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Jeff Freilich

From Battlestar Wiki, the free, open content Battlestar Galactica encyclopedia and episode guide
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Jeff Freilich
[[File:|200px]]
Role: Producer, Writer, Director
BSG Universe: Galactica 1980
Date of Birth:
Date of Death: Missing required parameter 1=month! ,
Nationality: USA USA
[ Official Site]
IMDb profile

Jeff Freilich is an American television writer, producer, and director who worked on Galactica 1980.[external 1] Born in New York City,[external 2] Freilich has had a prolific career spanning over 40 years in episodic television, cable motion pictures, and feature films,[external 3] having participated in the production of more than 500 hours of television.[external 4] He is best known for his work as executive producer and showrunner of USA Network's Burn Notice,[commentary 1] as well as his producing work on Halt and Catch Fire, Grace and Frankie, Falcon Crest, and Special Unit 2.[external 5]

Early Life and Education

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Freilich graduated in fine arts from New York City's prestigious High School of Music and Art.[external 6] He later earned a degree in psychology from Antioch College.[external 7] Subsequently, Freilich attended the University of Southern California School of Medicine.[external 8]

Reflecting on his educational path, Freilich explained that he was driven by two motivations: a need to express himself creatively through words, pictures, or music, and a desire to make people happy and improve the world in his own way.[commentary 2] While attending the High School of Music and Art, he became fascinated by great paintings at New York's museums, wanting to learn more about art while simultaneously studying science to prepare for a medical career.[commentary 3]

At Antioch College during the Vietnam War, Freilich became involved in the anti-war movement and civil rights demonstrations, growing more interested in how people behaved with one another, leading him to concentrate in psychology while studying the sciences necessary for medical school.[commentary 4] During this time, he wrote and directed three student films, realizing that film is an art form incorporating both images and narrative story, and that he preferred working collaboratively with others rather than alone.[commentary 5]

After moving to Los Angeles to attend USC School of Medicine, Freilich quickly realized that medicine was more restrictive and demanding than he wanted, and that continuing would make him a good doctor but never happy because his passion for creative expression would be suppressed.[commentary 6] He chose to leave medical school and attend the American Film Institute as a producer.[commentary 7]

In a 2008 interview, Freilich revealed he had been in medicine years ago but did not like being a doctor, which led him to become a writer instead.[commentary 8] He explained that after his experience in medicine, he never wanted to do anything again that he wasn't having a good time doing, which guided his career choices thereafter.[commentary 9] He noted that his background in medicine, where things were life and death, gave him a perspective on filmmaking: if you can't have a good time doing it, it shows on screen.[commentary 10]

Freilich's parents were initially shocked when he decided to leave medical school, as they wanted their son's future to be secure, but to their credit, they supported him in pursuing a more uncertain career as a writer and filmmaker.[commentary 11] His father's only concern was that he would become happy in what he did for a living, and when Freilich told him he was content, it made his father proud.[commentary 12]

Early Career

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Roger Corman and New World Pictures

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At the American Film Institute, Freilich produced "Devil's Bargain," directed by Tim Hunter, his closest friend from high school.[external 9][commentary 13] His experience on Hunter's movie got him interested in pursuing a career in film, and because it was difficult to get a job as a producer or director without a portfolio, he chose to write, as a writer's ideas on paper speak for themselves and cannot be taken away.[commentary 14]

He began his professional career working under Roger Corman at New World Pictures,[external 10] where he rewrote screenplays alongside partner Tim Hunter for Corman's New World Pictures and Sam Arkoff's AIP.[external 11]

In a 2008 interview, Freilich recalled his time with Corman fondly, describing how he worked alongside directors Joe Dante, Peter Bogdanovich, Jonathan Demme, Francis Coppola, Tim Hunter, Johnny Axelrod, Jonathan Kaplan, and Paul Bartel.[commentary 15] He remembered that they got $25 a week and peanut butter and jelly sandwiches, but someone gave them a chance to make their movie.[commentary 16] Freilich recounted a memorable story about being paid $500 with Tim Hunter to write a script, and Joe Dante and Alan Arkush getting $500 to direct it, but when they added stock footage from Death Race 2000, Corman deducted the cost from their checks, reducing their payment to $350 each because "stock footage costs money."[commentary 17]

