Michael A. Freeman

Back in 1988, I had become intoxicated by the bright lights of Hollywood (at least the ones which didn’t frequently burn out on the “HOLLYWOOD” sign) and took a staff writing position with the national media trade magazine, Broadcasting & Cable. From there, I became obsessed with “all things media” and the broadcast and cable network universe, also taking Senior Editor stints at competing national trades MEDIAWEEK magazine (now ADWEEK) and Electronic Media (later renamed Television Week).

Over the parts of three decades, I covered the U.S.-based commercial broadcast networks; TV station groups and multiple-system operators (MSOs); terrestrial satellite operators; the Hollywood studios; independent production companies; domestic and international syndication; domestic U.S. cable networks; the Hollywood and New York talent agencies and literary management companies; the Hollywood-based talent and craft unions; the New York/Madison Avenue-based advertising agencies; and virtually every other aspect of creative and business affairs in American television.

In between, there were also freelancing opportunities for me to write articles on the TV and motion picture businesses for Daily Variety and The Hollywood Reporter.

At some point, when the gluttonous, unregulated mergers-and-acquisitions era of the mid-1990s to early 2000s (something that spread out through much of Corporate America, too, unfortunately!) gobbled up large chunks of the “media universe,” it became apparent that trade magazines and newspapers might soon be “marginalized” and “downsized” into oblivion. That was the case with MEDIAWEEK being folded into ADWEEK and Television Week ceasing to be a print publication and going “internet-only.”

About a year after September 11, 2001, I had decided – for self-preservation and sanity reasons – to leave the world of journalism in order to try a transition into media marketing, public relations, advertising, and screenwriting work...and to see if my “creative right-brain" actually functions! In November 2002, I founded Biz FX Media as a boutique media marketing firm, handling such clients as Game Show Network and technology firms Synacor, RGB Networks, BroadLogic, and Pioneer Digital Technologies. I had also done “contractor-based stints” as Senior Copywriter at Sony Pictures Television International and Director of Corporate Communications/Editorial Services at premium cable network programmer, Showtime Networks, Inc.

Then, I also decided to try something I always DREAMED of doing (but never had time to do as an ink-stained press wretch!) to write screenplays and teleplays in my spare time!

That brought me to CAPTURING THE WUNDERWAFFEN. Over the last two years, in particular, I embarked on an investigative mission to uncover a treasure trove of classified and declassified American, British and German government documents, photographic images and film-to-video transfers relating to Hitler’s “Wunderwaffen” — Nazi Germany’s “Wonder Weapons.” Given the accelerated time span (1934-46) of unprecedented technological evolution from piston-powered "biplanes" (from World War I) to "monoplane" (single-wing designs of WWII) and into the "hyper-development" of jet-propelled fighter and bomber planes to rocket/missile armaments, it truly represented a RACE for aviation and aerospace supremacy between Nazi Germany, Great Britain, Russia (then the Soviet Union) and the United States of America.

That's why I'm OBSESSED to bring the heroic exploits, technological sharing and sacrifice that market the Allies' largely unheralded victory in the form of military/scientific intelligence and its shaping of the WORLD's jet and rocket transportation systems for the second half of the 20th Century up through the New Millennium of today! They still amaze me and have my unyielding respect, admiration and gratitude for all they did for us, the latter generations!