Advice From Gabe Pressman

I’m not sure how much reporting he still does now in his late eighties, but he did say one thing that’s incredibly good advice for all reporters. Maybe it’s common knowledge and I’ve just missed it.

The New York Times profiled Gabe Pressman in yesterday’s paper. He’s been on Channel 4 since I was four years old!

I remember a few years ago seeing video film of Jackie Robinson as he broke into Major League Baseball. The editor cut to a b-roll shot of the reporter. It was Gabe. He hasn’t missed much.

While looking for a photo to accompany this entry I found him with Malcom X, Elvis Presley and then presidential candidate Senator Eugene McCarthy. That was just on the first page of results!

I’m not sure how much reporting Gabe still does now that he’s in his late eighties, but he did say one thing that’s incredibly good advice for all reporters. Maybe it’s common knowledge and I’ve just missed it.

I’ve always made sure to try to get politicians’ cellphone numbers during campaigns when they want to talk to you, so I could have them later when they might not want to talk and were otherwise unreachable.

And they say experience doesn’t count? Please.

With TV and news in general changing it’s safe to say there will never be another Gabe Pressman. Shame.

My Biz Goes Through More Changes

This business is changing rapidly. TV was once a business of glamour and high salaries. No more.

Local news continues to change. At dinner tonight Ann asked if I’d heard Len Berman was let go at WNBC in New York?

Wow. He’s really good. Is talent that unimportant? Stations would love to believe (and who will stop them) that we on-air types are interchangeable. Commodity anchors are cheaper.

chuck-scarborough.pngNow Gawker speculates (with a denial from WNBC) Chuck Scarborough is on his way out! I can’t imagine a station being more identified with a single talent than Channel 4 and Chuck.

I’ll call him Chuck though we’ve never met.

This business is changing rapidly. TV was once a business of glamour and high salaries. No more. Chuck Scarborough is rumored to earn $3m, Len Berman $1m. Those days are gone. This is not “bank error in your favor” time.

My Friday Nighttime At Nightline

The Nightline set is, to be kind, tiny. The street traffic behind the anchor plays off a server and is shown on a rear projection TV. Is nothing real?

When I came to WTNH the director of our evening newscasts was a young guy named Jeff Winn&#185. He had the thankless task of directing our newscasts on a chromakey set. This is much too complex to explain here except to say any mistake Jeff made was glaringly obvious to even a casual viewer. It was that obvious. Luckily, Jeff was good at what he did. Mistakes were few.

He left us and went on to bigger things. Again, too complex to explain here, plus if I thought about his career versus mine I’d openly weep. Jeff has seven Emmys, as do I. His are the much larger, heavier, impressive, national ones. Jeff won most of them directing “Real Sports” on HBO. He still does that on a monthly basis.

Jeff’s day night job is directing ABC News Nightline. Originally Ted Koppel’s nightly wrap-up of the Iranian Hostage Crisis and then a daily single subject half hour of hard news, Nightline post-Ted is flashier, lighter and more feature oriented. It’s also stronger in the ratings than it’s been in years, recently beating Letterman.

I’ve been meaning to watch Jeff direct for years but never had the chance. I went last night.

The drive to New York was speedy and without incident until the Bronx. What had been a wide open highway became a slow moving bumper-to-bumper grind. I broke free, headed down the West Side Highway and pulled into an open and totally legal parking space on Columbus Avenue directly across the street from ABC’s entrance.

Really–I found legal on-street parking in Manhattan. I’m available for autographs later.

When Nightline first went to its rotating three anchor configuration it came from a windowed studio above Times Square. Even now you can watch the traffic behind the anchor. Don’t be fooled (as I was). They moved around a year ago and now come from TV-3, the same studio as World News with Charlie Gibson. The Nightline set is, to be kind, tiny. The street traffic behind the anchor plays off a server and is shown on a rear projection TV. Is nothing real?

For much of the evening Jeff is ‘on a leash,’ even when there’s nothing to do. If a major story broke, he would direct live coverage across the full network. That is no small responsibility. ABC has standby staff just-in-case 24/7.

We took the grand tour to the control room passing through Nightline’s sparsely staffed offices. Most of the action happens here during the day. The show is anchored live, but the packages are mainly pre-produced at a more convenient hour. TV work isn’t as glamorous when you consider so much of it is “second shift.”

ABC’s New York headquarters is a confusing collection of mainly connected buildings on Manhattan’s West Side between 66th and 67th from Columbus Avenue to Central Park West. There are a few apartment buildings interspresed, but most of the block is ABC’s.

Back when I did some freelance work at the network (weather fill-ins on Good Morning America–you never call anymore–I’m crushed) I never ventured far from my studio (TV-2) lest I get lost! In some of the interconnections the floors don’t even line up!

