As the anniversary week winds down at Turner Classic Movies and the Fan Programmer event comes to an end this evening with some great co-hosts introducing some great movies,  I wanted to take a moment and thank TCM for the opportunity to be a Fan Programmer.

It was definitely the chance of a life-time and though I may never know what tipped it in my favor, I'll always cherish the opportunity you gave me.

I had the time of my life talking to Robert O. (though I seem to be cursed when it comes to giving interviews with TCM.)  I participated two years ago in their brand marketing interviews.  The morning I was set to do my interview, we got word that my dad had passed away.  Jon had to go into work and tie up some loose ends before we could head towards Las Vegas.  He talked me into doing the interview, reminding me that it was something I was looking forward to doing and that my dad had been excited for me to do it.  So, I went ahead and went to the interview.  By the time it was over, Jon was done at work.

On the morning of my interview with Robert O, Jon was sick with a bad case of food poisoning.  He accompanied me to the studio but within the hour had to return to the hotel.  So, I soldiered on though I was very worried about him.

I'm hoping if I ever get the chance again to work with TCM, the third time will break the curse!

Seriously, though, it was a terrific time and I am grateful for the opportunity.

TCM is the big tent of film for me.  Too often, people want TCM to adhere to a strict time-line for showing classic films.  That time-line varies with people but it is usually argued that 1959 should be the cut-off date.

What these folks forget is that the studio system soldiered on until the early 1970s and while the system was undergoing some major changes and death shudders, some wonderful, classic movies were made.  I cannot imagine TCM without "To Kill a Mockingbird", "The Apartment", "My Fair Lady" and many, many more.

Luckily for all of us, TCM understands that no one era is important, all of film history is important.  To TCM, all films are classic regardless of the year they were released, regardless of their studio pedigree or lack thereof.  TCM programs the glossy studio films alongside the grade z horror and sci-fi films.  They more than any other movie channel understand the power of film.

Film has the power to make us laugh, make us cry, move us in ways we never imagined we could be, we fall in love at the movies and we fall in love with the movies.  Film has the power to show us eras of our past that are not always pleasant to watch.  TCM has a yearly series "Race and Hollywood" that looks at stereotypical movie images of different cultures.  In the past, they have shown a spotlight on "Black Images on Film" as well as "Gay Images" and "Asian Images".  All next month, "Race and Hollywood" will spotlight "Latino Images on Film".  The films in the "Race and Hollywood" series as well as  on any given day throughout the year, remind us of how far we have come as a society and a culture and how far we still have to go.

I love TCM for being the Big Tent of film and not trying to pigeon hole themselves or us the viewers into just giving us the glossy studio films.  TCM Imports, Silent Sundays, TCM Underground (cult favorites) and "The Essentials" are all there to remind us that all films matter.

I would like to give a special shout-out to Charles Tabash, the VP of Programming at TCM.  Charlie's job is not an easy one.  He and his staff are responsible for programming the movies on the channel.  It is not an easy job.  For proof of that, visit the TCM Message boards where at least once month, his sanity, his intelligence and his ability to do his job is called into questions by posters who have no idea how difficult it can be to program for a channel that airs movies (without repeats in the day) 24/7.  I'm one of those who believes he and his staff do a terrific job.

Another shout-out goes to Genieve McGillicuddy, the VP of Brand Marketing, who keeps the TCM brand out there not only in the zeitgeist but in the minds of the public as well.  She has some great ideas coming to fruition over the next year and I wish her only the best.

Scott McGee is the producer/editor behind those wonderful yearly TCM Remembers interstitials that honor those who have passed away.  His are always much more inclusive and more moving than the ones done for the Academy Awards.  In addition, this year Scott put together the magical and moving "15 Years in 90 seconds" montage promo that looks back at 15 years of TCM programming.  From the scenes chosen to the music, it is a delight to watch and for any fan of TCM good luck holding back the sniffles.

Tom Brown is the VP of Orginal Programming and is in charge of the documentaries that air as well as Private Screenings with Robert O.  Tom is a great guy, very funny and works hard to bring some of the classic and modern stars to TCM via the documentaries, some of the interstitials and Private Screenings.

Lastly, the man himself.  TCM made the right choice 15 years ago when the asked the film historian and writer, Robert Osborne to be the face and voice of TCM.  He's incredibly distinguished, well-read and a walking encyclopedia of film knowledge.  His personable and affable persona makes him a natural host.  In all the 15 years he has been with the channel, they have never repeated a single intro.  He flies to Atlanta once a month to shoot all the wrap-arounds.  He's still going strong and I hope he continues to be the face of TCM for years to come.

