requests
  • Main and end titles
  • Music
  • Box 55:
  • Production schedules and reports
  • Publicity, Humanitas Award
  • Publicity, press kit
  • Publicity, reviews (two folders)
  • Publicity, screening, Jan. 30 - 1987
    includes PHOTOS of M. Rees with an Emmy
  • Series 10: FOXFIRE - 1987
    (December 13, 1987) (Hallmark Hall of Fame CBS)
  • Sub-Series: Script Library
  • Box 55:
  • First draft, Susan Cooper, Oct. 8 - 1986
  • Scene breakdown, Nov. 3 - 1986
  • First draft, Nov. 4 - 1986
  • Revised first draft, Nov. 7 - 1986
  • Scene breakdown, Nov. 14 - 1986
  • Box 56:
  • Notes: Anne Hopkins (originals)
  • Act rundown, A. Hopkins, March 5 - 1987
  • Proposed act rundown, A. Hopkins, March 9 - 1987
  • Act rundown, March 9 - 1987
  • Act rundown, March 10 - 1987
  • Notes: March 9 - 1987
  • Cut and paste, A. Hopkins, March 13 - 1987
  • Scene breakdown, March 20 - 1987
  • Cut and paste, March 13 - 1987
  • Revised second draft, March 31 - 1987
  • Script notes: April 7 - 1987
  • Second draft, April 1 - 1987
  • Deforest Research, April 10 - 1987
  • Revised pages (blue) April 16 - 1987
  • Box 57:
  • Revised pages: (pink) April 22 - 1987
  • Revised pages: (green), April 27 - 1987
  • Revised pages: (yellow), April 30 - 1987
  • Cut and paste, Act 6 (A. Hopkins) May 6 - 1987
  • Revised pages: (goldenrod), May 18 - 1987
  • Revised pages: (goldenrod), May 22 - 1987
  • As broadcast script, December13 - 1987
  • Sub-Series: Production files
  • Box 57:
  • Accounting
  • Call sheets
  • Cast and crew letters
  • Casting
  • Contracts: CBS
  • Contracts: Susan Cooper
  • Contracts: Hume Cronyn
    1 of 2 folders
  • Box 58:
  • Contracts: Hume Cronyn
    folder 2 of 2
  • Contracts: Cooper and Cronyn, Writers’ agreements
  • Contracts: John Denver
  • Contracts: Gary Grubbs
  • Contracts: Harriet Hall
  • Contracts: Hallmark
    1 of 2 folders
  • Box 59:
  • Contracts: Hallmark
    folder 2 of 2
  • Contracts: Johnny Mandel
  • Contracts: NCI
  • Contracts: Dorothea Petrie Productions
  • Contracts: releases
  • Contracts: Screen Actors Guild (SAG)
  • Contracts: Jessica Tandy
  • Contracts: Jud Taylor
  • Correspondence: Airdate letters
  • Box 60:
  • Correspondence: congratulations
  • Correspondence: general (two folders)
  • Correspondence: inter-office
  • Correspondence: thank you letters
  • Daily production reports
  • Directors Guild of American (DGA) quarterly earnings
  • Directors/crew
  • Errors and omissions liability
  • License fee
  • Location pictures
  • Notes
  • One-liners
  • Box 61:
  • Photocopy of play
  • Production checklist
  • Research (two folders)
  • Shooting schedule
  • Production book
  • Sub-Series: Post-production files
  • Box 61:
  • CBS delivery requirements
  • Correspondence
  • Quarterly, Rabun Gap, Georgia
  • Main and end titles
  • Box 62:
  • Music and scores
  • Screen credits
  • Tape distribution list
  • Trailer
  • Production book (2 folders)
  • Sub-Series: Publicity
  • Box 62:
  • Award nominations-Emmy & Monte Carlo
  • Awards, American Cinema Editors “Eddies” 1982
  • Awards, Angel Awards
  • Awards, Directors Guild of America (DGA)
  • Awards, Gabriel Awards - 1988
  • Awards, Humanitas Award
  • Awards, Ohio State Awards - 1989
  • Awards, Peabody Award - 1987
  • Awards, Writers Guild of America (WGA)
    for S. Cooper
  • Box 63:
  • Correspondence
  • Film Festivals, Houston Film Festival
  • Film Festivals, Women in Film
  • Photographs, location and stills (two folders)
  • Press kit
  • Reviews and articles (two folders)
  • Screenings
  • Series 11: LITTLE GIRL LOST
  • Sub-Series: Script Library
  • Box 64:
  • Treatment, Angela Shelley and Carleton Scott Alsop, Sept. 22 - 1986
  • Treatment, Angela Shelley and Carleton Scott Alsop, Sept. 24 - 1986
  • Anne Hopkins rundown, Oct. 16 - 1986
  • Rights and releases, March 30 - 1987
  • Rights and releases, April 2 - 1987
  • Outline: (Ann Beckett), June 19 - 1987
  • Outline: (Ann Beckett), June 30 - 1987
  • Outline: (Ann Beckett), July 6 - 1987
  • Shelley and Alsop Notes: July 16 - 1987
    to A. Beckett outline
  • First draft, Sept. 7 - 1987
  • First draft, Sept. 14 - 1987
  • Shelley notes to first draft, Sept. 14 - 1987
  • Annotated script, Sept. 25 - 1987
  • Revised character key, Oct. 10 - 1987
  • ABC broadcast standards and practices, Oct. 20 - 1987
  • Character name key, Sept. 29 - 1987
  • Second draft, Oct. 26 - 1987
  • Summary of releases and sources
  • Scene breakdown (A. Beckett), Sept. 16 - 1987
  • Scene breakdown (A. Beckett), Sept. 25 - 1987
    with time notations
  • Box 65:
  • Shooting script, Oct. 30 - 1987
  • Revised pages (blue) Nov. 5 - 1987
  • ABC broadcast standards, Nov. 11 - 1987
  • Notes on blue revisions of Nov. 5
    S. Alsop
  • Revised character key, Nov. 13 - 1987
  • Revised pages (pink), Nov. 16 - 1987
  • Dr. Roland Summit: notes (A. Hopkins)
    re: Nov. 16 phone conversation
  • Dr. Roland Summit: notes and journal articles
  • Alternate ending, Nov. 18 - 1987
  • Deforest Research, Nov. 19 - 1987
  • Revised pages: (yellow), Nov. 20 - 1987
  • Revised pages: (green), Nov. 25 - 1987
  • Revised pages: (goldenrod), Nov. 27 - 1987
  • Revised pages: (buff), Nov. 28 - 1987
  • Revised pages: (salmon), Dec. 2 - 1987
  • Alternate Revised pages: Dec. 4 - 1987
  • Revised pages: (white), Dec. 14 - 1987
  • Sequence of scenes as filmed, January 29 - 1988
  • As broadcast script, April 25 - 1988
  • Sub-Series: Production files
  • Box 66:
  • Accounting
  • Assignment of rights
  • Broadcast Standards and Practices, ABC
  • Budget
  • Call sheets
  • Cast and crew letter
  • Casting
  • Clearances
  • Contact sheet
  • Contracts: Ann Beckett
  • Contracts: Else Blangsted
  • Contracts: Paul Bogart
  • Contracts: John Colodner
  • Contracts: crew
  • Contracts: Directors Guild of America (DGA)
  • Contracts: Frederick Forest
  • Contracts: FPS
  • Contracts: David Graham
  • Box 67:
  • Contracts: Tenille Greene
  • Contracts: Tess Harper
  • Contracts: Patricia Kalamber
  • Contracts: Sandy Martin
  • Contracts: Bonnie and Bill McClain
  • Contracts: Christopher McDonald
  • Contracts: Sharron Miller (2 folders)
  • Contracts: NCI
  • Contracts: Paid advertising
  • Contracts: William E. Phillips
  • Contracts: Lawrence Pressman
  • Contracts: release agreements
  • Box 68:
  • Contracts: rights agreements
  • Contracts: rights agreements, drafts
  • Contracts: Vantage Entertainment
    Billy Golcberg
  • Correspondence: general (three folders)
  • Correspondence: inter-office
  • Box 69:
  • Crew list
  • Daily production report
  • Day out of days
  • Directors
  • Insurance: E&O Application
  • Legal: Documents relating to McClain/Luckett adoption papers
  • Legal: lawsuit-Shelton v. Shelley/Vantage/MRA (SvSMRA) (three folders)
  • Legal: lawsuit (SvSMRA), comment letters
  • Legal: lawsuit, SvSMRA) Shelton settlement
  • McClain adoption correspondence (two folders)
  • Box 70:
  • Legal: net profit schedule (between MRA to Shelley/Alsop/Graham)
  • Legal: option agreements, general
  • Legal: option agreements, between A. Shelley and the McClains
  • Legal: side letter agreement (MRA and Shelley), April 28 - 1987
  • License fee
  • Music, American Federation of Musicians (signatory documents)
