ArchivesPosts Tagged ‘videotape’


Posted by Glenn Lazzaro for his series “Adventures in Television”

Several of the spots in this promo break came from the edit rooms at National Video Center. NBC producers Tim Miller and Don Duncan usually had one or two rooms going at any given time in those days. I worked on the “Real Life with Jane Pauley” promo in this break. As a bonus, I also got my first chance to shoot film.

Tim and Don had hired a documentary film crew to shoot “real-life scenes” of America for Pauley’s show open. For the promo, they wanted to intercut the open with an in…Continue Reading


Posted by Glenn Lazzaro for his series “Adventures in Television”

1992. National Video Center. NYC.

One day Mark Pellington called and said he wanted to come over and play 2 songs for me that he would be directing Music Videos for. I could choose which one I wanted to edit. I had been working with Mark for a number of years while he was a writer/producer/director at MTV and he had made the transition to full time director by this time. The songs were “Beautiful Girl” by INXS and “Jeremy” by a new band called “Pearl Jam.”

After listening to…Continue Reading


Posted by Glenn Lazzaro for his series “Adventures in Television”

National Video. 1989

In 1989 most MTV producers were trying to out-cut each other using blinding-fast edits. There was one exception. John Payson. John had come to MTV from the Harvard Lampoon so the majority of his work was comedy based. He was less concerned about “being cool” and concentrated more on linear storytelling. (but with a decidedly MTV feel) Between 1987 and 1990 John was responsible for helping make “Randee Of The Redwoods” the face of MTV.

Mysterious Man

When …Continue Reading


Posted by Glenn Lazzaro for his series “Adventures in Television”

I am very proud to have been included in a new book  entitled “Inside Pee-wee’s Playhouse: The Untold, Unauthorized, and Unpredictable Story of a Pop Phenomenon” By Caseen Gains. Its a great read about the making of the original CBS television show and filled with great-behind-the-scenes stories and photographs.

Believe it or not, this “Connect-the-Dots” segment I edited for the show was  considered “state-of-the art” in 1986.

If you are interested in reading the book you can get it …Continue Reading


Posted by Glenn Lazzaro for his series “Adventures in Television”

National Video Center, New York City, 1985.

In the early ’80s when hip hop & rap were first noticed by the mainstream, most of the music videos were dance tracks and for the most part, devoid of political messages. Then Kurtis Blow released the single “America” and all that changed. It was a political rant about everything that was happening during the Reaganomics-Cold War-Anti-Russian era in America. Claude Borenzweig, then working at Polygram Records, was editing & directi…Continue Reading


Posted by Glenn Lazzaro for his series “Adventures in Television.”

1990, National Video Center, NYC.  Posted by Glenn Lazzaro

Before 1990, a lot of the things we did in the edit suite (animating art under the title camera, warping images, revealing the process, etc.) were primarily for promos and music videos. The commercial advertising world had yet to embrace the “MTV editorial style.” Agencies would borrow ideas occasionally, but they’d never really done a full-blown spot using “edit suite” techniques. This spot changed all that.

I’d worked with…Continue Reading


1996. National Video Center. NYC.

By 1996, I was transitioning from editor to director  with the help of executive producer Susie Shuttleworth. Together we started a production company in partnership with National Video called Division 6.

I’d been working with Patrick McDonough at PMCD Design since the late ’80s as an editor; he was one of the first people to hire Susie and me to produce and direct his live-action projects. Patrick had designed ESPN2’s on-air look, so when they launched the first Winter X Games they chose PMCD to design the show packaging. P…Continue Reading


1987. National Video Center. NYC.

Usually when I got a rush job to edit an ’80s music video, Rush was not involved. This was not one of those times.

Producer Stuart Samuels called sales exec Steve Ostrow to book me for 7 days straight. I’d have to be available 24 hours a day. Zbigniew Rybcznski, one of the hottest directors at the time, wanted the freedom of working around-the-clock on two music videos: one for Rush and one for Mr. Mister. He wanted to, as he put it, “Edit live.”

Rybcznski was know for his Oscar-winning short “Tango” and his supremely cool music video “Close…Continue Reading


1989. National Video Center. NYC.

I’d been working with NBC’s Tim Miller and his top producer, Don Duncan, for a few years. Don was super-talented and always oversaw the best projects. He also loved taking chances in the edit room. Like the time he used “Helter Skelter” by the Beatles for a series of promos for Tom Brokaw…without permission. When they told me we were going to do a music video for NBC News based on Billy Joel’s “We Didn’t Start The Fire,” I knew it would be fun.

Don intended do a “word by word” interpretation of the lyrics. H…Continue Reading


“Connect The Dots”

1986. National Video Center. NYC. Lynda and Ellen Kahn of “Twin Art” asked me to help them put together an animated sequence for the upcoming new show “Pee Wee’s Playhouse.” In the sequence “Connect The Dots,” Pee Wee Herman jumps into his “Magic Screen” and tosses up colored dots that connect and construct a farm tractor for him to play with. Pee Wee had been shot on green screen on 16mm film and transferred to one-inch tape. Twin Art prepared the graphic elements on a Quantel Paintbox, the standard at the time. (Photoshop, …Continue Reading