Well, that just about wraps my TCM adventure.  Beginning later this weekend, we will go back to concentrating on Las Vegas history and preservation.  We've got lots coming up and May is Historic Preservation Month so stay tuned.

Thanks for letting me share my behind the scenes adventure with you and keep watching TCM!

Happy Anniversary, TCM!  And here's to many, many more!

For my Dad

I promised I would write more about why I was thrilled to introduce "She Wore a Yellow Ribbon" last night with Robert Osborne.

As I said in my introduction, growing up out here in the West, I have an affinity for the west, its landscape, its mythology and its history.  As Americans, we tend to like to have our history romanticized.  The western film genre provides that romanticism like no other.  The western film, like jazz, is an uniquely American art form.

While westerns have always been a part of our cinematic history, John Ford gave birth to the modern western with his silent classic "The Iron Horse" (which, ironically enough, was filmed in northern Nevada back in the mid-1920s).  From the moment he discovered Monument Valley in the late 1930s, (thanks to the enterprising husband and wife team, Harry and "Mike" Goulding, who ran the local trading post), Ford found what few directors do, a place that allowed him to express himself creatively and beautifully.

Ford was born in Maine and had grown up in the East before heading west to join his brother, Francis, in the early days of movie-making in Hollywood.

Ford began shooting in Monument Valley in 1939 when he directed "Stagecoach" and he returned there to direct "Fort Apache", the first of his three films about the cavalery.  Both of those films were in black and white.

"Yellow Ribbon", he shot in Technicolor in Monument Valley.  He and the cinematographer, Winton Hoch, who would win an Academy Award for this, wanted the film to evoke a Remington painting.  And that it certainly does.

Ford had an affinity for the landscape and the vistas that Monument Valley offered in abundance.  As I said last night, many directors have returned to film extensively there, perhaps because of the close identification that the Valley has with Ford.

As Orson Welles said, when asked to name his favorite directors, he replied "John Ford, John Ford, John Ford."

One of Ford's longest collaborations was with John Wayne.  Wayne and Ford knew each other long before Ford cast him as the Ringo Kid in "Stagecoach".  That movie propelled Wayne into movie stardom but he was always ready to work with "Pappy" when ever the call came.

Many people believe that every character he ever played on film that John Wayne was essentially playing himself.  It's a myth almost as big as Wayne, himself.  While Wayne did have his "Wayne" persona, he was also as they say "a damn good actor."

His introduction in "Stagecoach" with that incredible dolly-in to his face against the Monument Valley landscape is one of the best cinematic introductions in the history of film.  His Kirby York in "Fort Apache" plays second-fiddle to Henry Fonda's over-bearing and tyrannical Lt. Col. Owen Thursday.  But it is Wayne, who at the end of the film, delivers the up-side of history as legend.  Rather than his friends to have died in vain because of Thursday, York, instead, sells the myth of Thursday, the gallant hero leading his men into a gallant meeting with destiny, leaving out the fact that Thursday is the reason for them riding to their doom.

His wonderful turn as Rusty Warren in "They Were Expendable" during World War II is a portrait of Wayne being a good actor.  Howard Hawks saw the real potential in him, acting wise, before "Pappy" did.  Hawks cast Wayne as Tom Dunson in "Red River" and allowed Wayne to age and be a rather mean character.

The story goes that Ford said, "I didn't know the sonvabitch had it in him."  It may be that that performance was a turning point in their relationship.  From that point on, Ford and Wayne created some of Wayne's best and most complex characters.

Captain Nathan Brittles in "Yellow Ribbon" is a man on the verge of retirement.  He has been in the army for forty years.  He, Mac Allshard (the wonderful George O'Brien) and Quincannon (the scene-stealing Vic McLaglen) all came into the army about the same time.  Brittles and Quincannon have been together since the early days of the Civil War.  In their bantering, we discover that they used to be drinking buddies (and good ones at that) until Brittles gave up the drink in the wake of losing his wife and daughters ten years prior to when the film opens.

While Brittles is passing command of his troops to Flint Cohill (John Agar), it is Tyree (the wonderful Ben Johnson, in a career making debut) that he feels the most affinity with.  Though both men come from different backgrounds and both fought on different sides during the Civil War, it is Tyree's judgement about the various Indian situations that Brittles seeks out.  It is Tyree who will fill Brittles' boots in the years ahead.