Universal Television and First Emmy Nomination

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Freilich's first writing job in television was on a series called Doctor's Hospital, in which George Peppard played a neurosurgeon at Los Angeles County Hospital.[commentary 18] He had been writing original motion picture screenplays but had little luck selling them to studios, and needed money to help pay off loans from medical school, so it seemed natural to sell stories to a medical television show.[commentary 19]

Two years later, Freilich was offered the opportunity to write a script for Baretta, and when his script was well received, Universal offered him a job writing on the staff of Baretta, where his responsibilities included rewriting other writers' scripts.[commentary 20] At Universal, Freilich's work as Executive Story Consultant on Baretta and Quincy and as writer/producer of The Incredible Hulk earned him his first Emmy nomination.[external 12]

Galactica 1980

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For Galactica 1980, Freilich wrote and produced the episode "Spaceball" alongside Frank Lupo and series creator Glen A. Larson.[external 13] The episode, directed by Barry Crane, first aired on ABC on Sunday, March 30, 1980.[external 14]

Lorimar/Warner Bros. Era

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Creating Television Series

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In his 13-year tenure at Lorimar/Warner Bros., Freilich created three network television series and served as writer/director/Executive Producer on Falcon Crest, Dark Justice, Better Days, Freddy's Nightmares, and several other episodic comedies and dramas.[external 15]

Falcon Crest

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Freilich's involvement with Falcon Crest came unexpectedly in 1985 when his three-year-old son had chickenpox and Freilich became sick as well.[commentary 21] While home in bed, he received a call from Lee Rich, the president of Lorimar, who told him that Earl Hamner was leaving Falcon Crest and that Rich wanted Freilich to take over, explaining the show was dropping in the ratings and was in jeopardy of being cancelled, saying it needed "a goose."[commentary 22] Freilich told Rich he had never seen the show and wouldn't know where to begin, but within an hour, a deliveryman arrived with a huge box of videotapes.[commentary 23]

When Freilich put the last episode of season 5 in his machine and fell asleep during the opening credits due to medication, Rich called back and said "See what I mean? The show is dull!"[commentary 24] Rich promised Freilich he could make whatever changes he wanted, hire or fire anybody he pleased, that Rich would protect him from CBS, and that he could spend whatever it took to get the series back on its feet.[commentary 25] Freilich made many changes and turned Falcon Crest into a show he would want to watch.[commentary 26]

Partnership with Norman Jewison and Film Work

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In his nine-year association with Paramount Pictures, Freilich worked in partnership with Norman Jewison on the Emmy- and Cable Ace Award-winning Picture Windows for Showtime.[external 16]

Freilich also produced films for directors Bob Rafelson, Jonathan Kaplan, Tim Hunter, John Boorman, Lynne Littman, and Tony Bill.[external 17] He formed a partnership with Michael Douglas, Peter Bogdanovich, and Zack Norman to develop motion pictures based on the works of Cornell Woolrich and Damon Runyon.[external 18]

Rescuers: Stories of Courage

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Freilich produced Rescuers: Stories of Courage with Barbra Streisand, creating six films about Christians who did selfless acts of courage during World War II, during the Holocaust, to save the lives of Jews.[commentary 27] The films took place in France, Belgium, Holland, Hungary, and Germany.[commentary 28]

The project began with Rabbi Harold Schulweis of Valley Beth Shalom, who for decades had passionately urged Jews to remember the rescuers as well as the gas chambers.[commentary 29] Two of his congregants, Malka Drucker and Gay Block, put up thousands of their own dollars in the late 1980s to interview and photograph 50 rescuers in eight countries, meeting peasants and noblemen, priests and atheists, men and women who had stolen food for their Jewish wards, forged passports, and carried chamber pots from attics.[commentary 30]

Although 20 publishers initially rejected the book, remarking that the world had heard enough about the Holocaust and questioning who wanted to look at pictures of old people, the tome was eventually a success.[commentary 31] Drucker's agent brother-in-law made sure it crossed the desk of fellow Valley Beth Shalom congregant Jerry Offsay on his first day as the new president of programming for Showtime, and an enthusiastic Offsay soon sent the book to Barbra Streisand and her producing partner, Cis Corman, who said there was no way they could not do the project, as they were in awe of the rescuers.[commentary 32]