  • Notes
  • One-liners
  • Production check lists
  • Production schedule (two folders)
  • Box 71:
  • Release agreements (two folders)
  • Shooting schedule
  • Staff and crew lists
  • Treatment
  • Writer suggestions
  • Sub-Series: Post-Production Files
  • Box 71:
  • ABC delivery requirements
  • Cast and crew lists
  • Correspondence: errors & omissions (two folders)
  • Box 72:
  • Correspondence: General Foods
  • Cost reports
  • Credits
  • Main and end titles
  • Music
  • Postproduction schedule
  • Screen Actors Guild (SAG)
  • Stock footage release
  • Time line reference
  • Box 73:
  • Writers credit
  • Writers Guild of America (WGA)
  • Sub-Series: Pre-production files
  • Box 73:
  • Research, abused children
  • Research, DeForest Research
  • Sub-Series: Publicity
  • Box 73:
  • Correspondence
    folder 1 of 2
  • Box 74:
  • Correspondence
    folder 2 of 2
  • Humanitas Award
  • Mailers
  • Photographs and negatives
  • Press kit and information
  • Press materials and information/correpondence
  • Rebroadcast, June 4 - 1989
  • Reviews, schedules, events
  • San Francisco Film Festival
  • Series 12: HOME FIRES BURNING
  • Sub-Series: Script library
  • Box 74:
  • Hard cover book by Robert Inman
  • Box 75:
  • Notes: Dick Welsh, rundown, January 1 - 1988
  • Revised synopsis, Aug. 8 - 1987
    sent to Tracy Kennan Wynn Oct. 9
  • Sample opening, Robert Inman, seven pages, Jan. 16 - 1988
  • Scene rundown (Anne Hopkins), Jan. 18 - 1988
  • R. Inman: act one, Feb. 1 - 1988
  • R. Inman: acts one and two, received Feb. 8 - 1988
  • R. Inman: first draft, Feb. 29 - 1988
  • R. Inman: revised first draft, Feb. 29 - 1988
  • R. Inman: scene breakdown, March 7 - 1988
  • R. Inman: first draft, distributed May 27 - 1988
  • Hallmark script notes, May 19 - 1988
  • Script notes: May 19, 23 - 1988
  • Notes for second draft, May 24 - 1988
  • Script notes: May 24 - 1988
    packet given to Glenn Jordan
  • Notes for second draft, May 24 - 1988
    given to Larry Strichman and G. Jordan
  • Cassette of L. Strichman (meeting), notes re: second draft
  • First draft sent to Barbara’s place, May 25 - 1988
  • Notes: Anne Hopkins, June 8 - 1988
  • Scene rundown, June 8 - 1988
  • R. Inman: second draft, June 20 - 1988
  • Box 76:
  • R. Inman: second draft, June 28 - 1988
  • R. Inman: second draft, June 29 - 1988
  • Hallmark script Notes: July 5 - 1988
  • R. Inman; polish, July 12 - 1988
  • R. Inman: second draft, production draft, July 15 - 1988
  • Hallmark Notes: July 20 - 1988
  • MRA script notes to G. Jordan, July 21 - 1988
  • R. Inman: revised pages (15, 90-96),
  • Glenn Jordan’s notes
  • Revised pages: 56, 74, 89-95, R. Inman, Aug. 2 - 1988
  • DeForest Research, Aug. 2 - 1988
  • Revised pages 90-96, Aug. 9 - 1988
  • Revised pages (blue), Aug. 9 - 1988
  • R. Inman: revised pages, faxed by. Aug. 17 - 1988
  • D. Welsh Notes: Aug. 21 - 1988
  • Revised pages (pink), Aug. 18 - 1988
  • Paragraph, Dec. 9 - 1988
  • As broadcast script, Jan. 29 - 1989
  • Sub-Series: Production files
  • Box 76:
  • Accounting
  • Box 77:
  • Budget, costs
  • Budget, final costs, residuals
  • Casting
  • Call sheet
  • Cast and crew list (two folders)
  • Contact sheet
  • Contracts: Aircraft Lease
  • Contracts: Elizabeth Berridge
  • Contracts: Don Davis
  • Contracts: Directors Guild of America (DGA)
  • Contracts: Hallmark (two folders)
  • Contracts: Neil Patrick Harris
  • Box 78:
  • Contracts: Bernard Hughes
  • Contracts: Robert Inman, Writer (two folders)
  • Contracts: Glenn Jordan, Director (two folders)
  • Contracts: Marsha Kleinman
  • Contracts: Robert Prosky
  • Contracts: Bill Pulliam
  • Contracts: Sada Thompson
  • Box 79:
  • Correspondence: advertising
  • Correspondence: contracts
  • Correspondence: general (two folders)
  • Deal memos: general (two folders)
  • Deal memos: Neil Patrick Harris
  • Deal memos: Bernard Hughes
  • Deal memos: Glenn Jordan
  • Deal memos: Bill Pullman
  • Deal memos: Sada Thompson
  • Box 80:
  • Credits
  • Crew
  • End title credits
  • Insurance, documents and certificates
  • Insurance, errors and omissions application
  • Legal
  • License fee
  • Movement lists
  • Music
  • Music clearances, Mary Williams
  • Releases
  • Release agreements (two folders)
  • Box 81:
  • Production book (two folders)
  • Sub-Series: Post-production files
  • Box 81:
  • Airdate announcement
  • Cassette recipient list
  • CBS delivery requirements
  • Close captioning
  • Correspondence: general
    includes photographs/negatives
  • Correspondence: congratulations
  • Crew list
  • Daily production reports
  • DeForest Research
  • Format
  • Hallmark delivery requirements
  • Legal
  • Main and end titles
  • Box 82:
  • One-liners
  • Post-production schedule
  • Production checklist
  • Production schedule
  • Screening
  • Shooting schedule
  • Production book
  • Marian Rees production log and notes
  • Sub-Series: Publicity
  • Box 10:
  • Awards: Gabriel Awards
  • Box 82:
  • Awards: Houston Film Festival
  • Awards: Humanitas Award
  • Banf Film Festival
  • Correspondence
  • Box 83:
  • Press Information
  • Press kit
  • Reviews
  • Women In Film Awards Program - 1989
  • Series 13: THE SHELL SEEKERS
  • Sub-Series: Script Library
  • Box 84:
  • Book, “The Shell Seekers” by Rosamunde Pilcher
  • Presentation Aug. 4 - 1988
  • Rough outline, Oct. 1 - 1988
  • J. Pielmeier: outline, Oct. 11 - 1988
  • J. Pielmeier: outline, Oct. 18 - 1988
  • J. Pielmeier: revised outline, Oct. 25 - 1988
  • J. Pielmeier: first draft, Jan. 3 - 1989
  • J. Pielmeier: scene breakdown, Jan. 15 - 1989
  • J. Pielmeier: script Notes, Jan. 9 - 1989
  • Notes: Jan. 25, meeting - 1989
  • Revised scene breakdown, Feb. 3 - 1989
  • Revised presentation, Feb. 7 - 1989
  • Rough first three acts, Feb. 9 - 1989
  • Rough acts 4-6, Feb. 15 - 1989
  • Revised scene outline, Feb. 10 - 1989
  • Box 85:
  • Second draft, Feb. 28 - 1989
  • Second draft, March 1 - 1989
  • Scene breakdown (Anne Hopkins), March 14 - 1989
  • DeForest research results, March 22 - 1989
  • Notes: Dick Welsh, March 22 - 1989
  • Script Notes: W. Hussein, March 22 - 1989
  • Script Notes: Anne Hopkins, March 22 - 1989
  • Third draft, April 12 - 1989
  • Cut and paste: Anne Hopkins, April 17 - 1989
  • Fourth draft, April 25 - 1989
  • Third draft (MRA only), April 28 - 1989
  • Hallmark notes (D. Welsh), May 15 - 1989
  • Shooting script, June 19 - 1989
  • Box 86:
  • Copy (with changes) June 16 - 1989
  • Revisions, (blue), July 7 - 1989
  • Revisions, (yellow), July 17 - 1989
  • Revisions, (green), July 19 - 1989
  • Revisions, (pink), June 28 - 1989
  • Script Notes: Anne Hopkins, June 5 - 1989
  • Rough shooting script, June 5 - 1989
  • Revisions (goldenrod), July 25 - 1989
  • Notes: Sept. 15 - 1989
  • As broadcast script, December 3 - 1989
  • Sub-Series: Production files
  • Box 86:
  • Accounting, general
  • Accounting, cash flow/top sheet
  • Box 87:
  • Budget information (four folders)
  • Budget information, overhead
  • Call sheets
  • Canadian, distrubution
  • Canadian, run
  • Box 88:
  • Casting
  • Casting director (Priscilla John)
  • Cast, staff and crew list
  • Contracts: Central Films, Ltd.