With Ford films, it always about ritual and tradition, whether it's the army or family or, very often, both.  There are rites of passage in every one.  In "Yellow Ribbon" as my good friend Gale reminded me this morning, the rite of passage in this film belongs to Ross Pennell (Harry Carey, Jr).  He goes from being a spoiled, rich kid with "the army his only hope" who cannot wait to return to Delmonico's with Olivia Dandridge on his arm, to turning his back at the dancing and the party that heralds Nathan's return to his home.  It is Pennell that watches Nathan walk out to the small cemetery to give his "report" to his Martha.  Those dinners at Delmonico's are a distant memory now.

When Wayne portrayed Brittles, he was twenty years younger than the character.  But his characterization is filled with the aches, pains and heartaches of an older man.  He self consciously removes his glasses to read the inscription on his "brand-new, silver watch" - "Lest We Forget".

It's a scene that has rung true with me from the first time I saw the film forty years ago and it still rings true today. 

Wayne reminds me a great deal of my dad and never more so, than in this film.  I got teary talking with Robert Osborne about this scene last night and I cried (as I always do) when I watched it play out last night.

Ford and Wayne would go on to create memorable films, the most important one being "The Searchers".  In this film, Wayne created one of the darkest characters to ever play out across a movie screen.  Had Ford not been in World War II and seen the horrors of war up close, I'm not sure he would have made the "Searchers".

When people tell me that Wayne won the Oscar for "True Grit" by playing himself, I remind them to watch "Red River", "They Were Expendable", "She Wore a Yellow Ribbon", "The Searchers" and "The Man Who Shot Liberty Valance", those roles are why John Wayne was finally awarded an Oscar in 1969.

Lest we forget, indeed.

Special thanks to my friend April Lane for creating this poster for me!

Wow!  What a night last night was.  There was my buddy Joe Buonocore talking about growing up in Brooklyn and sharing his stories not only with Robert Osborne but all of America!  I can only imagine how thrilled the entire Buonocore family must be!

And I imagine Juan Castro's family in Northridge was over the moon watching young Juan talk about his love of musicals, Fred Astaire and classic movies.

And then I heard the announcer saying "Tonight on TCM, Fan Programmer Lynn Zook talks about "She Wore a Yellow Ribbon" and for a moment, I thought my heart stopped.  But it got better.

At the top of the hour, there was Robert Osborne saying my name.  As my buddy, Marco Place, says "How often does that happen?".  Not very often.  It was something I never thought I would hear on national television, let alone to be introduced by the man himself.

And it only got better.  We talked about my historic preservation work in Las Vegas, about my film "The Story of Classic Las Vegas" and about the website, classiclasvegas.com!  I had only been expecting a short bit of that conversation to hit the airwaves but all of my intro was there. 

If you are interested in purchasing the historical overview documentary on Las Vegas that we talked about last night, click here.

And then we got to talk a bit about Monument Valley, John Ford and what a combination of location and film maker.  I truly believe that one reason more film makers haven't shot there is because it really is John Ford Country.

Jon had missed my taping due to illness so he was as excited as a kid at Christmas.  We popped open a bottle of champagne and watched the movie.

We have a baby box turtle, Zorro, and he sat on Jon's hand and watched the first hour of the film with us.  Seems he likes westerns and John Wayne.  Who knew?

I was very pleased that our after the movie talk included some of my memories of the original MGM Grand Hotel's wonderful movie theater.

It was an incredible experience and one I never thought in a million years I would have.  I'm incredibly thankful to the staff of TCM for making it possible.

I plan to write more tomorrow about my reasons for choosing "Yellow Ribbon" and I am a bit teary about my favorite scene but before I call it a night I have to throw a spotlight on one of my favorite people.

Robert Osborne and my good friend, Kyle Kersten

I've know Kyle Kersten for about five years thanks to the TCM message boards.  He lives in Los Angeles and we met in person about three years ago.  We've been good friends ever since.  As Jon was ill that Monday of the tapings and the special dinner, Kyle went the extra mile and was there to help me when I needed it (I was still walking with a cane and had a knee brace on.)

He is introducing and talking about the wonderful Gary Cooper and Barbara Stanwyck drama "Meet John Doe" later tonight on TCM.  It's a great social drama directed by Frank Capra (who guided Stanwyck to some of her best performances.) with a script by Robert Riskin.

