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Bernard Briskin was born May 21, 1924. [1] [2] His father, Samuel J. Briskin, was a film producer and philanthropist.[3]Briskin was educated at the Black-Foxe Military Institute and Fairfax High School in Los Angeles, California, until he went to prep school in New England at Worcester Academy, and returned to the West coast, where he graduated from Beverly Hills High School in 1943. [3]
Briskin was born on February 8, 1896, in either Riga, Russia, or New York City. His parents were Benjamin and Rose Briskin. Two of his brothers, Irving and Murray, also became film producers, while his sister, Ida, married a film studio executive.
Oct 17, 2017 · Cohn had stiff competition in Hollywood. At first, he stayed true to his roots in vaudeville, producing low-budget films. The studio became part of Poverty Row, a group of B movie studios that ...
- Irving Briskin, was an American film producer of more than 200 films during the 1930s and 1940s.
- Irving Briskin was the brother of Samuel J Briskin and Murray Briskin, both film producers.
- In July 1927, when the studio got rid of their foreign broker system and implemented their own foreign sales, Irving Briskin was put in charge, becoming head of their foreign department.
- The new company had been formed from the former Irving Briskin Distributing Company, which Irving Briskin began in the late 1920s.
Liberty Films was an independent motion picture production company founded in California by Frank Capra and Samuel J. Briskin in April 1945. [1] It produced only two films, the Christmas classic It's a Wonderful Life (1946), originally released by RKO Radio Pictures, and the film version of the hit play State of the Union (1948), originally released by Metro-Goldwyn-Mayer.
Head producers and executives were now at the mercy of the director. During production there was very little a producer could do to manage the way a picture was shot. The director was the manager in charge, and it was up to him to decide how much time to spend on rehearsals, what angles to shoot a scene from, and how many “takes” to shoot until he got the right one.
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Capra, Wyler, and Stevens were given producer-director status at the studio, and Sam Briskin became a Paramount executive. Though the major studio promised autonomy for the filmmakers, Paramount demanded approval of script and budget, prompting Wyler to remark, “I guess there is no such thing as complete independence unless you put up your own money.”