  • Contracts: Fred Chulak (Editor)
  • Contracts: William Hill (UK Producer)
  • Contracts: William Hill and Fairfield Limited
  • Contracts: Waris Hussein (Director)
  • Contracts: Marsha Kleinman
  • Contracts: co-production comparison
  • Contracts: Angela Lansbury
  • Box 89:
  • Correspondence: general (four folders)
  • Correspondence: Angela Lansbury
  • Correspondence: John Pielmeier
  • Correspondence: Paul Shields
  • Box 90:
  • Correspondence: Greg Smith
  • Correspondence: Yorkshire Television
  • Correspondence: inter-office; general
  • Correspondence: inter-office; memo on Deborah Edell
  • Daily production progress reports
  • Deal memos: cast
  • Deal memos: general
  • Deal memos: Waris Hussein
  • Delivery requirements
  • Directors Guild of America (DGA) memo
  • Distributor’s agreement, Central Television Enterprises
  • Insurance, general
  • Insurance, correspondence
  • Insurance, error and omission
  • Legal: Central Films Agreement
    folder 1 of 2
  • Box 91:
  • Legal: Central Films Agreement
    folder 2 of 2
  • Legal: correspondence
  • Legal: notes
  • Legal: option agreement with Rosamunde Pilcher
  • License agreement
  • License fee
  • Music
  • Option
  • Shooting schedule
  • Writers
  • Agreement with J. Pielmeier
  • Box 92:
  • Rights acquisition agreement, J. Pielmeier
  • Rosamunde Pilcher
  • Tentative writer credits
  • Sub-Series: Post-production files
  • Box 92:
  • Correspondence: general
  • Correspondence: thank you letters
  • Credits (two folders)
  • Editing notes
  • Main and end titles
  • One-liners
  • Post-production schedule
  • Box 93:
  • Production check list
  • Property releases
  • Ratings certificate
  • Staff and crew credits
  • D. Welsh’s Notes: Aug. 2 - 1989
  • Marian Rees’ production log
  • Marian Rees production book one (four folders)
  • Marian Rees production book two
    folder 1 of 3
  • Box 94:
  • Marian Rees production book two
    folders 2 and 3
  • Sub-Series: Pre-production files
  • Box 94:
  • DeForest Research clearances
  • Locations
  • Location pictures
  • Possible directors
  • Research
  • Résumés, production staff
  • Writer suggestions
  • Sub-Series: Publicity
  • Box 94:
  • Correspondence: general
  • Correspondence: Dale Olson file
  • Press kits and photographs
  • Box 95:
  • Press screening
  • Ratings
  • Reviews, United States
  • Reviews, European (bound)
  • Screening invitation list
  • Screening and press information
  • Women in Film Festival
  • Series 14: A SON'S PROMISE
  • Sub-Series: Script Library
  • Box 95:
  • Rough story outline Nov. 10 - 1987
  • Cut and paste outline Nov. 16 - 1987
  • Story outline Dec. 7 - 1987
  • Notes: L. Strichman, Dec. 22 - 1987
  • Rev. outline (A.H.) Dec. 24 - 1987
  • First draft (Robert Stratton), Feb. 10 - 1988
  • Notes (A.H.) Feb. 18 - 1988
  • Revised first draft, March 1 - 1988
  • Box 96:
  • O’Kelley scene breakdown, March 7 - 1988
  • Docudrama/legal questions (A.H.), April 4 - 1988
  • Character name key/release, status April 5 - 1988
  • Scene rundown (A.H.), April 7 - 1988
  • Scene rundown (A.H.), June 17 - 1988
  • Scene breakdown revised by Anne (Hopkins), June 17 - 1988
  • Script notes (A.H.) June 17 - 1988
  • Scene rundown, June 29 - 1988
  • Second draft, Aug. 5 - 1988
  • Scene breakdown, Aug. 8 - 1988
  • Notes: Aug. 11 - 1988
    chronology concerns
  • Rev. second draft, untyped version, Aug. 18 - 1988
  • Second draft, Aug. 22 - 1988
  • Revised opening, Aug. 22 - 1988
  • Scene breakdown, Sept. 8 - 1988
  • Notes from Daphne David, Sept. 30 - 1988
  • General notes (A.H.), Feb. 27 - 1989
  • (A.H.) Notes on Stratton’s second draft, Feb. 27 - 1989
  • Rough third draft, April 10 - 1989
  • Scene breakdown on third draft, May 1 - 1989
  • Box 97:
  • Second draft that was sent to Barbara’s place
  • Polish, fourth draft, May 24 - 1989
  • Polish, June 9 - 1989
  • Copy of fourth draft that went to Jon and co., June 15 - 1989
  • Scene breakdown (on polish), July 19 - 1989
  • Robert Inman: revision notes, July 29 - 1989
  • Robert Inman: rewrite/revisions, Aug. 25 - 1989
  • Robert Inman: revision, Aug. 31 - 1989
  • Robert Inman: rewrite, Aug. 31 - 1989
  • Robert Inman: Revised pages, Sept. 1 - 1989
  • Robert Inman: revisions, Sept. 1 - 1989
  • Box 98:
  • Polish/revisions, R. Inman, Sept. 27 - 1989
  • ABC notes (Allen, Annette, A.H., M.R. and Bob)
  • Scene breakdown, Sept. 3 - 1989
  • Inman rewrite/polish, Oct. 3 - 1989
  • Scene breakdown, Nov. 1 - 1989
  • Final draft, Nov. 17 - 1989
  • Scene rundown pertaining to dates, Nov. 7 - 1989
  • Annotated script (A.H.) Nov. 8 - 1989
  • Underlying references for annotations (script), Nov. 9 - 1989
  • Extractions from backup, Nov. 17 - 1989
  • Shooting script revisions (pink), Nov. 27 - 1989
  • Revised shooting script (yellow), Nov. 28 - 1989
  • Revised shooting script (green), Nov. 30 - 1989
  • Revised shooting script (goldenrod), Dec. 1 - 1989
  • Revised shooting script (cherry), Dec. 7 - 1989
  • Box 99:
  • Shooting script with scene numbers, Nov. 7 - 1989
  • Revised shooting script, Nov. 11 - 1989
  • Revised shooting script, (blue), Nov. 20 - 1989
  • As broadcast script, March 5 - 1990
  • Sub-Series: Production files
  • Box 99:
  • Accounting
  • Budget
  • Budget notes
  • Cast: Georgia
    photos
  • Cast: Georgia, list
  • Contracts: ABC
  • Contracts: cast
  • Contracts: cast, Veronica Cartwright
  • Contracts: DeForest Research
  • Contracts: Directors Guild of America (DGA)
  • Box 100:
  • Contracts: format agreement (ABC)
  • Contracts: CBS
  • Contracts: Deal memos; cast
  • Contracts: Deal memos; Crew
  • Contracts: Screen Actors Guild/A.D.R.
  • Contracts: Stephen Dorff
  • Contracts: Boyd Gaines
  • Contracts: Art Harris (litigation)
  • Contracts: Jack Hodge
  • Contracts: Robert Inman
  • Contracts: Marsha Kleinman agreement
  • Contracts: John Korty
  • Contracts: Donald Moffatt
  • Contracts: Proctor & Gamble
  • Contracts: Redford, J. A.C.
  • Contracts: Screen Actors Guild
  • Box 101:
  • Contracts: Diana Scarwid
  • Contracts: Schroder, Rick
  • Contracts: Danny Smallwood
  • Contracts: Bill Stratton
  • Contracts: Kees Van Oostrum
  • Correspondence: general (two folders)
  • Correspondence: Schroder, Diane and Rick - 1990
  • Day out of days
  • Director’s file
  • Filming, call sheets
  • Insurance (two folders)
  • Legal
    folder 1 of 2
  • Box 102:
  • Legal
    folder 2 of 2
  • Legal: important information
  • License fee
  • Location pictures
  • Log book, M. Rees
  • Movement notes
  • Notes - , Terry O’Kelley
  • Notes: (Thomas) Wayne O’Kelley
  • One-liners
  • Photographs and notes from Daphne David (legal guardian)
  • Property releases
  • Box 103:
  • Release agreements
  • Production book (two folders)
  • Sub-Series: Post-production
  • Box 103:
  • ABC delivery requirements
  • Cassette distribution
  • Cast and crew credits
  • Day out of days
  • Main and end titles
  • Memos
  • Music
  • Production: check list
  • Production: reports
  • Production: schedule and personnel lists
  • Production: shooting schedule
  • Staff and crew
  • Trip information
  • Marian Rees’s production book
    folder 1 of 2
  • Box 104:
  • Marian Rees’s production book
    folder 2 of 2
  • Sub-Series: Pre-production files
  • Box 104:
  • Docudrama information
  • Notes
  • O’Kelley newspaper article
  • Research: background
  • Research: documentation and interviews
  • Research: writers’ list/suggestions
  • Sub-Series: Publicity
  • Box 104:
  • Research: airdate and screening list
  • Research: Amer. Psych. Assoc. Awards Presentation, Aug. - 1991
  • Memos (two folders)
  • Newspaper clippings and photographs, O’Kelley’s
  • Reviews
  • Series 15: DECORATION DAY
    (December 2, 1990) [A Hallmark Hall of Fame production]
  • Sub-Series: Script Library
  • Box 105:
  • Notes: Joyce Carrington, March 15 - 1989
  • Notes: Robert Lenski, August 13 - 1989
  • Notes: Anne Hopkins, October 17 - 1989
  • Story outline: R. Lenski, October 17 - 1989
  • Notes: Oct. 17 - 1989
  • Story outline: R. Lenski, November 14 - 1989
  • Story line: revisions, R. Lenski, (NBC copy) Nov. 22 - 1989
  • Tapes (two) Frank Dowling, December 8 - 1989
  • Notes: Dick Welsh, December 12 - 1989
  • Notes: Dick Welsh, December 13 - 1989
  • Hopkins, December 18 - 1989
  • J. Carrington to R. Lenski’s outline, Dec. 26 - 1989
  • J. Carrington notes that A. Hopkins sent to R. Lenski, Jan. 16 - 1990
  • First draft, R. Lenski, January 29 - 1990
  • Scene breakdown, R. Lenski, Feb. 15 - 1990
  • Notes: A. Hopkins to second draft, March 1 - 1990
  • J. Carrington to R. Lenski’s first draft, March 6 - 1990
  • Second draft, R. Lenski, April 2 - 1990
  • Notes: M. Rees to second draft, April 2 - 1990
  • Scene breakdown, Rev., April, 15 - 1990
  • Notes: A. Hopkins, April 16 - 1990
  • Notes to second draft, April 16 - 1990
  • Notes: May 1 - 1990
  • Box 106:
  • Second draft revised, May 11 - 1990
  • Notes to second draft, M. Rees, May 11 - 1990
  • Synopsis, May 16 - 1990
  • Production draft, May 17 - 1990
  • Hopkins notes to May 17 production draft
  • Revised production draft, May 22 - 1990
  • Additional script notes, M. Rees, May 22 - 1990
  • Script notes, R. Markowitz, May 23 - 1990
  • Script additions (original), August 13 - 1990
  • Revised pages for reshoot, R. Lenski, August 20 - 1990
  • Teaser, October 8 - 1990
  • As broadcast script, December 2 - 1990
  • Sub-Series: Production
  • Box 107:
  • Budget: general
  • Budget: cost reports
  • Budget: reshoot costs
  • Call sheets
  • Call sheets, reshoot
  • Camera
  • Cast: actor time sheets
  • Cast: (Garner) Principals
  • Cast: cast and crew payroll
  • Cast: physicals
  • Cast: rehearsal schedule
  • Casting
  • Cast list
  • Catering
  • Contact sheets
  • Contact location lists
  • Contract correspondence
  • Options
  • Releases
  • Box 108:
  • Contracts: Jo Anderson
  • Contracts: John Brace
  • Contracts: Joyce Carrington
  • Contracts: Bill Cobbs
  • Contracts: Ruby Dee
  • Contracts: April Ferry
  • Contracts: Larry Fishburne
  • Contracts: Feinco, Inc.