Freilich explained that he and Streisand both wanted to die knowing they'd made at least one thing that had some kind of weight to it, that wasn't just pure entertainment.[commentary 33] For this work, Freilich won numerous Christian awards despite being Jewish, and received an award from the Archbishop of New York at St. Patrick's Cathedral, where he delivered a speech that "silenced the crowd."[commentary 34] He noted that Robert Duvall, who won the award for feature films that year for The Apostle, came up and hugged him after his speech.[commentary 35]

Freilich urged the art department to comb Europe for period props, including actual forged passports, Nazi uniforms, wartime German vehicles, a 1930s French bicycle, and a Hungarian iron from 1935.[commentary 36] Their efforts were so successful that once, while shooting in small-town Canada, an elderly Auschwitz survivor who had not read the newspaper ads warning about the shoot was overcome by the sight of Nazis and cowering Jews in the streets, and Freilich found him crying, unable to stand and leaning against the wall.[commentary 37] When Freilich apologized and explained about the movies, the survivor wanly smiled and thanked him.[commentary 38]

The experience stayed with Freilich, who summed up that "Rescuers" was the first time he had done something meaningful in TV.[commentary 39]

Regarding working with Streisand, Freilich recalled that Peter Bogdanovich advised him not to send her a movie until it was finished because "she will give you notes until you die."[commentary 40] Following this advice, Freilich would hire directors, shoot and cut the picture, deliver it, and then send Streisand a copy, always receiving back a really nice note of approval.[commentary 41]

Fox Films

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Freilich produced three films for Twentieth Century Fox: Bachelor Party: The Last Temptation (also known as Bachelor Party 2), Wrong Turn: Dead End (also known as Wrong Turn 2), and Behind Enemy Lines: Colombia.[external 19] He also produced one film for Universal: Beethoven's Christmas Adventure.[external 20]

Freilich recalled producing Behind Enemy Lines 3, directed by Tim Matheson, which was shot in Puerto Rico with most of the same crew from Frogmen 14 years earlier.[commentary 42]

Return to Television: Burn Notice

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Leaving Television and Return

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Freilich's last experience in episodic television before Burn Notice was in 1994 when he was executive producer and partners with producer Arnold Kopelson making the movie Frogmen with O.J. Simpson in Puerto Rico.[commentary 43] The experience was thoroughly unpleasant because everything in the movie became evidence in the O.J. Simpson murder trial, with the film being confiscated.[commentary 44]

This negative experience, combined with changes in the television industry that made him uncomfortable, led Freilich to leave episodic television for 14 years.[commentary 45] He explained that television in the mid-1990s began to change in a way that was uncomfortable for him, as the autonomy he had previously enjoyed—where he could say no to any network or studio note, cast anybody he wanted, and hire any director or writer—was disappearing as studios and networks were handed over from individuals to corporations.[commentary 46]

Freilich recalled a particularly frustrating experience when a network executive, after reading a pilot script Freilich had written, said "I don't know, I'm the only one who's read it," effectively abdicating responsibility for making a decision.[commentary 47] This epitomized for him how "the inmates began to run the asylum" and why he didn't want to be part of that system anymore.[commentary 48]

Discovering Burn Notice

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Freilich's return to television came through his relationship with David Madden at Fox Television.[commentary 49] After Freilich produced Suzanne's Diary for Nicholas with Christina Applegate for Fox based on a James Patterson book, Madden called him a few years later saying he had a pilot script he wanted Freilich to read.[commentary 50] Freilich initially refused, but Madden persisted, saying he knew Freilich well and thought he would like it.[commentary 51]

Freilich read the 100-page pilot script while in New York with his daughter looking for an apartment for her, and found himself ignoring his daughter as he became absorbed in the script.[commentary 52] He loved the script, which was written by Matt Nix, someone he had never heard of before.[commentary 53]

Partnership with Matt Nix

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When Freilich met with Matt Nix, he instantly liked him and saw a little bit of himself 20 years earlier—a writer terrified that his work would be taken and turned into something completely different.[commentary 54] Freilich, who had been teaching at the American Film Institute, found that working with Nix made him as excited as he was 25 or 30 years earlier when he started in the business.[commentary 55]

Freilich and Nix made a pact: if Nix gave Freilich what he wanted (something they could shoot), Freilich would give Nix what he wanted (his show, without anybody meddling with it and turning it into something different).[commentary 56] Initially, this pact was only for the pilot, as Freilich refused to commit to the series.[commentary 57]

