Streets Of San Francisco Tv Show – Fifty years after The Streets of San Francisco premiered on ABC, Michael Douglas recalls what he learned from the heart-pounding cop drama, especially from star Karl Maldon.
, but the series gave him his first major role and marked a turning point in his career.
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The son of acting and production mogul Kirk Douglas, he made his screen debut in 1965 in his father’s
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, for which he was nominated for three Emmy Awards. The show ran for five years from September 16, 1972 to June 9, 1977 and was nominated for a total of 16 Emmy Awards.
. Quinn Martin served as executive producer and had at least one prime-time series every season from 1959 to 1980.
In a classic cop pairing, veteran actor Carl Malden brings rubber-faced charm to vintage detective Lt. Mike Stone, while Douglas’s teen-idol looks help newcomer Inspector Steve Keller appeal to younger audiences. Muldoon’s classic fedora and sweater vest are reminiscent of an earlier era, while Douglas’s long hair and modern blazer embody a new era.
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During their four seasons together, Muldoon and Douglas formed an unstoppable crime-fighting team. The show also has a strong cast of semi-regulars. Among them are Darlene Carr, Robert F. Simon, John Kerr, Reuben Collins, Lee Harris, Ray. K. Gorman, Vince Howard, Fred Sadoff and Stephen Bradley.
. In 2013, he won an Emmy Award, a Golden Globe Award, and a Screen Actors Guild Award for his role as Liberace on the HBO series
. Most recently, he played Dr. Hank Pym in three Marvel movies and was nominated for four Emmy Awards
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For me, this show was my first big opportunity. For Carr, it was the sunset of his career. Known for his work ethic, he set the tone for the show in more ways than one. First, he specified in his contract that by the time an episode was produced, he would have the next week’s script.
Whenever there was a break in filming, Carl would pull me aside and we would write lines for the next week’s script. By completing the scripts beforehand, we have the opportunity to review and rewrite them [if needed]. The writers were a little disappointed because our script was about eight pages longer than most other Quinn Martin scripts, simply because we were so well rehearsed.
Our show was filmed in San Francisco, which was different from other shows at the time. The first year we went back and forth between studio work and some on location shoots. But then we realized it made sense to film the entire show in San Francisco. There wasn’t a lot of location photography on television at the time. Filming the show in San Francisco made for a wonderful environment.
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But in our first year, we were not warmly received by the media in San Francisco, who thought we were exploiting their city. Carl and I were a little hurt and a little angry. But by the next year, the show was such a hit that all of San Francisco knew it was a love letter to their city. It’s a tribute — the greatest one-hour commercial the city could have. So their tune quickly changed. We were made to feel like a part of the city and its people.
[The episode] is called “The Tisha Sterling Experiment,” written by Ellen M. Violet. It got great reviews and I moved to California and signed with CBS Films. I made several films with them and then started working on TV series incl
Quinn, a successful producer with numerous shows on the air, was embroiled in a lawsuit with ABC, who had promised to produce a television series but backed out. Quinn sued ABC and won. As a result, it received a one-hour show of twenty-six episodes, as well as a two-hour film introducing the series.
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These promises are few. Networks will usually give you a pilot and maybe a short order of six episodes. But that’s a guaranteed twenty-six episodes plus a two-hour movie. My agent said, “Listen, this is a great opportunity for you as a young actor. Quinn Martin is a great producer.”
Quinn definitely has an elegant patina. Karl Malden is an Oscar winner. He worked closely with people like Marlon Brando, and when I worked with him, I began to understand why so many people wanted to work with him – because he was so great.
As a young actor, I still have a bit of stage fright in front of the camera, but I couldn’t turn down such an amazing opportunity and commitment to the season.
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At that time, he was the main character and back, and when shooting, the second main character was usually about two feet away from the main character, shot in soft focus. The focus cannot be both. But Carl looked at me and said, “Hey, Buddy, come here. You go.”
Early on, he realized that being number one on the list didn’t mean he had to be number one in front of the camera all the time. He knows how important it is to stay in the background sometimes. He was happy to let me sit in the front seat from time to time. I am grateful for this courtesy.
Most of the show is you and Carl driving the famous Ford sedan equipped with a portable siren. Any memories of those trips?
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I remember all the long exposition scenes we did while I was driving. There’s a sound system in the trunk and we’re going to shoot a five-page scene and the director is going to stay.
In those days we had those old Panavision cameras with a thousand rolls. We lined them up on the side of the car and went out and did a center hit on me and a center hit on Carl and vice versa. I would turn on my camera and start driving. One policeman was driving in front of us, another was behind, and a third was stopping traffic at the traffic light. This is crazy. When we drive, we hang these big cameras on the side of the car. I don’t know if we have enough room to go [on the lane]. We don’t have a plan. There is no map.
But my clearest memory is our first day of shooting. It was getting late when we reached the top of Nob Mountain. AP knocked on my dressing room door and said, “We have to go! We’re running out of money! It’s only a walk-through, so we need you right now.”
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I rushed to the car and Carl was sitting inside. “Well, after you go down the block, around Nob Hill, past the Fairmont Hotel and down the hill,” AP said, “Carl, you put the gum [lights] on the roof. !”
I pride myself on being a good driver, driving Formula 1 cars, etc. So I didn’t bother marking the route. They said, “Come here and round this corner.”
The principal yelled, “Action!” Carl put the gum on the roof of the car and I drove off to the Fairmont and up the hill. All I can tell you is that I came off the mountain and was completely airborne.
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While in the air I had time to look at Carl and he looked back. The wheels squealed as I parked the car. Carl got out of the car and said, “You call this driving? This is not driving! That’s dramatic driving!” I thought, ‘Oh my God! I’ll be fired on my first day here.’
At this point, Carl said, “Okay, I’m done. I’m going back to my trailer to change my underwear.’
Did you leave the show because you wanted to stop acting or because you wanted to start producing?
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I always wanted to act. I never even thought about producing. That’s What I Like About [Ken Casey’s 1962 Novel]
— and I was able to acquire these materials because my father once owned these properties.
, I felt very comfortable and definitely wanted to take advantage of the right to direct an episode. It’s all about me getting more comfortable with the whole filmmaking process. Although there was a big difference between TV and feature films at the time, I still think of the show as a 52-minute movie shot over 7 days. You will learn a lot.
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Once we got to San Francisco, we shot six days a week. At the time, a one-hour program required seven days of shooting time, meaning each of the twenty-six episodes required one week and one day. So there’s about six, seven months out of the year that are… continuous, you know?
So, I learned a lot. I learned about screenplay structure because we have a prologue, four acts, and an epilogue—that format is Quinn