  • Contracts: Dick Gallegly
  • Contracts: James Garner
  • Contracts: Billy Goldberg
  • Contracts: Hallmark
  • Contracts: Hallmark, legal
  • Contracts: Rita Haywood
  • Contracts: Anne Hopkins
  • Contracts: Judith Ivey
  • Contracts: Marsha Kleinman
  • Contracts: Robert Lenski
  • Contracts: Donald Light-Harris
  • Contracts: Robert Markowitz
  • Box 109:
  • Neil Roach
  • Jennifer Robertson
  • Screen Actors Guild (SAG)
  • David Whorf
  • Patrick Williams
  • Correspondence: general (three folders)
  • Correspondence: Consolidated Film Industries (CFI)
  • Correspondence: inter-office
  • Correspondence: license fee
  • Correspondence: location
  • Correspondence: post-production
  • Credit application
  • Crew list
  • Dailies, air shipment
  • Dailies, waybills
  • Day out of days
  • Deal memos (two folders)
  • Box 110:
  • Deal memos: reshoot
  • Directors
  • Editors
  • Editorial supplies
  • Equipment: cameras
  • Equipment: copier
  • Equipment: grip/electric
  • Equipment: office
  • Equipment: pagers
  • Fax: week of May 21-27 - 1990
  • Fax: May 28-June 3 - 1990
  • Fax: June 4-10 (two folders) - 1990
  • Fax: June 11-17 - 1990
  • Box 111:
  • Fax: June 18-24 - 1990
  • Fax: June 25-July 1 - 1990
  • Fax: July 2-8 - 1990
  • Federal Express: incoming
  • Federal Express: outgoing
  • Film, Kodak
  • Hotel information
  • Insurance: auto
  • Insurance: general (two folders)
  • Insurance: reshoot
  • Laboratory
  • Legal
  • Main and end titles
  • Main title design
  • Maps
  • Box 112:
  • Memos: incoming
  • Memos: outgoing
  • Movement
  • Movement lists
  • Music
  • Music editorial
  • NBC delivery requirements
  • Requirements
  • Waiver of exclusivity for Golden Globes
  • Notes from director
  • One-liners
  • Production book (three folders)
  • Box 113:
  • Production personnel
  • Production reports
  • Property releases
  • Props information
  • Releases (two folders)
  • Reports, production meetings
  • Reshoot: camera reports
  • Reshoot: daily production reports
  • Reshoot: equipment
  • Reshoot: sound reports
  • Revised production check list
  • Room list
  • Schedule: post-production
  • Schedule: production
  • Schedule: shooting
  • Sound, sound reports
  • Box 114:
  • Staff and crew lists
  • Staff and crew lists, reshoot
  • Synopsis
  • Time reference supers
  • Travel
  • Time cards
  • Wardrobe
  • Warehouse
  • Sub-Series: Post-Production Files
  • Box 114:
  • Airdate announcement
  • Awards: Christopher Award
  • Awards: Emmys; nomination correspondence - 1991
  • Awards: Emmys; nominees - 1991
  • Awards: Emmys; correspondence for Emmy broadcast editing - 1991
  • Awards: Emmys; program and tickets (to Governor’s Ball) - 1991
  • Awards: Emmys; Hall of Fame program, photographs (Hopkins, Garner, Rees) - 1991
  • Box 115:
  • Religious Public Relations Council (the ‘Wilbur’)
  • Submissions, American Psychological Association
  • Peabody Award
  • Correspondence: congratulations
  • Correspondence: general
  • Film Festivals: Monte Carlo
  • Film Festivals: Santa Barbara International
  • Publicity: articles and reviews
    folders 1-2 of 4
  • Box 116:
  • Publicity: article and reviews
    folders 3-4
  • Publicity: press kits (two folders)
  • Publicity: screening
  • Publicity: screening, Marian’s list, Nov. 27
  • Sub-Series: Pre-Production
  • Box 116:
  • Battle of the Bulge information
  • Research
  • Series 16: MISS ROSE WHITE
  • Sub-Series: Script Library
  • Box 117:
  • Treatment: April 9 - 1990
  • Treatment: June 25 - 1990
  • Script: first draft and M. Rees notes, Sept. 28 - 1990
  • Script: third draft and M. Rees notes, Feb.19 - 1991
  • Script: polish with M. Rees notes, April 26 - 1991
  • A. Hopkins notes, April 29 - 1991
  • Script: fifth draft with M. Rees notes, May 1 - 1991
  • Revision and polish with M. Rees notes, May 1 - 1991
  • Revised polish, May 2 - 1991
  • Polish, May 29 - 1991
  • Box 118:
  • Revised pages
  • Script with notes, May 30 - 1991
  • Anne Hopkins script notes, June 21 - 1991
  • Joe Wiesenfeld revision: production draft, June 28 - 1991
  • Joe Wiesenfeld revision: rewrite notes, June 21 - 1991
  • Production draft, June 28 - 1991
  • Script notes and revisions, July 1 - 1991
  • Anne Hopkins’s scene breakdown, July 1 - 1991
  • Cut and paste July 2 - 1991
  • Box 119:
  • Anne’s cut and paste, July 5 - 1991
  • Director’s polish, July 15 - 1991
  • Production draft, July 18 - 1991
  • Production draft revisions, (blue), July 24 - 1991
  • Production draft revisions (pink), July 25 - 1991
  • Production draft revisions (yellow), July 29 - 1991
  • Production script, July 29 - 1991
  • As broadcast script, April 26 - 1992
  • Sub-Series: Production Files
  • Box 120:
  • Accounting
  • Berman’s (Costumier)
  • Budget (two folders)
  • Budget approvals
  • Call sheets
  • Casting
  • Cast list
  • Certificate rating
  • Contact sheets
  • Contracts: American Humane Society
  • Box 121:
  • Contracts: Carl Clifford
  • Contracts: DGA
  • Contracts: Corporations
  • Contracts: Penny Fuller
  • Contracts: Gina Gershon
  • Contracts: Billy Goldenberg
  • Contracts: Hallmark
  • Contracts: Phyllis Hoffman
  • Contracts: Barbara Lebow
  • Contracts: Lorimar
  • Contracts: Macy’s
  • Contracts: Tom Mardirosian
  • Contracts: Howard Pinhasik
  • Contracts: Amanda Plummer
  • Contracts: Lise Richardson
  • Contracts: Screen Actors Guild (SAG)
  • Contracts: Anna Sandor
  • Box 122:
  • Contracts: Joseph Sargent
  • Contracts: Maximillian Schell
  • Contracts: Kyra Sedgwick
  • Contracts: Milton Selzer
  • Contracts: Maureen Stapleton
  • Contracts: D.B. Sweeney
  • Contracts: Joe Wiesenfeld
  • Contracts: Writer’s Guild
  • Correspondence: general
  • Crew list
  • Crew and staff lists
  • Dailies
  • Daily production report
  • Day out of days
  • Deal memos: A-B
  • Box 123:
  • Deal memos: C-E
  • Deal memos: F-G
  • Deal memos: H-J
  • Deal memos: K-N
  • Deal memos: O-R
  • Box 124:
  • Deal memos: S
  • Deal memos: T-Z
  • Delivery requirements
  • Directors
  • Insurance
  • Inventory: film
  • Inventory: Richmond (equipment)
  • License fee
  • Music
  • Schedule
  • Script notes
  • Script supervisor’s book
    folder 1 of 2
  • Box 125:
  • Script supervisor’s book
    folder 2 of 2
  • Shooting schedule
  • Tentative production schedule
  • Production book (three folders)
  • Sub-Series: Location Files
  • Box 126:
  • Airline billing
  • Anne’s original faxes
  • Assistant directors
  • Beeper, information
  • Lists
  • Blank forms, location
  • Call sheets
    includes letters
  • Dailies
  • Camera
  • Carl Clifford
  • Cast deal memos: blank
  • Cast list
  • Catering
  • Certificates of insurance
  • Certificate of insurance: automobile
  • Certificate of insurance: general equipment
  • Certificate of insurance: locations
  • Box 127:
  • Certificate of insurance: vehicles and equipment
  • Check requests
  • Claim forms, blank
  • Claims filed
  • Coffee services
  • Construction
  • Copier information
  • Credit applications
    completed
  • Credit applications, information
  • Crew Deal memos: non-exempt employees (blank forms)
  • Dailies information
  • Day out of days
  • Dazian
  • Daily production reports (two folders)
  • Box 128:
  • Deal memos-DGA (blank forms)
  • Documents, original (miscellaneous)
  • Extras: breakdown
  • Extras: releases
  • Fax-Konica reference guide
  • Federal Express: incoming
  • Federal Express: receiver copies
  • Federal Express: sender copies
  • Film shipment: general information
  • Film shipment: film waybills
  • Film shipment: short ends
  • Furniture rental information
  • Grip and electric bid list
  • Hotel lists
  • Housing: Omni Hotel
  • Housing: Richmond
  • I-9 employment forms
  • Independent contractors, crew deal memos (blank forms)
  • Insurance, Speare and Co.