Miami Production

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When the pilot was originally written, it was designed for Newark, New Jersey, but was changed in part by USA Network's influence to Miami to give it a better look and make it more inviting as viewers flipped the channels.[commentary 58] Nix's conundrum was: "I want a guy to be trapped in an uncomfortable place. How do you ever make Miami an uncomfortable place to be trapped?" After being in Miami for two summers in a row shooting in extreme heat and humidity, Freilich joked they had found the answer.[commentary 59]

Freilich emphasized that working on a cable television budget meant having no more than 60% of the budget of a standard prime time network television show, requiring more creativity in spending money.[commentary 60] They couldn't afford to shoot in Los Angeles and come to Miami three times a year for beauty shots like other series did, so they had to dive into Miami with both feet.[commentary 61]

Freilich came to Miami as an executive producer to set up the production and created what he called "a movie studio" in a building that was going to be torn down near the Miami Convention Center—the same venue where Jim Morrison had exposed himself on stage at a Doors concert years earlier.[commentary 62] He noted with pride that while he said "let's do it," a bunch of other people actually did the work to turn the space into an ideal place to work.[commentary 63]

Regarding the show's look, Freilich explained that Miami itself is a character of the show—its color, architecture, and people contribute to the lightness and crispness that audiences liked.[commentary 64] He contrasted Burn Notice with Miami Vice, calling it "the anti-Miami Vice" because it's not about being flashy, but about a guy trying to get out of what seems to be a beautiful place—an irony that attracted Freilich to the show.[commentary 65]

Producer Philosophy

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Describing his role as producer, Freilich used a cocktail party metaphor: "A producer is the guy who throws the cocktail party. You want to invite a whole bunch of people who basically get along but there's a little conflict because conflict is good. Conflict keeps things interesting."[commentary 66] He emphasized knowing everybody's name and job, and being able to do almost anybody's job (though not as well as they do it), which helps him understand how to solve problems when they arise.[commentary 67]

Freilich stressed the importance of crew morale, wanting people to feel appreciated and supported rather than blamed when things go wrong.[commentary 68] His philosophy was that if people can't have a good time doing the work, it shows on screen, and he wanted crew members to look forward to Monday mornings rather than dreading going back to work.[commentary 69]

Freilich described himself as "a writers' director," saying he became the kind of producer he always wanted to have.[commentary 70] He doesn't stand on set looking at his watch and making people nervous, instead focusing on spending money in the most creative ways possible—on things a writer would feel are most important, rather than where production executives think money should go.[commentary 71]

Freilich served as executive producer on 32 episodes of Burn Notice from 2008 to 2010, co-executive producer on 11 episodes in 2007, and producer on 1 episode in 2007.[external 21] He also directed 2 episodes of the series between 2008 and 2009.[external 22]

Recent Work

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After Burn Notice, Freilich produced the first two seasons of Grace and Frankie for Netflix[external 23] and served as producer/director of AMC's Halt and Catch Fire for four seasons.[external 24] He produced 40 episodes of Halt and Catch Fire between 2014 and 2017[external 25] and 26 episodes of Grace and Frankie between 2015 and 2016.[external 26]

Teaching and Lectures

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Freilich has served as a senior mentor at the American Film Institute, teaching the Advanced Producing Workshop.[external 27] He has also lectured at NYU Tisch, Stanford, and UCLA.[external 28]