Kyle and Robert Osborne had some very in-depth conversations about the film and I am excited to see what parts made the final cut.

So, be sure to Tivo "CSI" tonight and watch Kyle talk about "Meet John Doe" tonight at 9:15 pm (PST) on Turner Classic Movies.

Prior to Kyle, the Fan Programmer selections are:

Anna Seager is introducing the Stanley Donen musical "7 Brides for 7 Brothers" at 5:00 pm (PST) and

Jeff Hoyak is introducing Alfred Hitchcock's only film in this line-up, "The Man Who Knew Too Much" (1956) at 7:00 pm (PST).

I promise I'll be back in the morning to post more about why I chose "She Wore a Yellow Ribbon".

Robert Osborne and LasVegasLynn

Well, tonight is the big night for me.  It's been eight months since this journey for me began and a little over six months since we were in Atlanta for the taping.

I don't remember a great deal about the interview (a hazard of being mid-century modern, I'm told) so I can't supply any spoilers.

After watching two nights with the other Fan Programmers I do have to admit to being a tad nervous.  They have all been animated, relaxed and just great.  I hope to follow in their footsteps.

I guess we'll all find out tonight.

"She Wore a Yellow Ribbon" is one of my favorite John Ford/John Wayne films and I'll talk more about why the film is so special to me tomorrow (so you have to promise to come back) because there are things I wanted to say about why the film means so much to me but we'd still be there trying to film the interview because I don't think there's enough kleenex in the world that would have gotten me through that interview.

It is a western, the first Technicolor film shot in Monument Valley and besides John Wayne it has a wonderful supporting cast including Victor McLaglen, Mildred Natwick, Harry Carey, Jr, John Agar, Ben Johnson and Joanna Dru.  It's a romantic western but not the kind you're thinking.

Will I sound too film geeky, too professorial or too crazy?  Tune into TCM tonight and we'll all find out together!

Robert Osborne (yeah, that Robert Osborne) and I will be spotlighting "She Wore a Yellow Ribbon" (before and after the film) later tonight at 9:00 (PST).  Hope to see you there!

In the meantime, meet the two guys who I'll be sharing the playbill with this evening:

Robert Osborne and Joe Buonocore

I've known Joe for about five years though prior to November, I had never met him.  I like to call myself a veteran of the TCM Message Boards but Joe, well, he's a pioneer.  He's been a member of that community since it's earliest days in 2001.  Kind of like the first pioneers that built the first outpost there.

We'll we've built that little outpost into a thriving community over the years and through it all, Joe has never lost his enthusiasm or his love of movies. 

He's retired, living in Florida with his family and how does he spend his time?  Well, lucky for us at the message boards, he creates some of the most popular threads on the boards.  For a couple of years he had the "Happy Birthday" thread where everyday he listed the birthdays of classic film and modern film stars, including those no longer with us.  He currently keeps us enthralled with his "Candids" thread where he scours the internet looking for pictures of classic movie stars.  From cheesecake to home redecorating to those surprised moments the stars didn't see coming, Joe tracks them down and posts them.

Joe brought his daughter, Audrey, along for the trip to Atlanta.  They were the first people we met at the hotel and it was suddenly like old home week.  You would never have known it was our first meeting.

Tonight, Joe will be introducing and talking about one of his favorite films, "Double Indemnity".  Not because sometimes "murder smells like honeysuckle" but because it stars Miss Barbara Stanwyck. (How is that my three favorite TCM men  have a thing for Miss Stanwyck?).  Well, for those of you who may only know Barbara Stanwyck from television's "The Big Valley" or "The Thorn Birds", here's your chance to see her be deliciously bad.  She's backed up by Fred MacMurray (and if you only know him from "My Three Sons" or those zany Disney films, you are in for a big surprise) and Edward G. Robinson.  Directed by the great  Billy Wilder with some wonderful exteriors of old Los Angeles when there a whole lot fewer people, "Double Indemnity" is a great classic film.

Joe Buonocore and Robert Osborne showcase the film at 5:00 (PST) tonight.  Check your local listings for the start time in your area.

Robert Osborne and Juan Castro

I've been a film buff for more years than I can remember.  I'm at an age when most film buffs I know are of my generation.  That generation being from the 1960s when watching classic movies was a lot more difficult than it is today with VHS and DVDs.  Back in those days, you had to make a concerted effort to try and watch these classic films, even if it meant staying home and playing sick.

