Crane was born in Newark, New Jersey on November 1, 1871. He was the fourteenth and last child of a Methodist minister, Dr. Jonathan Townley Crane. Dr. Crane's various church appointments led the family to Paterson, New Jersey and to Port Jervis, New York, a town that would provide the setting for some of Stephen Crane's short stories and the novel The Third Violet. When Dr. Crane died in 1880, his widow moved the family to Asbury Park, New Jersey. As a child, Crane had been fascinated with military history, and from 1888-1890 he attended Claverack College, a military school. He also briefly attended both Lafayette College and Syracuse University, but academics held little interest for him, and he was known mainly for his abilities on the baseball field. During his only semester at Syracuse in 1891, he failed five of six subjects, receiving a single A for English Literature. His companions reported that he was a frequent visitor to the local
The caged-bird metaphor is potent, but does the dialogue actually register? Roley has a cult reputation among TV aficionados as a gonzo stylist, whose compositions were always dazzling but could at times overpower the content of a scene. On Mannix , though, Roley fit in perfectly. He was part of a consistent roster of aggressively camera-oriented directors that also included Leonard J. Horn (first among equals as the director of Mannix ’s pilot, and of the first feature film Geller produced, Corky ), Barry Crane (formerly the line producer for Mission: Impossible , a series known as “the director killer” because its rapid pacing required an unusually high number of camera set-ups), and Reza Badiyi (designer of the opening titles for Hawaii Five-O and Mary Tyler Moore ). Geller, who had also given Mission: Impossible a bold look, understood that action shows needed a kinetic texture. Joe Mannix lived in a violent world, and Mannix was built out of violent filmmaking.
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