Writer credits for Galactica 1980

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Notes

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References

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External Sources

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  1. ↑ Jeff Freilich (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  2. ↑ Jeff Freilich - Biography (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  3. ↑ Jeff Freilich - Executive Producer (in English). AMC. Archived from the original on October 7, 2021. Retrieved on November 4, 2025.
  4. ↑ Freilich's Television Production History (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  5. ↑ Jeff Freilich Credits (backup available on Archive.org) (in English). TV Guide. Retrieved on November 4, 2025.
  6. ↑ Freilich's Fine Arts Education (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  7. ↑ Freilich's Psychology Degree (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  8. ↑ Freilich Attends USC Medical School (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  9. ↑ Devil's Bargain Production (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  10. ↑ Freilich at New World Pictures (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  11. ↑ Freilich's Screenwriting Partnership (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  12. ↑ Freilich's First Emmy Nomination (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  13. ↑ Spaceball Writers (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  14. ↑ Spaceball (backup available on Archive.org) (in English). IMDb (March 30, 1980). Retrieved on November 4, 2025.
  15. ↑ Freilich at Lorimar/Warner Bros. (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  16. ↑ Freilich's Partnership with Norman Jewison (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  17. ↑ Freilich's Film Director Collaborations (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  18. ↑ Literary Adaptation Partnership (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  19. ↑ Freilich's 20th Century Fox Films (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  20. ↑ Universal Film Production (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  21. ↑ Burn Notice Production Credits (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  22. ↑ Burn Notice Directing Credits (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  23. ↑ Grace and Frankie Production (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  24. ↑ Halt and Catch Fire Work (in English). AMC. Archived from the original on 7 October 2021. Retrieved on November 4, 2025.
  25. ↑ Halt and Catch Fire Episode Count (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  26. ↑ Grace and Frankie Episode Count (backup available on Archive.org) (in English). IMDb. Retrieved on November 4, 2025.
  27. ↑ AFI Teaching Position (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.
  28. ↑ University Lecture Circuit (backup available on Archive.org) (in English). AMC. Retrieved on November 4, 2025.

