People from Our Side: A Life Story with Photographs and Oral Biography

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The occasional opportunity would come up to speak with a top-level executive, or a few key players would take time to share their recollections of a milestone merger. We had also inherited nearly one hundred oral histories dating back to from multiple predecessor companies, in varying states of condition — some as transcripts only; some as recordings only; most without legal release forms from the interview participants. In the s Mr. The positive experience and richness of the conversation inspired our team to develop formal procedures and best practices for conducting oral histories that we could strategically implement to preserve priceless content.

Around the same time, a number of influential long-time executives retired. Their decades of institutional knowledge and memory were walking out the door with them.

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Our team recognized that oral histories could help fill potential gaps in Archives collections. More significantly, these in-depth conversations give us substantial levels of background, context, perspective and insight. If the person agrees to an interview, we thoroughly research their career trajectory and formulate a series of questions.

Most interviews last between hours. While the first several interviews were captured as audio recordings only, in we experimented filming two oral histories with the help of our Corporate Video Services Team. The results were so successful that filming is now our preferred method.

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We will audio record only if the participant declines to be filmed, or if a phone interview is our best logistical option. We are gratified that all interview participants to date have reported a positive experience. We find that people genuinely appreciate the opportunity to reflect on their careers and share memorable stories. At the same time, the Archives is collecting rich content that we can apply in various ways. Connecting with Team Members — and with the public. Lyell was hired as a keypunch operator in , and 45 years later retired as a Vice President in Technology.

The primary purpose of the completed interview is to become part of the Archives collection, preserving memory for future reference and research. In the meantime, the content gives us meaningful opportunities to connect with team members today. On one level, the oral history excerpts provide a learning opportunity to share background on company insights, innovations and culture. On another, we hope to create feelings of connection by highlighting content that would resonate with people across all backgrounds and lines of business.

For example, we interviewed our outgoing Innovation leader Steve Ellis, who told several tech-heavy stories about the development of online and mobile banking at Wells Fargo, offering a unique perspective on conveniences we now take for granted. He also shared experiences that most listeners could relate to personally — feeling overwhelmed his first day on the job; learning a valuable leadership lesson from a mentor; navigating workplace dress codes.

Created as veiled autobiography by Paul Feig and developed with executive producer Judd Apatow and supervising director Jake Kasdan, the series gathered a cult following during its on-again, off-again, abbreviated original broadcast. In the dozen years since its cancellation it has continued to convert new viewers, through showings on cable television and via DVD; in September, its 18 episodes began streaming on Netflix. It was also the wellspring of a dominant force in 21st-century comedy: the School of Apatow. Seth Rogen, Jason Segel, and James Franco—in their first roles or first roles of note, like nearly all their young castmates—got their start there.

And Apatow and Feig re-teamed not long ago, as producer and director of the hit Bridesmaids. T he Freaks and Geeks story begins in late Feig, an actor known, relatively speaking, for the movies Ski Patrol and Heavyweights co-written by Apatow, who brought Feig in and short runs on the TV series Dirty Dancing, Good Sports, and Sabrina, the Teenage Witch, has written, directed, and starred in an independent feature, Life Sold Separately, which he has been touring to college campuses.

Lower East Side Oral History Project

It was all these guys who had come out to L. I also used to see Paul in comedy clubs and thought he was really funny. That was our routine every night for years. Judd was younger than everyone else—he was really considered to be just a kid. At the same time, he was booking his own stand-up night at some club, working for Comic Relief. Everybody should be nice to him because he could be running the town someday. That just never happens. Everything had kind of hit the rocks; I was really at my lowest point.

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I kicked the thing out really fast—I think it had just been gestating for so long in my brain—cleaned it up and gave it to my wife, and she told me to send it to Judd. He called about 12 hours after I sent him the script. It was important to me to show that side. Get your friends, have your support group. And learn to be able to laugh at it. And all the rules go out the window. I got tired of every teenager being portrayed as horny and completely cool with sex, because that was not my experience.

You could split them into kids who are constantly trying to get older and kids that are desperately trying to hold on to their immaturity. I asked him to write another few episodes to explore the world, and he banged out two more. We took a lot of moments from them and put them into the pilot.

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Jake Kasdan, 24, is hired to direct the pilot; he will stick around for the run of the series, directing nearly a third of the episodes and helping edit the rest. Thank God it turned out to be good. So I said we should just try to cast unique characters and re-write the pilot to their personalities. It had always been about trying to fit the person to read the lines correctly.

Judd and Paul created a carnival atmosphere. It was a more interesting approach than all the other teenagers I was reading, who just hated their parents.

But Linda was the exact person I had in my head. And I think that helped me ultimately, because it let me put my guard down. I was just focused on not throwing up. All we have to do is act!

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We should grab him immediately. He was always the one that had a Camus novel, heavily dog-eared, and his car was so full of junk that it looked like he lived out of it. I saw all the kids at summer school, and there was this guy the teacher pointed out to me, this kind of rough-around-the-edges-looking kid. Judd connected to him immediately and deeply. Jason really captured that desperation I felt when I was younger. Seth Rogen, 16, who will play acerbic freak Ken Miller, is found on a casting trip to Vancouver.

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  4. The smart, sweet, grounded person we now know him to be seemed impossible back then. He seemed like a mad, troublemaking Canadian lunatic who was quiet and angry and might kill you. I was incredibly angry and repressed, and I think they saw me as this kind of weird, sarcastic guy and started writing towards that. But then they got to know me and saw me as a nice guy, and that revealed itself as the show progressed. There were some kids that Judd thought were immensely special and was going to beat that into them until they believed it.

    Gangly, shuffling, bespectacled, he is the most outwardly strange and inwardly deep of the central geeks. He could make you cry laughing by doing almost nothing. Then it turned out he could do anything. It was really acting of a very high order. Can I? We told each other jokes for a couple hours and became friends. Martin was the exact opposite, very mischievous, liked to get a rise out of people.

    Samm was more the Vegas comedian with the puns and the quips. It was a very odd, bickering-family kind of friendship. That I got a lot of enjoyment out of. The pilot is completed by early spring of What do we do to not let that happen? True Hollywood Story. What was the worst thing that happened to you in high school? Who were you in love with and why?

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