Stephen J. Cannell: A Voluminous American Legend

His iconic peeling of a sheet from the platen of his IBM Selectric typewriter – the paper twirling and wafting into a letter “C” in a logo for Stephen J. Cannell Productions – bookended hour long cop shows in the seventies and eighties and even nineties. For many audience members, he was simply the bearded guy who appeared to be typing, perhaps in the act of writing the episodes of such shows as The Rockford Files, The A-Team, 21 Jump Street and The Commish. The recognizable trademark gimmick crept its way into the immortalization of The Simpsons satire, as a 1994 riff of “Itchy and Scratchy Productions.”

Born in Los Angeles, and raised in Pasedena, Cannell was no stranger to the Hollywood iconography he was to someday navigate within. His early days involved football; and, oddly, as one of the most prolific television writer cum novelists of this era: dyslexia. Dyslexia caused Cannell to be held back several grades while growing up, but did not deter him from listing projected career as “author” in his high school year book, and majoring in journalism while attending the University of Oregon on a football scholarship.

After college, he worked for his father’s company, and wrote with persistent determination every night after work. After five years, his dogged work ethic paid off – he got his first break selling a script to the show It Takes a Thief, and from that initial success landed a full time writing slot on the show Adam-12. He pitched Rockford Files, whose relatable and somewhat crotchety protagonist Jim Rockford defied the ideal of the hardboiled detective – bent rules when needed – and often found himself distracted by those appealing things of the worldly realm, and generally easier softer ways. The grumpy ex-con Rockford lived tenuously in his office trailer on a Malibu beach parking lot, and the stark cold open featured clients leaving messages on his answering machine as to why they couldn’t pay for his fees.

Stephen Cannell far left Rockford Files set

In many ways, the show paved the way for a paradigmatic shift in the detective, cop, and mystery genres of hour long television fare. Networks he pitched the pilot to saw things in terms of normality, and advertisement space sold, and categorically hated the risky premise. Fortunately NBC picked up the show in 1974, and the show became a television staple until its cancellation in 1980. He parlayed his television success and reconfiguration of the detective genre into the Shane Scully series, including titles such as: The Tin Collectors, Hollywood Tough, White Sister, and his posthumously published; The Prostitutes’ Ball, and Vigilante.

The somewhat down to earth approach of his works in many ways reflected the approachable and affable character of Cannell himself, who was known to greet audiences at book signings, answer questions fairly and politely, and with kindness. He was often found sitting at the signing table, and patiently talking with whomever was still left, seemingly never struck by prima donna urges to rudely harry over a fan’s awestruck discussions, and dart off to an awaiting Town Car.

Cannell’s lifelong struggle with dyslexia imbued his work and his public persona with a tone of empathy and understanding. He remained an ardent spokesman for dyslexia and learning disabilities until his death from melanoma complications in September of 2010. His voluminous body of work stands for itself.