JC / Railbird

TV

The 99 Percent

Johnny Weir hadn’t even been born when the modern Kentucky Derby telecast was conceived. The challenges of 1982 look a lot like 2015:

Many were dubious at the time about the value of an extended telecast, but ABC stood fast. “There are very few sports that the American public follows so little, but becomes so interested in for one race,” host Jim McKay told the Dallas Morning News. “There’s a tremendous amount of familiarization to do on the day of the race. There’s the horse, the owner, the jockey, and the trainer, and it’s important to do as much as possible on who they are and where they came from.”

Sportscaster Howard Cosell summarized ABC’s production strategy a bit more bluntly to the Washington Post: “You have to be willing to alienate — or at least talk at a sophisticated level they’re not at all pleased with — the serious horseplayer,” he explained. “You can’t be concerned with them. You have to worry about the 99 percent who are watching just because it’s the Derby.”

It’s interesting how much the televised approach to the Derby has spilled over into year-round racing marketing (for example: America’s Best Racing).

Posted in Racing on May 28, 2015 / Tagged Kentucky Derby, Marketing, Telecasts, TV

Odds and Ends

Hong Kong is losing out to offshore bookies. “Engelbrecht estimates annual revenue for illegal bookmakers from Hong Kong horse races is equivalent to between one-third and 100 percent of the Jockey Club’s receipts.”

With ESPN’s exit, NBC is poised to pick up the Belmont Stakes.

Sounds as though Bill Mott should look for a new rider for To Honor and Serve: “I would be pretty surprised if Johnny would not be riding Uncle Mo.”

Bob Baffert says he’ll wait until the 1 1/16-mile San Felipe Stakes on March 12 to start Jaycito. “I don’t want to run him short.”

What the Life at Ten debacle could mean for the NTRA Safety Alliance.

Andrew Beyer sees potential in new microbets, although he’s not wild about the lottery-like Gulfstream Rainbow Six. “It is, in my view, a sucker bet.” Is the new Pimlico Slider less of one, with its four-race sequence, 50-cent minimum, 18% takeout, and a “staggering” number of combinations?

Posted in Racing on February 16, 2011 / Tagged Derby Prospects, Hong Kong, Jaycito, Life At Ten, Triple Crown, TV, Uncle Mo, Wagering

Working Around

Production is set to begin October 31 at Santa Anita on “Luck,” complicated by the racetrack surface renovation underway:

All of the changes have forced HBO to break up filming of their episodes and have caused problems in booking certain guest cast members and in working with the series’ directors, Bronchtein said.

In addition, the crew has less days to shoot the early episodes and fewer days to prepare for upcoming ones.

“That just adds pressure to the process,” he said. “It’s really forced us to work extra hard and to be at the top of our game.”

The new track surface is expected to be ready by early December, which is when “Luck” plans to stage races for filming. That’s one way to test the dirt …

How has this tidbit not come up before? Bill Barich, author of “Laughing in the Hills” and “A Fine Place to Daydream,” is part of the writing crew on “Luck” and on the scene at Santa Anita. The handicapper-writer, who had been living in Dublin, told the Irish Times, “If all goes well … this gig, as opposed to my books, may keep me out of the Trail’s End trailer park in Santa Rosa.”

Posted in Media on October 23, 2010 / Tagged Bill Barich, Challenges, Film Production, HBO, Luck, Santa Anita, Track Surfaces, TV

Anticipating “Luck”

Michael Mann talks about “Luck” with the Los Angeles Times:

“To make these characters be alive, you have a sense of them intuitively and viscerally,” Mann said. “The challenge of it is obvious, but the economy of it is wonderful — if you can make it work.”

Making “the economy” work has been the director’s career. Khoi Vinh:

What’s left out from these movies is as important and beautiful as what’s included. They’re exercises in doing as much as possible with as little as possible, implying whole swaths of narrative information by allowing the audience to extrapolate events, details, backstories and subplots from only the barest hints of their presence…. Mann employs an architectural approach that establishes a plot framework but declines to fill every nook and cranny. He uses very few elements to suggest many more, and in so doing constructs a kind of environment that the audience experiences rather than a narrative account that the audience observes.

Or, as Mann tells his interviewer, discussing audience perceptions:

“It’s liberating to jump into the stream of a story and jump into the stream of a character and convey by attitude, ambience and the tone of that person — and their surroundings and how they’re reacting to those surroundings — the magic of what’s happening. When you can bring the audience into understanding and they have leapt over that little gap, and they’re getting it on their own, it’s a much more intense involvement.”

There is nothing about this show that isn’t coming together.

Posted in Media on October 12, 2010 / Tagged Anticipation, Directing, HBO, Luck, Michael Mann, Minimalism, Narratives, Storytelling, TV