
They lived in a row house on Vallejo Street, just a short walk from his laboratory, a creaky loft over a garage on Green Street, at the base of Telegraph Hill. His wife attempted to read the story aloud as he continued driving, but the other two passengers were hooting and hollering, trying to grab the paper out of her hands and get a better look.įarnsworth had trouble falling asleep after he and his wife arrived back at their apartment. As he unfolded a copy, he was startled by the grainy image of himself. When the foursome heard a newsboy shouting the headlines, Farnsworth pulled up to the curb and took a coin from his pocket. His 20-year-old wife, Pem, was riding next to him, and another couple sat in the backseat. The night the story was published, Farnsworth was driving down Market Street in an open-air roadster, heading back home from an evening at the movies. The article described the pair of mason jar-sized devices he was holding as the first all-electronic "sending and receiving tubes of his new television set," a system that transmits "20 pictures per second," each frame containing "8,000 elements, or pinpoints of light, to insure detail." His unsmiling expression barely hinted at his inner exhilaration.

On September 3, 1928, a photograph of him appeared in the San Francisco Chronicle alongside bold type hailing the "young genius" who was "quietly working away in his San Francisco laboratory" on his "revolutionary light machine." Just 22 years old, he had recently grown a mustache to mask his youth. Farnsworth was considered the perfect picture of inventive brilliance. Then corporate America pushed him out of the picture. Farnsworth changed the way we see the world.
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Most recently, Phil produced the “Painting With Ghosts” series of art adventures and “Beverly Hills: 100 Years, 100 Stories” for the City’s centennial.In a stroke of genius, Philo T.
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In addition to the TV specials, music videos and electronic press kits, he also produced the supplementary programming for deluxe DVD editions of “The Sixth Sense,” “Monsters Inc.,” “Some Like it Hot,” and won the prestigious Best DVD of the Year for both “Toy Story’s Ultimate Toy Box” in 2000, and “King Kong Special Edition” in 2006.

Phil and his production company, TV IS OK Productions, created and produced the Disney Sing-Along Songs, the most successful made-for-home-video “kid-vid” series of the 20th Century. His special “100 Years of the Hollywood Western” garnered the Cine “Golden Eagle” award, a Film Advisory Board award, and the western writers “Spur” award for best documentary. In 1996, Phil produced the Emmy winning “20 Years of Comedy On HBO,” which won him the CableAce for best comedy special. He has thrice been Emmy-nominated, as co-producer of “Donald Duck's 50th Birthday” and “Great Moments in Disney Animation,” and again for his editing on the 75th Annual Academy Awards.
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His montage sequences were featured in the movie biographies “This is Elvis,” “Imagine: John Lennon,” and the TV specials “Heroes of Rock n Roll” and “Motown 30: What’s Going On” as well as the Grammy lifetime achievement tribute film for Paul McCartney. Phil received gold records for his videos with Elton John, Billy Joel, and Tom Petty. His film clip tributes have appeared on the Emmys, Oscars, Grammys, SAG Awards, Comic Relief, and specials for Bob Hope, Jacques Cousteau and dozens of others.

He co-produced “The Museum of Television and Radio Presents The Funny Women of Television,” “M*A*S*H: Our Finest Hour,” “Phil Donahue’s 25th Anniversary Special,” “The Best of Disney’s 50 Years of Magic,” and HBO’s “Monty Python Reunion Tribute” in 1998. He produced CBS's “50 Years of Television: A Golden Celebration,” “ABC's 40th Anniversary Show,” “HBO's 20th Anniversary,” “The Mary Tyler Moore Show's 20th Anniversary,” and “Rick Nelson: A Brother Remembers”. As a writer-producer, Phil Savenick has created many of television's most highly-regarded compilation documentaries about TV and broadcast history.

Phil Savenick is a television producer and a televisionary artist.
