"There are college kids - 18, 19 years old - who can't remember a time before 'Dallas,'" Leonard ("Lenny") Katzman told the 'Los Angeles Times' in 1988. "'Dallas' has a kind of mythic quality … Our show is not very hip, not very with it. We don't do voguish things, trendy things. We don't have real-life characters. We've created our own fictitious city of Dallas within the city of Dallas." 

David Jacobs recounted, "CBS wanted something more like a saga. Dallas popped into my mind because it is a city of larger-than-life characters, rawness, wealth and a cowboy-like grit that prevails there. I'm an Easterner and had never been to Dallas … I wrote whatever illusions and stereotypes I had in mind and included some research. When Larry (Hagman) signed to star he told me he was a native of Fort Worth and that I had got most things right."

"In all of television production, there is creation and there is execution," Leonard Katzman explained. "Creation is what gets a show on the air; execution is what keeps it on the air. I think I've executed the show." Lee Rich added, "For a series to work, you have to know what you're going to say in the 10th and 20th show. I understand ratings. I try to keep my finger on the pulse of the public. I'm not always successful, but I've had my share of hits. I try to discover trends, then try to convince the networks to do them. My programming is larger than life and it doesn't take itself too seriously. We fulfilled the dreams of many people. I knew ('Dallas') would be a hit, but I didn't think it would be this big."

The 1980 cliffhanger 'Who Shot J.R.' became a phenomenon in much of the television-watching world, generating world-wide interest unprecedented in the history of television. "It's the granddaddy of them all - it's never going to be topped," Ernie Wallengren of 'Falcon Crest' remarked. "It has turned into a monster," Leonard Katzman acknowledged. "In television terms, it was the equivalent of Columbus discovering America - except he didn't have to go out again the next year and find another country."

Victoria Principal recalled, "There was a time particularly after the 'Who Shot J.R.?' phenomenon when the enthusiasm generated a kind of hysteria that was frightening, where you couldn't go out in public without people really pressing in on you. But that doesn't happen anymore (by 1985). People no longer become hysterical to the point of it being frightening. I think they have learned that we need to be treated with a certain amount of dignity, just like anyone else." 

In the 1985-86 season, Barbara Carrera, the Nicaraguan-born daughter of an American diplomat, guest starred on 'Dallas'. "It is with great pride, that I'm changing this stereotyped image that Hollywood had about a Latin woman … I think it is wrong to put people in any category, be it Latinos or Russians or Greeks. I hate the idea of intelligent people not being able to see each other as simply other human beings," Barbara expressed. "I have discovered, that I am constantly changing and I really like that. The minute anyone would want to put me a number, a label, I would contradict it. Whatever I am now, I am also the opposite of it. Truth changes by the second. What was true yesterday is no longer true today."

In 1977, Barbara co-starred in the motion picture, 'The Island of Dr. Moreau'. Based on the 1896 H.G. Wells's novel, 'The Island of Dr. Moreau' was the 5th monster hit at the box office when it was released in July 1977. Shot on location at St. Croix in the American Virgin Islands, 'The Island of Dr. Moreau' told a story of a scientist who believed himself a God-like figure. In his quest to learn the biological code of life so he could control through chromosomes, Dr. Moreau spent 11 years setting up a laboratory on the island to experiment with creating a perfect race by turning animals into humans.

Dr. Moreau believed if you could cross animals and humans you would eradicate evil. Hence he violated the laws of nature on animals and humans by injecting them with a serum which promised to "touch them with humanity." Dr. Moreau transformed animals into men. Dan Striepeke and John Chambers provided the make-up and Ralph and Toni Helfer trained the animals.

Burt Lancaster played Dr. Moreau in the movie told Colin Dangaard in 1977, "People want a touch of fairy tale, along with an element of believability. I look for something that is interesting, as opposed to a conventional role. Sometimes it works, sometimes it doesn't. And invariably people don't like it; they want you to be what they envision you are. I have always been intrigued over the morality of how far science should go.

"And further, if we succeed in mastering genetics who should have the power. We are not trying to create a horror story, but rather trying to show a man who is dedicated to his work, to science. He is dedicated because he feels he is on the verge of discovering the whole genetic structure of life. Yet … the horror is there because it manifests itself. You see, I am a product of my time. I am essentially a puritan. Even though, intellectually, I can accept a frank view of sex, traditionally I cannot. Those things stick to you, even though you might negate them intellectually."

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