  • Invoices (blank)
  • Kodak
  • Laundry
  • Location contracts
  • Lumber, Ruffin and Payne
  • Marian’s original faxes
  • Mobile phone information
  • Paper supplies
  • Parking
  • Box 129:
  • Permits
  • Property releases (blank)
  • Purchase orders
  • Quality leasing
  • Registration to film
  • Rental agreements
  • Research
  • Script timing report/page count
  • Set list
  • Short ends inventory (at wrap)
  • Signage
  • Sound
  • Storyboards
  • Telephones
  • Time reports, crew
  • Travel, location memos
  • Pending
  • UPS information
  • Wardrobe
  • Sub-Series: Post-Production files
  • Box 129:
  • Access letters
  • Accounting
  • ADR
  • Bids
  • Cassette distribution list
  • Cast and agents list
  • Box 130:
  • CFI work orders
  • Contact list
  • Costume rentals
  • Crew picture
  • Day out of days
  • Dubbing
  • Echo
  • Editors’ notes
  • Extras breakdown
  • F-Stop
  • Format
  • Gifts
  • Hallmark
  • Insurance certificates
  • Inter-office correspondence
  • Legal
  • Location: contact list
  • Location: Maps
  • Location: original one-line schedules
  • Location: permits
  • Location: permits executed
  • Location: research and information
  • Main and end titles
    folder 1 of 2
  • Box 131:
  • Main and end titles
    folder 2 of 2
  • Main and end titles revisions
  • Movement lists
  • Music: scoring
  • Music: sheets for nightclub musicians
  • NBC: broadcast standards
  • NBC: correspondence
  • One-liners
  • Panavision
  • Post group
  • Production: check list (two folders)
  • Production: continuity
  • Production: paid ads
  • Production: scene breakdown
  • Production: schedule (two folders)
  • Screening notes
  • Box 132:
  • Script distribution (two folders)
  • Shipping
  • Sound: general information
  • Sound: dialogue repair
  • Staff and crew
  • Stock footage
  • Synopsis
  • Title search
  • Travel
  • Marian Rees’s budget and cost report (two folders)
  • Box 133:
  • Marian Rees’ production log
  • Production book (two folders)
  • Sub-Series: Publicity
  • Box 133:
  • Airdate announcement
  • Correspondence: general
  • Correspondence: congratulations and responses, Aug. 4 - 1992
  • Correspondence: thank you notes
  • Box 134:
  • Press and industry screening (two folders)
  • Press kit
  • Producers’ meeting
  • Releases
  • Reviews (two folders)
  • Trailer
  • Sub-Series: Awards
  • Box 135:
  • Emmys: correspondence and congratulations (two folders)
  • Emmys: news clippings from trade journals
  • Emmys: program and photograph at awards, Aug. 30 - 1992
  • Humanitas nomination - 1993
  • Series 17: FOR THE LOVE OF AARON
    (January 1, 1994) [also titled The Creature, the Kid, and Margaret]
  • Sub-Series: Script Library
  • Box 135:
  • Linda Glover, Aaron’s World, EMI television programs, September - 1978
  • Aaron’s World character sketches
  • Margaret Gibson, The Creature, the Kid, and Margaret - 1988
  • Box 136:
  • Aaron’s World story outline
  • Margaret Gibson, The Butterfly Ward - 1976
  • Peter Silverman story outline, August - 1990
  • Revised outline, September 5 - 1990
  • Story outline, M. Rees notes, September 5 - 1990
  • Story outline, September 19 - 1990
  • Margaret Gibson, The Creature, the Kid, and Margaret first act, October 10 - 1990
  • Script and notes: Peter Silverman, February 10 - 1991
  • Script second draft: Marian Rees Notes: March 24 - 1991
  • Script second draft: Marian Rees Notes: June 11 - 1991
  • Script second draft: Marian Rees Notes: July 8 - 1991
  • Scene breakdown, December 1992
  • Box 137:
  • Script third draft and notes, August 18 - 1991
  • Annotated script and notes, December 16 (three folders) - 1991
  • Collective notes
  • Polish, March 5 - 1992
  • The Creature, the Kid, and Margaret, rewrite, December 4 - 1992
  • Scene breakdown, March 5 - 1992
  • Scene breakdown, rewrite, December 3 - 1992
  • Box 138:
  • The Creature, the Kid, and Margaret, polish, February 23 - 1993
  • Peter Silverman, For the Love of Aaron, March 2 - 1993
  • Script correspondence
  • Script, March 3 - 1993
  • For the Love of Aaron, revised script
  • Marian Rees’s production scripts (two folders)
  • Box 139:
  • Marian Rees’s production scripts (two folders)
  • Broadcast script
  • Sub-Series: Production
  • Box 139:
  • Accounting: cash flows
  • Accounting: wire transfers
  • Airdate
  • Budget (three folders)
  • Budget correspondence (two folders)
  • Box 140:
  • Cast and agents list
  • Call sheets
  • Cast and agents list
  • Casting
  • Continuity/scene timings
  • Contracts: Meredith Baxter
  • Contracts: California Secretary of State
  • Contracts: Canadian Content Qualifications
  • Contracts: Stephen Cheikes
  • Contracts: Margaret Gibson
  • Contracts: Joanna Gleason
  • Contracts: John Gray
  • Contracts: John Kent Harrison
  • Contracts: Home Box Office (HBO)
  • Contracts: Nick Mancuso
  • Contracts: Duncan Miller
  • Contracts: Gene Miller
  • Box 141:
  • Contracts: MTM Entertainment
  • Contracts: Patterdale Productions
  • Contracts: Rees-Hopkins
  • Contracts: releases
  • Contracts: Screen Actors Guild (SAG)
  • Contracts: Lawrence Shragge
  • Contracts: Peter Silverman (two folders)
  • Contracts: Brittenham and Branca Ziffren
  • Correspondence
  • Crew and staff list, March 9 - 1993
  • Delivery requirements
  • Box 142:
  • Director
  • Director’s cut, April 15 - 1993
  • Director’s cut notes, April 15 - 1993
  • Format/act timings
  • Insurance
  • Legal
  • License fee
  • Location research and information
  • Preproduction contact list
  • Shooting schedule, March 9 - 1993
  • Producer cut notes, April 24 - 1993
  • Producer’s cut, April 22 - 1993
  • Production book (two folders)
  • Box 143:
  • Production book
  • Sub-Series: Post Production Files
  • Box 143:
  • Cassette distribution list
  • CBS program practices
  • Day out of days
  • Informal, humor and photographs
  • Main and end titles
  • Music (two folders)
  • Negative breakdown list
  • One-line schedule