The control room itself is very impressive with two rows of arena type seating, a few individual positions farther back and a separate audio booth. The production crew face a winged wall of large high definition flat panel monitors. Each monitor is split to show individual inputs as needed. Most are pretty standard cameras and servers, but I also saw tie-lines to Washington and Europe (feeding Arab language broadcasts back to New York last night).

Jeff sat down and with the technical director and assistant director went through the show’s scripts page-by-page making sure each input was properly marked and available. As far as I could tell only one small change was made during this run-through. A courtesy font for a photograph came positioned over the person’s face. It was moved to air in a less intrusive spot.

As 11:35 PM approached more and more people drifted in. By airtime there were around a dozen people at work. Actually, the show starts 15 seconds early as an animated countdown streams to the network. I’m hoping that’s a tradition carried over from the good old days, because by now the affiliates had better have synchronized clocks, wouldn’t you think?

One floor down Martin Bashir anchored. His only contact with the upstairs crew was electronic. I enjoyed when he read about someone being taken to the hospital and in his British English left out the article “the.” “He was taken to hospital,” was what the audience heard.

The show was flawless… at least it looked flawless to me. In many ways the production resembled a local newscast, but with longer packages, no live shots and more help. The producer even shuffled extra promo content in to help fill the show’s scheduled time.

Jeff and the team were relaxed and playful as the show aired. These are people working together every night. They know their jobs and at this level I suspect screw-ups aren’t tolerated long.

A little after midnight we were done.

&#185 – Our other director was Tom O’Brien, who moved out of directing to sales and then management. He is now general manager at WNBC in New York after a long stay as GM at KXAS Dallas.

Pat Child

Pat Child passed away earlier today. I knew something was up when I walked into the newsroom and saw Ann hugging Tim Clune, both of them teary.

He was diagnosed with brain cancer a few months ago. I expected Pat to tell the cancer to screw itself and then get on with his life. He said he didn’t want to suffer thorough treatment – but he did. Life is too precious to give up easily.

Recently he had been in and out of the hospital. As fluid in his brain built up, Pat would suffer only to come back when the pressure was relieved. Today he died at the hospital in Venice, Florida.

Most likely, you didn’t know Pat Child. He was worth knowing.

I first met Pat when I went to work for WTNH in 1984. Even then Pat was a grizzled photographer, wiser by far than any of the kid reporters he worked with.

I will always picture him with a cigarette hanging from his lips or between his stained fingers. Back then we could smoke in the station, in the news vehicles, everywhere. Pat took advantage.

Pat was not an artist with his camera. His shots shook. He never used a tripod.

I remember shooting a piece in my Mr. Science series and being assigned Pat. Right away he let me know this wasn’t his type of assignment. He started by calling me Geoffrey. He was a spot news kind of guy. He would do his best… but, you know…

On our way back the assignment desk called. There had been a shooting in New Haven. Could we stop by and get video. Though I am the weatherman, that afternoon I became a reporter for a few moments. That impressed Pat and we were friends from that day on.

Friendship with Pat was totally built on mutual respect.

So, why is a news photographer who wasn’t the world’s greatest photographer so important, so memorable? Pat was one of the brightest and certainly wisest men I’ve ever met. Pat was honest – maybe honest to a fault.

Though a scholarship recipient at Yale, he left early and headed to the Air Force where he shot the early days of the space program on film. I can’t imagine Pat in the Air Force. He was too opinionated and willing to confront authority. Actually, I can’t imagine Pat as a Yale graduate either. Their diploma would have lessened his obvious street smarts.

He came to work at the TV station in the early days of local news. It was a less sophisticated, less slick era of television.

When you were with Pat, you couldn’t let something slide. He was too smart to let you. If he liked you, and I think (and hope) he liked me, he would save your butt by being insightful at a time you thought he wasn’t even paying attention.

You could go to Pat and ask him about any event we’d ever covered (and many we hadn’t) and he would know all about it. He would point you in the right direction. He might even add things you hadn’t thought of including. And he would do it all from the perspective of the intellectual he was – a label I’m sure he’d find objectionable.

As Pat got older, and the run and gun life of a photographer lost his luster, he became a satellite truck operator. Working with Pat was like money in the bank.

He didn’t seem like the type who would ever retire, and yet after 38 years at the station, he did.

Friends threw Pat a spectacular going away party at the Rusty Scupper. I was astounded by all the important and talented people who came back to Connecticut to remember Pat. Others who couldn’t make it, sent back videotaped tributes.

It was a once in a lifetime event for two reasons. First, Pat’s retirement marked the end of one era of television. I don’t know if it was a better era, but it was different. Pat Child represented much of what was good about it.

Second, I have never felt so much love for one man in one room. That was astounding.

Tonight, I feel sad for Pat’s kids, his wife Kim (who also worked here for years) and his identical twin brother Bob. I feel sadder for those who didn’t get to share a little of Pat’s life. He was an exceptional man. He has touched me deeply. I will remember him forever.

I told former Channel 8 reporter, and longtime WNBC anchor, Sue Simmons about Pat here’s what she had to say

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