Film and Television
One of Corbett's first television roles was on ABC's short-lived police detective show, N.Y.P.D., in 1968. In an episode called The Case of the Shady Lady, Corbett played a dancer who tries to make her husband's suicide into a murder for the insurance money. She had a supporting role in the film Out of It with Jon Voight, and minor role as a mute in the 1971 cult film Let's Scare Jessica to Death.
In 1973, Corbett moved to Los Angeles under contract to Universal Studios, as one of the last "contract players" of the studio contract system. While with Universal, she worked on virtually every major television series produced by the studio. Her first role under contract was an episode of the detective series Kojak, and roles followed on Wonder Woman, Emergency!, Barnaby Jones, Hawaii Five-O, Columbo (1974) episode "An Exercise in Fatality", Gunsmoke, McMillan & Wife, Barbary Coast, Banacek, Family, Otherworld, Murder, She Wrote (1986) episode "Deadline for Murder", Cheers and Magnum, P.I. (1981) episode "The Curse of the King Kamehameha Club"
She starred in The Savage Bees (1976) with Ben Johnson and in The Jaws of Satan (1981) with Fritz Weaver and a very young Christina Applegate. She also starred in NBC's television film version of The Cay with James Earl Jones and in NBC's Farewell to Manzanar. In 1978, she appeared in The Other Side of the Mountain with Marilyn Hassett. She later appeared as a regular in a number of television series, including a recurring role on the hugely popular medical drama Marcus Welby, M.D., the short lived sci-fi fantasy drama Otherworld on CBS, NBC's detective drama Ellery Queen, and the popular soap opera Love Is a Many Splendored Thing.
Read more about this topic: Gretchen Corbett
Famous quotes containing the words film and television, film and, film and/or television:
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“Film music should have the same relationship to the film drama that somebody’s piano playing in my living room has to the book I am reading.”
—Igor Stravinsky (1882–1971)
“Laughter on American television has taken the place of the chorus in Greek tragedy.... In other countries, the business of laughing is left to the viewers. Here, their laughter is put on the screen, integrated into the show. It is the screen that is laughing and having a good time. You are simply left alone with your consternation.”
—Jean Baudrillard (b. 1929)