  • Post-production schedule
  • Production checklist
  • Production schedule
  • Research (two folders)
  • Box 144:
  • Research and legal
  • Sound
  • Staff and crew list
  • Title search, February 26 - 1993
  • Travel: Keegan McIntosh
  • Travel: Peter Silverman
  • Video stock inventory
  • Sub-Series: Publicity
  • Box 144:
  • Awards
  • Press kit
  • Reviews
  • Series 18: ONE MORE MOUNTAIN
  • Sub-Series: Script Library
  • Box 145:
  • First draft (Determined to Live), January 17 - 1992
  • Second draft (The Promise of Tomorrow),
  • Third draft (One More Mountain: An American Epic), September 21 - 1993
  • Film story, February 4 - 1993
  • First draft, March 3 - 1993
  • Second draft and scene breakdown, March 19 - 1993
  • Second draft, April 6 - 1993
  • Revised second draft, April 20 - 1993
  • Second draft, April 27 - 1993
  • Box 146:
  • Script notes: Marian Rees, April 27 - 1993
  • Script notes: Marian Rees, September 21 - 1993
  • Production draft, October 12 - 1993
  • Revised production script, October-November - 1993
  • Script revisions, October 22 - 1993
  • Production script
  • Broadcast script, March 13 - 1994
  • Sub-Series: Production Files
  • Box 146:
  • ABC broadcast standards
  • ABC Maura Dunbar
  • ADR lines
  • Box 147:
  • Anderson video
  • Annotation
  • Budgets/cast reports (two folders)
  • Canadian immigration
  • Casting
  • Contracts: Meredith Baxter
  • Contracts: cast, supporting
  • Contracts: Canadian Corporation Registration
  • Contracts: Chris Cooper
  • Contracts: Gerald DiPego
  • Contracts: Larry Drake
  • Contracts: Walt Disney Television and MRA
  • Contracts: Echo Film
  • Contracts: Phyllis Huffman
  • Contracts: Heidi Kaczenski
  • Contracts: John Kuri
  • Box 148:
  • Contracts: Dick Lowry
  • Contracts: Cindy Margolin
  • Contracts: Nancy Newhouse
  • Contracts: J.A.C. Redford
  • Contracts: Runway Editing
  • Contracts: Jean Simmons
  • Contracts: tax identification number and certification
  • Correspondence
  • Call sheets
  • Casting
  • Construction
  • Continuity outline
  • Contact list
  • Day out of days
  • Deal memos (two folders)
  • E & O Insurance
  • Box 149:
  • Editorial
  • Extras
  • Filming schedule
  • Main and end titles
  • Music
  • One-liners
  • Payroll (two folders)
  • Daily reports
  • Screen Actors Guild (SAG)
  • Shooting schedule
  • Wardrobe and accounting
  • Sub-Series: Post Production Files
  • Box 149:
  • Anderson Video
  • CFI
  • Delivery requirements: ABC
  • Delivery requirements: Disney
  • Echo Film Services
  • Format/act timings
  • Box 150:
  • Gastown post and transfer
  • Inframe/RPG
  • Looping
  • Negative cutting
  • Opticals
  • Schedule
  • Sound
  • Titles
  • WGA tentative writing credits
  • Publicity: general
  • Publicity: photographs
  • Publicity: press kit
  • Publicity: reviews
  • Sub-Series: Pre-production files
  • Box 150:
  • Research (two folders)
  • Sub-Series: Script Files
  • Box 151:
  • Script/dialogue chronology
  • Lined script notes
  • Script supervisor’s book (three folders)
  • Box 152:
  • “Walking to Heaven” February 4 - 1993
  • “The Promise of Tomorrow”, March 3 - 1993
  • Second draft: March 18 - 1993
  • Second draft: March 19 - 1993
  • Second draft: “Determined to Live”, April 6 - 1993
  • Second draft: “Determined to Live”, April 20 - 1993
  • Script notebook
  • Box 153:
  • Book/budget (two folders)
  • Book/post-production (two folders)
  • Production book (two folders)
  • Series 19: THE GIFT OF LOVE
  • Sub-Series: Script Library
  • Box 154:
  • Synopsis of Set for Life, a novel by Judith Freeman
  • Robert Lenski, notes on Set for Life, April 13 - 1993
  • Robert Lenski, story outline, July 12 - 1993
  • Anne Hopkins’s notes on Set for Life, July 12 - 1993
  • Revised outline by R. Lenski, July 28 - 1993
  • Anne Hopkins’s notes, Aug. 10 - 1993
  • First draft, Sept. 28 - 1993
  • Anne Hopkins’s notes, Sept. 28 - 1993
  • Hopkins’s notes to first draft, Sept. 28 - 1993
  • Scene breakdown, Sept. 28 - 1993
  • Second draft, Nov. 15 - 1993
  • Scene breakdown, Nov. 15 - 1993
  • Notes: Anne Hopkins,
  • Final draft, April 6 - 1994
  • Box 155:
  • Cut and paste, April 12 - 1994
  • M. Rees’s script book, production draft, April 7 - 1994
  • M. Rees’s script book, first draft (two folders), Sept. 28 - 1993
  • Production draft, April 12 - 1994
  • Script, blue pages, April 20 - 1994
  • Script, pink pages, April 28 - 1994
  • Revised scene, R. Lenski, April 20 - 1994
  • Script, yellow pages, June 1 - 1994
  • Box 156: As broadcast script, September 25 - 1995
  • Sub-Series: Production
  • Box 156:
  • Accounting
  • Board
  • Budget
  • Call sheets
  • Casting
  • Cast and agent list
  • Cast and crew deal memos
  • Contact list
  • Continuity/scene timings
  • Contracts: Paul Bogart
  • Contracts: Blair Brown
  • Contracts: Olivia Burnette
  • Contracts: CBS
  • Contracts: deal memos
  • Contracts: Jo Doster
  • Contracts: Billy Goldenberg
  • Contracts: Andy Griffith
  • Contracts: Phyllis Huffman
  • Contracts: Robert Lenski
  • Contracts: Joyce Van Patten
  • Contracts: Patrick Williams
  • Correspondence
  • Crew list, May 5 - 1994
  • Box 157:
  • Dailies
  • Daily production reports
  • Day out of days
  • Ethical guidelines
  • License fee
  • Location information
  • Location maps
  • Schedules
  • Schedule for production meeting
  • Shooting schedule
  • Screen Actors Guild (SAG)
  • Script timing
  • Staff and crew list
  • M. Rees production book
    1 of 4 folders
  • Box 158:
  • M. Rees production book
    folders 2-4
  • Sub-Series: Post-Production Files
  • Box 158:
  • Automatic dialogue replacement
  • Cassette distribution
  • CBS delivery requirements
  • Contact list
  • Distribution
  • Box 159:
  • Main and end titles
  • Music
  • One-line schedules
  • Production schedules
  • Production schedule, April 6 - 1994
  • Schedule
  • Screening notes
  • Publicity
  • Research
  • Series 20: IS THERE LIFE OUT THERE?
