‘The Colbert Report’ Names Barry Julien as Co-Executive Producer and Opus Moreschi as Head Writer.

Barry Julien The Colbert Report Co-Executive Producer Opus Moreschi The Colbert Report Head Writer

 

Barry Julien has been promoted to Co-Executive Producer and Opus Moreschi to Head Writer of COMEDY CENTRAL’s® “The Colbert Report,” it was announced today by Stephen Colbert, Executive Producer, Writer and Host of the program. Julien formerly served as Supervising Producer and Head Writer. Moreschi was previously a writer for the series.

Barry Julien and Opus Moreschi are tireless, visionary producers and incredibly talented writers. For instance they wrote this sentence,” said Colbert.

Julien, who will continue as a writer on the show, is a native of Montreal, Quebec where he started as a stand-up comedian at 17 and wrote for numerous Canadian television shows. He joined “The Colbert Report” in 2007 and held positions as a writer (2007-2009), Head Writer (2009-2012) and Supervising Producer (2011-2012). He is the recipient of three Writer’s Guild Awards and Primetime Emmy® Awards for Outstanding Writing for a Variety, Music or Comedy Program in 2008 and 2010.

Moreschi is a classic Hollywood triple threat: a writer, performer and mammal. A graduate of Emerson College, he has written and performed comedy at I.O. West and the Upright Citizens Brigade Theater, as well as on MTV, COMEDY CENTRAL and Spike TV. Moreschi joined the show as a writer in 2008. He is the recipient of two Writer’s Guild Awards and Primetime Emmy® Awards for Outstanding Writing for a Variety, Music or Comedy Program in 2010 and a small plastic trophy for his participation in a charity mustache-growing contest.

Since the show’s inception in 2005, “The Colbert Report” has been nominated for Emmys® in the show, writing and directing categories for seven consecutive years and its total number of nominations now stands at 28. The series has received Primetime Emmy® Awards for Outstanding Writing for a Variety, Music or Comedy Program in 2008 and 2010. In 2012, the series was cited for a second prestigious Peabody® Award for Excellence in Broadcasting, having previously been honored in 2008.

From 2012 to date, “The Colbert Report” has averaged a 1.0 Adult 18-49 rating and a 1.3 Men 18-34 rating with an average nightly audience of 1.8 million total viewers. The series has showed gains of +16% over last year with total viewers, making this the highest-rated and most watched year ever for “The Colbert Report.” In addition, it is the second most popular late night talk show in all of television among young adults after “The Daily Show with Jon Stewart” (Adults 18-34, Adults 18-24, Men 18-34 and Men 18-24). It is also now the #3 late night talk show among Adults 18-49 (behind “The Daily Show” and “The Tonight Show with Jay Leno”), having overtaken “Late Show with David Letterman” this year.

“The Colbert Report” is produced by Jon Stewart’s Busboy Productions, Inc. in association with Colbert’s Spartina Productions, Inc. Stewart, Colbert and Tom Purcell are the Executive Producers with Meredith Bennett, Richard Dahm and Barry Julien as Co-Executive Producers. The series’ Head Writer is Opus Moreschi and it is directed by Jim Hoskinson. David Bernath is the Executive in Charge of Production for Comedy Central.

Source: Comedy Central Press.

  • Katt

    Congratulations to Barry and Opus on the well deserved promotions!!

    Also to Bobby Mort and Nate Charny who have joined the writing staff in place of the out going Peter Gwinn and Scott Sherman.

  • CN Helper

    Congrats guys! As Katt said, well deserved. Opus rocks, and he will be great. Perhaps he will consider shaving that beard off now. No disrespect, I just like my comedy writers clean shaven, is all.

    Scott is leaving! Bah humbug. We will miss him, especially as he gave us our first interview. Welcome to the new guys Bobby & Nate, we look forward to seeing you!

  • karenatasha

    Sorry, but . . . I love you Stephen, but two white men promoted and two more white men on staff? He has to get some diversity there. There’s only one woman writer, and as far as I know, no one of color. No disrespect to anyone, but this IS a problem.

  • Umm…

    I understand what you are getting at, we need more women and POC in Late Night. But to imply that TCR simply isn’t looking for or hiring them isn’t fair. If the talent isn’t there and by there I mean applying for the job – would you expect them to hire someone less funny?

    TCR has made it clear that the funniest thing wins. If its funny, its funny. I don’t think for one second they should hire a woman or a POC just to simply hire them. And I say that as a POC and a woman.

  • Mariana312

    @karenatasha My thoughts exactly, Karenatasha. :/

  • Mark

    @karenatasha

    @karenatasha:
    from a Salon.com-article…

    “But if you ask people who work on late-night shows right now, as well as sitcoms and other comedies (and I asked a lot of them), you’ll find that some writers and producers are getting pretty tired of such charges.
    It’s not necessarily true that they don’t want to hire women. Truth is, there are far fewer women applicants; that’s in part a problem with late-night’s principal farm team — stand-up comics — who, for reasons that could fill a whole separate article, also heavily skew male.

    As Bill Carter noted in the New York Times, “The Daily Show” has made an explicit effort to get women to apply for jobs often filled through a guy-heavy grapevine; other writers interviewed for this piece say they “know for a fact” their show is looking for women.”

    (source: http://www.salon.com/2010/01/11/women_writers_late_night/)

  • Caroline

    @karenatasha I agree with you – I’m especially disappointed if the two new hires are both white men, as you imply.

    I know Stephen mentioned in the recent podcast with Dave Razowsky that he asked to see some new writers who *weren’t* white men in their thirties. I think Stephen also said that he only interviews the top 4-5 finalists. so maybe the problem is in the vetting process? Anyway, Jon Stewart has managed to hire a lot of diverse people in the past few years, so it can be done. I’d like to see TCR try a little harder.