So, you can imagine how surprised most of were to discover that one of our own was a 14-year old young man named Juan Castro.  Juan's family used to own a Video Rental store in southern California and he has loved old movies since he was a kid.

He is also a budding film maker with a Youtube following and a little sister who is not always an eager but a willing star of his films.  Two years ago, TCM held a Guest Programmer contest to choose an everyday classic film buff to introduce four films with the man himself, Robert Osborne.

Well, Juan entered that contest but discovered too late that he was too young to qualify.  But his entry made an impact on the TCM staff.  When it came time for them to select 15 fans of the channel, Juan's name was on the list.

His idol is Fred Astaire.  Juan loves movie musicals and his favorite song is "The Way You Look Tonight."

Juan will be introducing and talking about that Astaire/Ginger Rogers classic. "Swing Time" directed by George Stevens.

Juan and Robert O will be talking about "Swing Time" tonight at 7:00 (PST)

Fellow Fan Programmer (and good buddy) Kyle Kersten, Robert Osborne and Las VegasLynn

Well, TCM kicked off their anniversary week celebration last night with a trio of Fan Programmers introducing some of their favorite films.

Of the three, I know Peter Bosch the best.  He's a veteran of the TCM Message Boards and we've become good friends over the last couple of years.

Theresa Brown who introduced the Bette Davis/William Wyler masterpiece, "The Letter" has become a good friend since we met at the TCM tapings in Atlanta last November.  She was wonderful tonight kicking off the event, holding her own with Robert Osborne.

I barely remember what I talked with Robert O about during my on-air interview.  The time went by so fast.  I do know that he asked about my work and I was able to talk about my preservation work in Las Vegas as well as my film "The Story of Classic Las Vegas." 

I guess we'll all find out together on Wednesday evening (my big night)  what ended up in the interview and what ended up on the cutting room floor!

That Monday evening after a day of taping,  the TCM staff had arranged for a special dinner for all of us at a nearby restaurant called, appropriately enough (for a bunch of classic movie junkies), Home (as in, "there's no place like...")

There was time for cocktails in the bar before dinner.  Jon had taken ill late Sunday night and was unable to join us at the studio on Monday or for the dinner.  Luckily, my good buddy, Kyle Kersten was a Fan Programmer as well and he stepped in to keep me company.

We were standing at the bar having a drink and noticed that the television was tuned to TCM.  The movie was a really bad period drama starring Richard Burton.  We were trying to figure out which movie it was.  Turned out to be "Doctor Faustus"

Robert Osborne joined us at the bar.  We were sure that he was "working" the room and would only stay a few minutes before moving on to other groups.  Much to our surprise, that never happened.  We stood at the bar talking with Robert O until the announcement came that it time to adjourn to the dining room.  We had a delightful, relaxed conversation with Mr. Osborne about a number of subjects, most keenly the difficult of getting classic movie stars to sit down for interviews about their careers.  Maureen O'Hara, for instance, lives in Ireland and is not interested in flying to the States to talk about her career, she'd rather spend time with her family.  And she's not the only one.  Vera Miles, Kim Novack and many others are just as reluctant.

The dinner was great.  Kyle and I were seated with the TCMWeb staff as well as their archivist, Dennis Millay.  Dennis was the one who discovered the "missing RKO films" and spearheaded the effort to bring them back into the former Turner Film Library and screen them on TCM.

The TCM staff was great.  They had invited Tony Curtis to join us but he had taken ill at his ranch in Sandy Valley (just outside Las Vegas, how's that for symmetry?).

I remember we ate fried chicken with a honey/vinegar dipping sauce.  It was a wonderful evening.

Afterwards, the shuttle bus took us all back to the hotel.  We retired to the lounge with Theresa Brown and her friend, Lynn to continue talking about movies and our adventures.

But one of the best memories I have of the trip is talking with Robert Osborne at the bar before dinner.  He is just as knowledgeable and just as gracious as he seems on TCM.

Tonight on TCM as part of their 15th Anniversary Fan Programmer Week:

5:00 pm

April Lane introduces "Gone with the Wind"

This is the film that TCM debuted with on April 14th, 1994

9:00 pm

Lisa Mordente introduces "Singin' in the Rain"

11:00 pm

Rome Mendheim introduces a childhood favorite, "Angels with Dirty Faces"

All times PST so check your local listings.

More to follow tomorrow!

 Happy 15th Anniversary, Turner Classic Movies and the Staff of TCM!

Here's to the next 15 years!