  • Sub-Series: Script Library
  • Box 160:
  • Storyline/lyrics: Reba McEntire, July 29 - 1992
  • Storyline, August 10 - 1992
  • Outline: Shengold, February 2 - 1993
  • Outline: Shengold, March 2 - 1993
  • Outline: Young, May 29 - 1993
  • Outline: Young, June 1 - 1993
  • Notes: Jeff Grant, May 29 - 1993
  • Treatment and notes: Shengold and Hopkins
  • Script notes
  • First draft by D. Young, July 19 - 1993
  • Revised first draft, July 30 - 1993
  • Second draft, September 22 - 1993
  • Scene breakdown, second draft, September 22 - 1993
  • Revised second draft, October 20 - 1993
  • Revised second draft, November 1 - 1993
  • Scene breakdown, second draft, November 1 - 1993
  • Third draft, February 1 - 1994
  • Box 161:
  • Third draft, February 7 - 1994
  • Scene breakdown, February 7 - 1994
  • Production draft, April 21 - 1994
  • Production draft, colored pages
  • As broadcast script, October 9 - 1994
  • M. Rees script notebook
    folders 1-4 of 7
  • Box 162:
  • M. Rees script notebook * folders 5-7 of 7
  • Sub-Series: Production
  • Box 162:
  • Accounting
  • Banking, Nashville
  • Budget (two folders)
  • Call sheets (two folders)
  • Box 163:
  • Casting
  • Casting suggestions, Reba McEntire
  • Cast/agent list
  • CBS
  • Continuity/scene timings
  • Contract list
  • Contracts: Keith Carradine
  • Contracts: Pam Curdy-Malouf
  • Contracts: DMB&B
  • Contracts: Phyllis Huffman
  • Contracts: David Jones
  • Contracts: Reba McEntire
  • Contracts: Donald Moffat
  • Contracts: J.A.C. Redford
  • Contracts: Allan Rosen
  • Contracts: Screen Actors Guild (SAG)
  • Contracts: Nina Shengold
  • Contracts: Dalene Young
  • Contracts: Sally Young
  • Contracts: WGBH
  • Box 164:
  • Correspondence
  • Cost reports
  • Credit references
  • Dailies
  • Daily production reports
  • Daily report, extra
  • Day out of days
  • Deal memos: crew
  • Insurance
  • License fee
  • Location maps
  • Location releases
  • Location research and information
  • Box 165:
  • Location research
  • Medical report
  • Releases
  • Rental agreements
  • SAG time report
  • Schedules: checklist
  • Schedules: filming (two folders)
  • Schedules: one-line
  • Schedules: shooting
  • Script supervisor’s report (three folders)
  • Staff and crew list
  • Box 166:
  • Supervisor’s script
  • Travel
  • Production book (two folders)
  • M. Rees’s production book (four folders)
  • Sub-Series: Post-Production Files
  • Box 167:
  • ADR
  • ADR Lines
  • Advertising, paid
  • Bids
  • Cassette distribution lists
  • Cassettes, inventory and storage
  • CFI
  • CFI, Lab access
  • Contact list
  • Delivery Requirements: CBS
  • Delivery requirements: Foreign
  • Delivery requirements: Proctor & Gamble
  • Film inventory
  • Format and act timings
  • Main and end titles
  • Music
  • Box 168:
  • Music cue sheets
  • Music, paid bills
  • Negative cutting
  • Opticals
  • Post group
  • Publicity
  • Residual
  • Schedule
  • Screening
  • Showfiles, Reba
  • Sound
  • Title search
  • Writing credits tentative
  • M. Rees post-production book (two folders)
  • Sub-Series: Pre-Production Files
  • Box 169:
  • Research (three folders)
  • Research, Pearce
  • Research/script book
  • M. Rees script development book (two folders)
  • Box 170:
  • M. Rees casting book (two folders)
  • Series 21: IN PURSUIT OF HONOR
  • Sub-Series: Script Library
  • Box 171:
  • Notes: June 13 - 1992
  • Presentation
  • Revised pages: 1-87
  • Frist draft
  • Draft: March - 1993
  • Draft: April 30 - 1993
  • Notes: May 8 - 1993
  • Draft: May 24 - 1993
  • Revised draft, February 24 - 1994
  • Box 172:
  • Revised draft, March 2 - 1994
  • Notes: April 11 - 1994
  • Third revised draft, April 24 - 1994
  • Notes: July 11 - 1994
  • Fourth revised draft, August 10 - 1994
  • Draft: August 25 - 1994
  • Draft: August 26 - 1994
  • Notes: August 27 - 1994
  • Notes: September 20 - 1994
  • Notes: October 1994
  • Fifth revised draft (two folders), October 4 - 1994
  • Box 173:
  • Final mark up script, October 7 - 1994
  • Current shooting script, color
  • Current shooting script, white
  • Notes: November - 1994
  • Pink pages, December 10 - 1994
  • Combined dialogue and spotting script
  • As broadcast script
  • Sub-Series: Production
  • Box 174:
  • Budget (three folders)
  • Hot costs, budget
  • Conflict of interest
  • Contracts: Dennis Lynton Clark
  • Contracts: MRA/HBO agreement
  • Contracts: Don Johnson
  • Contracts: Larry Pierce
  • Contracts: William Wisher
  • Correspondence
  • Box 175:
  • Correspondence: HBO
  • Correspondence: Legal
  • Call sheets
  • Cast list, contact information
  • Casting
  • Cast list
  • Contact sheet
  • Crew list
  • Daily production reports
  • Day out of days
  • One-liners
  • Box 176:
  • Schedule, shooting
  • Final shooting schedule (two folders)
  • Script synopsis and continuity breakdown
  • Script timing
  • Story day breakdown
  • Travel
  • Travel, Marian Rees
  • Writers
  • Sub-Series: Post-Production Files
  • Box 176:
  • ADR
  • Contact sheet
  • Continuity/reel breakdown
  • Editorial
  • Music
  • Notes: Anne Hopkins
  • Publicity (two folders)
  • Box 177:
  • Publicity (two folders)
  • Resumes
  • Schedule
  • Screening
  • Syndication notes
  • Title: main and end
  • Title: pacific title
  • W.B. Studios information
  • Sub-Series: Pre-Production
  • Box 177:
  • Research (five folders)
  • Box 178:
  • Research (five folders)
  • Summary of research findings
  • Sub-Series: Production Book
  • Box 178:
  • Marian Rees post-production book (two folders)
  • Marian Rees script book (two folders)
  • Box 179:
  • Marian Rees script notes (four folders)
  • Marian Rees production/research book (two folders)
  • Marian Rees production book
  • Box 180:
  • Marian Rees production book (two folders)
  • Marian Rees production log
  • Series 22: WHEN THE VOWS BREAK
  • Sub-Series: Script Library
  • Box 181:
  • Outline, Aug. 14 - 1991
  • Aug. 28 - 1991
  • Treatment
  • Outline: July 31 - 1992
  • Outline: Aug. 4 - 1992
  • First Draft, ‘Courting Justice’ by Benita Garvin, Sept. 25 - 1992
  • Scene breakdown: Oct. 13 - 1992
  • Scene breakdown: Oct. 20 - 1992
  • Second draft, B. Garvin, Dec. 8 - 1992
  • Act breakdown, July 1 - 1993
  • Outline, July 15 - 1993
  • Presentation, Aug. 5 - 1993
  • Third draft, B. Garvin, Nov. 23 - 1993
  • Draft, B. Garvin, Jan. 11 - 1994
  • Draft, B. Garvin, Feb. 1 - 1994
  • Feb. 24 - 1994
  • Box 182:
  • Marked copy of draft from Feb. 24
  • Scene breakdown, Feb. 24 - 1994
  • Draft, B. Garvin, Feb. 10 - 1995
  • Draft, B. Garvin, Feb. 15 - 1995
  • M. Rees: script notes on second draft - 1992
    of Dec. 4, 1992
  • M. Rees: sequence notes on third draft - 1992
    of Nov. 23, 1993
  • M. Rees: script notes, Feb.24 - 1994
  • M. Rees: revisions, Feb. 10 - 1995
  • Box 183:
  • M. Rees: script with notes, Feb. 28 - 1995
  • M. Rees: script with notes, March 10 - 1995
  • M. Rees: notes on first rewrite (Lynn Mamet), April 4 - 1995
  • M. Rees: notes on Mamet rewrite of April 13 - 1995
  • Director’s draft, April 18 - 1995
  • Notes: April 21 - 1995
  • Production draft, April 27 - 1995
  • Script with Anne’s notes, Feb. 15 - 1995
  • Hard copy, Cindy’s retype, March 6 - 1995
  • Box 184:
  • Script with Eric Till’s (Director) notes
  • Script with Anne’s notes, March 10 - 1995
  • First rewrite, Lynn Mamet, April 4 - 1995
  • Director’s polish draft, Anne Hopkins, April 13 - 1995
  • April 13, clean copy - 1995
  • Scene breakdown, April 13 - 1995
  • Director’s draft, April 18 - 1995
  • Script, April 21 - 1995
  • Script, April 25 - 1995
  • Scene breakdown, April 25 - 1995
  • Production draft, April 27 - 1995
  • Box 185:
  • Production draft revisions, (blue/pink/yellow (two folders)
  • Production draft revisions
  • Shooting script (colored pages) (three folders)
  • Shooting script, white pages
  • Script notes
  • Script, as broadcast
  • Sub-Series: Production Files
  • Box 185:
  • Accounting: budget
  • Accounting: cost consolidation report
  • Accounting: cost reports
  • Box 186:
  • Accounting: hot costs
  • Accounting: revised budget
  • Casting
  • Contracts: Dorothy Davis (release letter)
  • Contracts: Patty Duke
  • Contracts: Benita (Bonnie) Garvin
  • Contracts: Lynn Mamet
  • Contracts: producer
  • Contracts: Phyllis Rapaport
  • Correspondence: general
  • Correspondence: Benita ‘Bonnie’ Garvin
  • Correspondence: B. Garvin to Anne Hopkins
    re: script
  • Legal: general
  • Legal: underlying rights agreement
  • Box 187:
  • Legal: Lynn Mamet
  • Legal: Phyllis Rapaport
  • Legal: résumés
  • Legal: résumés (Directors)
  • Budget
  • Call sheets
  • Cast list
  • Clearances
  • Contact sheet
  • Crew list
    photos
  • Dailies
  • Day out of days
  • Deal memos
  • General (two folders)
  • Hot costs
  • Memos
  • One-line schedule
  • Prep schedule
  • Reports
  • Box 188:
  • Research
  • Shooting schedule
  • Travel
