A work in constant progress (and occasional regress).
Kristi Wuttig has been working in the television industry since 1988. She began her career at KATU Television Center, the ABC affiliate in Portland, Oregon. During the next seven years, she worked as the production coordinator, eventually co-managing the production department for the television station’s local programs and news shows. Upon moving to Southern California, Wuttig began working as a production coordinator at MTM Productions, where the company not only produced its own programming including The Pretender, The Cape, Sparks and Orleans but also oversaw productions for the Family Channel including Home and Family, Apollo 11 and Ditchdigger’s Daughters. After three years with MTM/Family Channel, Wuttig moved for one season to the former MTM show The Pretender, where she was the executive assistant to the co-executive producer. Norman Powell, Wuttig’s former supervisor at MTM then asked her to work for him at Whidbey Island Films as the executive in charge of production for National Desk, a PBS documentary series. During the next four years, Wuttig managed the production and postproduction for executive producers Norman Powell and Lionel Chetwynd and was promoted to coordinating producer on the 2001 PBS documentary Darkness at High Noon: The Carl Foreman Documents. Also in 2001, Wuttig was the coordinating producer on Hollywood’s Best-Kept Secrets, a half-hour pilot for American Movie Classics produced by Vantage Enterprises. While on hiatus between National Desk seasons, Wuttig was an associate producer on the half-hour drama The Lot for American Movie Classics. Wuttig is a graduate of the Communications School at Washington State University. She is a member of the Producers Guild of America, the Academy of Television Arts and Sciences, and Women in Film. She resides with her husband in the Los Angeles area.
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.