Commentary and Interviews

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  1. ↑ Amrie Cunningham (July 31, 2008). TV Addict Interview: BURN NOTICE Showrunner Jeff Freilich (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  2. ↑ Marc Bradley (September 2003). Interview with Jeff Freilich (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  3. ↑ Marc Bradley (September 2003). Freilich's Art Education (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  4. ↑ Marc Bradley (September 2003). Antioch College Experience (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  5. ↑ Marc Bradley (September 2003). Film as Creative Outlet (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  6. ↑ Marc Bradley (September 2003). Decision to Leave Medicine (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  7. ↑ Marc Bradley (September 2003). Transition to Film Institute (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  8. ↑ Amrie Cunningham (July 31, 2008). Freilich's Career Transition from Medicine (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  9. ↑ Amrie Cunningham (July 31, 2008). Freilich's Work Philosophy (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  10. ↑ Amrie Cunningham (July 31, 2008). Medical Background Influence on Career (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  11. ↑ Marc Bradley (September 2003). Parental Support for Career Change (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  12. ↑ Marc Bradley (September 2003). Father's Pride in Career Choice (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  13. ↑ Marc Bradley (September 2003). Tim Hunter Collaboration (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  14. ↑ Marc Bradley (September 2003). Choosing Writing as Entry Point (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  15. ↑ Amrie Cunningham (July 31, 2008). Freilich's Corman Era Colleagues (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  16. ↑ Amrie Cunningham (July 31, 2008). Working Conditions at New World (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  17. ↑ Amrie Cunningham (July 31, 2008). Corman Stock Footage Story (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  18. ↑ Marc Bradley (September 2003). First Television Writing Job (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  19. ↑ Marc Bradley (September 2003). Transition to Medical Television (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  20. ↑ Marc Bradley (September 2003). Baretta Staff Position (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  21. ↑ Marc Bradley (September 2003). Unusual Circumstances of Taking Over Falcon Crest (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  22. ↑ Marc Bradley (September 2003). Lee Rich's Offer (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  23. ↑ Marc Bradley (September 2003). Receiving Falcon Crest Tapes (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  24. ↑ Marc Bradley (September 2003). Recognition of Show's Problems (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  25. ↑ Marc Bradley (September 2003). Creative Freedom Promised (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  26. ↑ Marc Bradley (September 2003). Making Show Changes (backup available on Archive.org) (in English). Deutscher Falcon Crest Fanclub. Retrieved on November 4, 2025.
  27. ↑ Amrie Cunningham (July 31, 2008). Rescuers: Stories of Courage (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  28. ↑ Amrie Cunningham (July 31, 2008). Rescuers Production Locations (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  29. ↑ Pat Jankiewicz. Rabbi Schulweis and the Rescuers Project (backup available on Archive.org) (in English). Jewish Journal. Retrieved on November 4, 2025.
  30. ↑ Pat Jankiewicz. Drucker and Block's Research (backup available on Archive.org) (in English). Jewish Journal. Retrieved on November 4, 2025.
  31. ↑ Pat Jankiewicz. Initial Book Rejections (backup available on Archive.org) (in English). Jewish Journal. Retrieved on November 4, 2025.
  32. ↑ Pat Jankiewicz. Streisand's Involvement with Project (backup available on Archive.org) (in English). Jewish Journal. Retrieved on November 4, 2025.
  33. ↑ Amrie Cunningham (July 31, 2008). Motivation for Rescuers Project (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  34. ↑ Amrie Cunningham (July 31, 2008). Freilich's Christian Awards for Rescuers (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  35. ↑ Amrie Cunningham (July 31, 2008). Robert Duvall at Awards Ceremony (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  36. ↑ Pat Jankiewicz. Period Props for Rescuers (backup available on Archive.org) (in English). Jewish Journal. Retrieved on November 4, 2025.
  37. ↑ Pat Jankiewicz. Holocaust Survivor's Reaction to Filming (backup available on Archive.org) (in English). Jewish Journal. Retrieved on November 4, 2025.
  38. ↑ Pat Jankiewicz. Survivor's Thanks (backup available on Archive.org) (in English). Jewish Journal. Retrieved on November 4, 2025.
  39. ↑ Pat Jankiewicz. Rescuers as Meaningful Work (backup available on Archive.org) (in English). Jewish Journal. Retrieved on November 4, 2025.
  40. ↑ Amrie Cunningham (July 31, 2008). Working with Barbra Streisand (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  41. ↑ Amrie Cunningham (July 31, 2008). Streisand Collaboration Process (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  42. ↑ Amrie Cunningham (July 31, 2008). Behind Enemy Lines 3 Production (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  43. ↑ Amrie Cunningham (July 31, 2008). Last Pre-Burn Notice TV Experience (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  44. ↑ Amrie Cunningham (July 31, 2008). Frogmen and O.J. Simpson Trial (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  45. ↑ Amrie Cunningham (July 31, 2008). 14 Years Away from Television (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  46. ↑ Amrie Cunningham (July 31, 2008). Television Industry Changes in 1990s (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  47. ↑ Amrie Cunningham (July 31, 2008). Network Executive Anecdote (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  48. ↑ Amrie Cunningham (July 31, 2008). Industry Culture Shift (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  49. ↑ Amrie Cunningham (July 31, 2008). Relationship with David Madden (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  50. ↑ Amrie Cunningham (July 31, 2008). Madden's Pilot Script Call (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  51. ↑ Amrie Cunningham (July 31, 2008). Initial Refusal of Burn Notice (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  52. ↑ Amrie Cunningham (July 31, 2008). Reading Burn Notice Script (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  53. ↑ Amrie Cunningham (July 31, 2008). Discovering Matt Nix (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  54. ↑ Amrie Cunningham (July 31, 2008). First Meeting with Matt Nix (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  55. ↑ Amrie Cunningham (July 31, 2008). Renewed Excitement Working with Nix (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  56. ↑ Amrie Cunningham (July 31, 2008). Freilich-Nix Working Agreement (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  57. ↑ Amrie Cunningham (July 31, 2008). Initial Pilot-Only Commitment (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  58. ↑ Amrie Cunningham (July 31, 2008). Newark to Miami Setting Change (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  59. ↑ Amrie Cunningham (July 31, 2008). Making Miami Uncomfortable (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  60. ↑ Amrie Cunningham (July 31, 2008). Cable Television Budget Constraints (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  61. ↑ Amrie Cunningham (July 31, 2008). Full Commitment to Miami Filming (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  62. ↑ Amrie Cunningham (July 31, 2008). Creating Miami Studio (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  63. ↑ Amrie Cunningham (July 31, 2008). Pride in Miami Studio Team (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  64. ↑ Amrie Cunningham (July 31, 2008). Miami as Show Character (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  65. ↑ Amrie Cunningham (July 31, 2008). Burn Notice as Anti-Miami Vice (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  66. ↑ Amrie Cunningham (July 31, 2008). Producer as Cocktail Party Host (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  67. ↑ Amrie Cunningham (July 31, 2008). Understanding All Crew Roles (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  68. ↑ Amrie Cunningham (July 31, 2008). Supporting Crew Members (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  69. ↑ Amrie Cunningham (July 31, 2008). Creating Positive Work Environment (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  70. ↑ Amrie Cunningham (July 31, 2008). Self-Description as Writers' Director (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
  71. ↑ Amrie Cunningham (July 31, 2008). Creative Money Spending Philosophy (backup available on Archive.org) (in English). the TV addict. Retrieved on November 4, 2025.
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