  • Sub-Series: Post-Production Files
  • Box 188:
  • ADR
  • Contact sheet
  • Continuity
  • Correspondence
  • Cost reports
  • Delivery requirements
  • Disclaimer
  • Main and end titles
  • Music
  • Notes
  • Post script
  • Publicity
  • Reshoot scene
  • Review
  • Schedule
  • Tentative writing credit
  • Sub-Series: Marian Rees Files
  • Box 188:
  • Script development book (two folders)
  • Box 189:
  • Script book (three folders)
  • Production book (three folders)
  • Box 190:
  • Post-production book (two folders)
  • Series 23: KEEPING THE PROMISE
  • Sub-Series: Script Library
  • Box 191:
  • Synopsis, January 14-March 22 - 1994
  • Presentation materials, March 22 - 1994
  • Polish, Di Peggo, March 29 - 1994
  • Outline: April 28 - 1995
  • Scene breakdown, August 29 - 1995
  • Second draft, Di Peggo, October 16 - 1995
  • Scene breakdown, October 16 - 1995
  • Outline: June 12 - 1995
  • Draft, August 29 - 1995
  • M. Rees’s draft, August 29 - 1995
  • Second draft, October 16 - 1995
  • Third draft, January 8 - 1996
  • M. Rees’s third draft, January 8 - 1996
  • Box 192:
  • Production draft, April 29 - 1996
  • Revised white script, April 29 - 1996
  • Script development, Hopkins and Di Peggo, May 10-June 20 - 1996
  • Scene breakdown, May 15 - 1996
  • Story continuity, May 14 - 1996
  • Blue pages, May 31 - 1996
  • M. Rees revised blue script, May 21 - 1996
  • Pink pages, May 21 - 1996
  • M. Rees revised white script, May 30 - 1996
  • Yellow pages, June 1 - 1996
  • Green pages, June 3 - 1996
  • Box 193:
  • Buff pages, June 20 - 1996
  • Salmon pages, June 24 - 1996
  • Script changes, June 26 - 1996
  • Shooting script, colored pages
  • M. Rees’s shooting script
  • Script chronology, July 26 - 1996
  • Shooting script, chronological order, July 26 - 1996
  • Director’s cuts/notes, July 19 - 1996
  • Producer’s cuts/notes, August 9-26 - 1996
  • Post color corrections, September 23 - 1996
  • Outlines, notes, scene breakdowns
  • Notes
  • Sub-Series: Production
  • Box 193:
  • Atlantis
  • Call sheets
  • Box 194:
  • Casting
  • Cast breakdown
  • Cast list
  • CBS delivery requirements
  • Clearances
  • Contact sheet
  • Correspondence
  • Crew list
  • Daily production report, Hopkins
  • Daily production report, Rees
  • Day out of days
  • Main and end titles
  • One-liners
  • Rabbit Ears Production Company
  • Script timings
  • Schedule
  • Subtitles
  • Box 195:
  • Timing/continuity
  • Production book (two folders)
  • Sub-Series: Post-Production Files
  • Box 195:
  • ADR
  • Publicity
  • Post-production schedule
  • Post-production book (two folders)
  • Research (two folders)
  • Series 24: CONVICTIONS
  • Box 196:
  • Three page synopsis, November 16 - 1989
  • Outline, Becket, March 12 - 1990
  • Revised outline: Becket, April 2 - 1990
  • Revised outline: Becket, April 4 - 1990
  • Outline, Becket, October 1 - 1990
  • Polish, April 18 - 1991
  • Revised draft with notes, November 1 - 1991
  • Written transcripts, November 2-3 - 1996
  • Sentence outline, November 25 - 1996
  • First draft, February 2 - 1997
  • Rewrite, February 20 - 1997
  • Scene breakdown, February 20 - 1997
  • First revision rewrite, March 16 - 1997
  • Box 197:
  • Official second revision, March 21 - 1997
  • Scene breakdown, March 21 - 1997
  • Polish, May 13 - 1997
  • Scene breakdown, May 13 - 1997
  • Script breakdown, June 9 - 1997
  • Draft, June 15 - 1997
  • Blue pages, June 18 - 1997
  • Blue pages on white, June 18 - 1997
  • Pink pages, June 25 - 1997
  • Yellow pages, July 7 - 1996
  • Green pages, July 11 - 1996
  • Goldenrod pages, July 14 - 1997
  • Colored pages, July 14 - 1997
  • Box 198:
  • Shooting script- colored on white, July 14 - 1997
  • Sub-Series: Production
  • Box 198:
  • Annotation
  • Call sheets
  • Casting
  • Continuity
  • Correspondence
  • Crew photo
  • Daily production reports
  • Day out of days
  • Lifetime production requirements
  • Location
  • Location breakdown
  • One line schedule
  • Notes
  • Legal
  • Phil Penningroth
  • Plumb research report, clearances
  • Prep schedule
  • Shooting schedule
  • Special effects breakdown
  • Titles
  • ADR
  • Sub-Series: Post-Production Files
  • Box 199:
  • Contact sheet
  • Final act continuity
  • Schedule
  • Main and end titles
  • Music notes
  • Music spotting notes
  • Publicity
  • Publicity, Lifetime press kit
  • Boise, Idaho mother’s story
  • Research
  • Schedule
  • Series 25: RUBY BRIDGES
  • Sub-Series: Script Library
  • Box 200:
  • Notes: May 1 - 1992
  • Notes: May 1 - 1992
    August 6, 1997
  • Draft (2 folders), July 20 - 1997
  • M. Rees draft, July 20 - 1997
  • M. Rees blue pages, August 11 - 1997
  • Revised blue pages (two folders), August 11 - 1997
  • Pink pages, August 15 - 1997
  • Pink pages on white, August 15 - 1997
  • Revised pink pages, August 15 - 1997
  • Box 201:
  • Scene breakdown, August 15 - 1997
  • Story chronology, August 18 - 1997
  • Yellow pages, August 21 - 1997
  • Yellow pages on white, August 21 - 1997
  • Story breakdown, August 25 - 1997
  • Green pages, August 26 - 1997
  • Green pages on white, August 26 - 1997
  • Goldenrod pages, September 4 - 1997
  • Goldenrod on white, September 4 - 1997
  • Salmon pages, September 5 - 1997
  • Salmon pages on white, September 5 - 1997
  • Script supervisor’s report, September 5 - 1997
  • Tan pages, September 10 - 1997
  • Tan on white, September 10 - 1997
  • Script changes, September 10 - 1997
  • Second revised white pages, September 23 - 1997
  • Shooting script colored pages
  • Shooting script on white
  • Revised colored pages, September 23 - 1997
  • Sub-Series: Production
  • Box 201:
  • Board
  • Budget (three folders)
  • Box 202:
  • Budget progress reports
  • Call sheets
  • Casting
  • Clearances
  • Continuity
  • Correspondence
  • Cast reports
  • Credits
  • Deal memos
  • Music
  • Notes
  • One-liners
  • Production reports
  • Box 203:
  • Permission requests
  • Signs and language
  • Shooting schedule
  • Standards and practices
  • Stock footage
  • Timing
  • Title design
  • Sub-Series: Post-Production Files
  • Box 203:
  • ADR
  • Day out of days
  • Press kit
  • Publicity (three folders)
  • Box 204:
  • Ratings
  • Responses
  • Reviews
  • Schedule
  • Show format
  • Marshall-Plumb legal research
  • Research: articles
  • Research: set design photographs
  • Research: T. Johnson notes from Ruby Ridges interview
  • Series 26: PAPA'S ANGELS
  • Sub-Series: Script Library
  • Box 205:
  • Scene breakdown, July 7 - 1996
  • Notes: December 1-June 18 - 1997-1999
  • Script distribution lists, July 7-August 24 - 1996- 2000
  • Third draft, February 4 - 1998
  • Fourth draft, February 18 - 1998
  • Scene breakdown, February 18 - 1998
  • Preliminary first draft, September 29 - 1999
  • Scene breakdown, September 29 - 1999
  • B. Cain first draft, November 2 - 1999
  • M Rees first draft, November 2 - 1999
  • Scene breakdown, November 2 - 1999
  • B. Cain scene breakdown, November 2 - 1999
  • Tracking log, January 24-June 14 - 2000
  • Hopkins Notes: January 24-June 14 - 2000
  • B. Cain revised draft, February 14 - 2000
  • Scene breakdown, February 14 - 2000
  • Box 206:
  • B. Cain second draft, February 29 - 2000
  • B. Cain polish, March 13 - 2000
  • Polish, March 21 - 2000
  • M. Rees polish, March 21 - 2000
  • Polish, March 31 - 2000
  • B. Cain polish, March 31 - 2000
  • M. Rees polish, March 31 - 2000
  • M. Rees scene breakdown, March 31, July 24 - 2000
  • B. Cain changes, July 19 - 2000
  • Polish, July 19 - 2000
  • Box 207:
  • B. Cain draft, July 24 - 2000
  • Scene breakdown, July 24 - 2000
  • Draft, August 2 - 2000
  • B. Cain additional changes, August 18 - 2000
  • Production draft, August 22 - 2000
  • White numbered script, August 24 - 2000
  • Yule log reference
  • Sub-Series: Production
  • Box 207:
  • Act timings
  • CBS requirements
  • Conference call agenda
  • Correspondence: inner office breakdown
  • One-liner schedule
  • Voluntary recognition agreement
  • Art designs
  • Correspondence
  • “Fuzzy”
  • Music, John Roman
  • Music publishing rights
  • Photo negatives, set
  • Box 208:
  • Purchase orders
  • Signage, clearances
  • Site/location information
  • Title fonts
  • Worker’s Compensation Board
  • Production book
  • M. Rees personal production log
  • Pre-production research
  • Sub-Series: Post-production Files
  • Box 208:
  • Airdate
  • Articles
  • Post-production music
  • Publishing
  • Ratings
  • Tentative writing credits
  • Series 27: MARIAN REES ASSOCIATES
  • Box 209:
  • Publicity: articles - 1979-1982
  • Publicity: staff biographies - 1982
  • Publicity: Correspondence; Dale Olson (two folders)
  • Publicity: correspondence - 1978-1989
  • Publicity: articles and interviews
  • Box 210:
  • Publicity: miscellaneous
  • Publicity; press releases
  • Publicity: company overview - 1984
  • Box 211:
  • Publicity photographs