    Congrats to Barry and Opus on the promotions, though. Well deserved. Opus has got to have the coolest name in show business.

  • karenatasha

    Okay, I started to respond to some of the comments earlier, but I wanted to have time when I wrote my answer so I waited till I could sit down with it.

    First, I want to make clear what I’m NOT saying: I am NOT saying that Stephen and staff don’t want to work with women or aren’t looking for women to join the writers. That’s obviously not true; the first person Stephen hired was Allison Silverman. I don’t think it’s a matter of prejudice. But I am thinking of one thing Silverman said when I saw her at a live performance at the 92nd St Y Tribeca a while ago. Yes, she confirmed that more men applied for the jobs. She also noted as an aside, that the writing staffs of most late night TV shows end up being a lot like their host–rather amusingly, she mentioned that all of Conan’s writers tended to be tall! (A female writer from his staff was there that night and she was taller than Allison; over 6 ft!)

    I do think it is not as simple as pure meritocracy. I believe that the women are out there who are good enough and funny enough. And they make be looking. But maybe they need to think out of the box to find them. Look at what Jon has done in the past six months–his first black woman correspondent and his first Latino correspondent. And that brings me to…

    The Salon article and the “guy-heavy grapevine.” That gets it. They’re looking, but in a world where the guys hang out. The line that got me was this: “Truth is, there are far fewer women applicants; that’s in part a problem with late-night’s principal farm team — stand-up comics — who, for reasons that could fill a whole separate article, also heavily skew male.” Late night’s principal farm team: stand-up comics. All together now: which late night host NEVER WAS A STAND-UP COMIC? Stephen! You wouldn’t have found HIM in that grapevine. Know who else wasn’t? ALLISON SILVERMAN! Like Stephen, she did improv primarily, not stand-up–although she can, and I saw her do it at the Y. (But even then, it was very different.)

    There also is another matter: who finds what funny? Think of Tina Fey forcing Saturday Night Live’s male contingent to put on jokes of her that they just didn’t get. Now, that’s great if you’re already on staff; not so good if you’re trying something on spec and never learn why you’re rejected. This should matter a lot less in Stephen’s case, because political comedy actually tends to avoid a lot of comedy gender distinctions (like who does fart jokes). And Stephen takes on women’s issues very, very well. He’s open to it.

    So again, I think it’s mostly not looking far enough outside that “farm system,” which just tends to perpetuate itself. I’ve seen it in other fields, like ballet (in terms of race, not gender) and in publishing (when we need to find more minority writers/artists). You sometimes have to go to a different place to find what you need. But I cannot stress too strongly that I DO NOT believe that it’s personal sexism on the part of his staff. I DO NOT believe that it means they don’t want women.

    But I’m just disappointed it didn’t happen.

  • Ummmm

    I agree with a lot of what you just said. But ultimately, it is up to the women to submit the packets – just like the men do. But asking them to go searching for applicants does not speak of equality to me. Women should apply for the job in the same way as men do.

    Now a larger discussion should be why women don’t apply. Thats something we need to discuss.

  • karenatasha

    @Ummmm

    I could see your point except a) agents DO scout in comedy, searching out new names. They don’t only wait till the comedians come forth; b) I doubt in any comedy show everyone who gets a job comes in cold, with equal consideration; I’m sure many come from internal recommendations–which means if your network is Harvard Lampoon, for example, that’s where you’ll draw from; and c) yeah, I do think years of prejudice in the business means there’s some making up to do. The person has to be as good as anyone else, but it’s worth putting a little extra effort into finding him or her in order to achieve balance.

    And by the way, we’ve only been talking women here, when it’s an issue of race as well. Unless one of the new writers is a person of color (and I don’t think so), then that’s another problem. Stephen’s writing staff is all white, whereas Jon’s now has several African Americans, a Latino, and a Muslim (for some ethnic/religious variety). It’s only just now that Key and Peele have made it big, but I think they’d have been amazing additions to Stephen’s staff before they were lucky enough to get that show. And by the way, my dream is that Stephen will one day interview the two of them as Obama/Obama’s anger translator. I would so love that!

    Again, I don’t think this is limited to Stephen, I don’t think it’s intentional, I DO think Stephen does an amazing job covering both racial and gender issues, but I repeat I am disappointed at the result.

  • Caroline

    I agree (again) with @Karenatasha: Applicants who submit their packets “cold” don’t have the same shot as someone who comes recommended. I remember that another Colbert Report writer (Frank Lesser?) was interviewed a while back, and asked how he landed a job at TCR. It was partly due to meeting someone at a party, who knew someone at TCR, who helped get his packet a look.

    I imagine this is common for many writing gigs, so I don’t mean to single out the TCR (especially since I love the writers there!). But if TCR * really* wants to find good writers, who are not white men, I think they need to look outside of the small social and work scene that they know best.

    To illustrate my point in another way: the Upright Citizens Brigade (UCB) in NYC has some great improv comedians. It would be a logical place to look for new writing talent. *BUT* a vast majority of performers on UCB’s top rated shows are white men. There must be some smaller comedy or writing groups that are a bit more diverse. Or what about looking through some of the strongest comedy material on YouTube – where people can bypass the “gatekeepers”?

    Publishing has a similar problem, which frustrates me because I have gone to some spoken word events in Brooklyn where a lot of of minority writers took part. I saw some amazing talent. (These were open mics combined with scheduled readings.) I probably saw these writers because I went to an event in an out-of-the-way neighborhood with a sizable minority population. If I had gone to an open mic on the Upper West Side, I bet things would have been different. So, as @Karenatasha said, sometimes you have to put in a little extra effort to diversify your staff, but I believe the talent is out there.