Judith Krantz ( born Judith Tarcher on January 9, 1928 in New York City ), is an American novelist who writes in the romance genre.

According to Grover Krantz years later, Patterson and Gimlin agreed they should have tried to shoot the creature, both for financial gain and to silence naysayers.

A few hours after the encounter, Patterson telephoned Donald Abbott, whom Krantz described as " the only scientist of any stature to have demonstrated any serious interest in the ( Bigfoot ) subject ," hoping he would help them search for the creature.

Patterson appeared on several popular talk shows to show the film and promote the documentary on Merv Griffin's program, with Krantz offering his analysis of the film, and also on Joey Bishop's talk show.

Krantz reports that " few years after the film was made, Patterson received a written letter from a man in Thailand who assured him a Sasquatch was being held in a Buddhist monastery.

Others ( including primatologist John Napier, who published before Dahinden and Krantz ) have expressed a different opinion, contending it was " likely that Patterson would have used 24 frame / s " because it " is best suited to TV transmission ," while conceding that " this is entirely speculative.

" Similarly, Krantz argues that of the many opinions offered about the Patterson film, " nly a few of these opinions are based on technical expertise and careful study of the film itself "

His work had also gained the attention of several people who were later to give him work, including Stanslas de la Roche Toulay, who had prepared the design for the metalwork of the Bordeax bridge, Jean Baptiste Krantz and Wilhelm Nordling.

The members included Jean-Baptiste Krantz, Henri Dion and Léon Molinos, both of whom had known Eiffel for a long time: their report was favorable, and Eiffel got the job.

Heydrich's third name, " Eugen ", was his late maternal grandfather's first name ( Professor Eugen Krantz had been the director of the Dresden Royal Conservatory ).

Hampft suggested that Bakshi work with producer Steve Krantz, who had recently fired Culhane as supervising director on the Canadian science fiction series Rocket Robin Hood.

Krantz arranged a meeting with Crumb, during which Bakshi presented the drawings he had created while learning the artist's distinctive style to prove that he could adapt Crumb's artwork to animation.

Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights through Dana, who had Crumb's power of attorney and signed the contract.

Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid.

Some anthropologists in the latter half of the 20th century, used the term " Caucasoid " in their literature, such as Boyd, Gates, Coon, Cole, Brues and Krantz replacing the earlier term " Caucasian " as it had fallen out of usage.

Bakshi and Crumb were unable reach an agreement after two weeks of negotiations but Krantz secured the film rights from Crumb's wife, Dana, who had a power of attorney.

The crew receives a distress signal from Babylon 4, which had disappeared from Sector 14 four years earlier ; Major Krantz, the EarthForce commander of Babylon 4, requests assistance with evacuation.

Krantz earned one A-plus in English, but had a B-average in her major and C average in everything else.

Krantz had the opportunity to improve her marks when she took a short-story class during her sophomore year.

Although her husband had been insisting for years that she was a natural storyteller, Krantz believed that she was writing the book simply to prove to him that she was not able to write good fiction.

However, Steve Krantz had not yet paid Bakshi for his work on Fritz the Cat.

According to animator Mark Kausler, Krantz was so nervous about showing too much nudity and sexual activities that he had several versions of some sequences animated, for instance, in the " Maybellene " animation sequence.

Anthropologist Grover Krantz has gone on record as saying that he had no idea what the cast represented.

He adopted his professional name, Cortez, to capitalize on the fame of his older brother, Jacob Krantz, who had been transformed into the film matinee idol Ricardo Cortez.

Krantz later acquired the film rights through Crumb's then-wife, Dana, who had Crumb's power of attorney and signed the contract.

Towards the end of the year, Krantz began coproducing Heavy Traffic with Samuel Z. Arkoff, but Krantz had not compensated Bakshi for his work on Fritz the Cat, and halfway through the production of Heavy Traffic, Bakshi asked when he would be paid.

He married Judith Tarcher, who became the noted American writer Judith Krantz, on February 19, 1954 ; they had two sons, Tony and Nicholas.

Krantz and Libertarian Richard Spires had a show on WBT prior to 2003.

When anthropologists David J. Daegling and Daniel O. Schmitt examined the film, they concluded it was impossible to conclusively determine if the subject in the film is nonhuman, and additionally argued that flaws in the studies by Krantz and others invalidated their claims.

Krantz describes Donskoy's conclusion as being that the film depicts " a very massive animal that is definitely not a human being.

Through producer Steve Krantz, Bakshi made his debut feature film, Fritz the Cat, released in 1972.

Krantz told Bakshi that Hollywood studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.

Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film.

Krantz intended to release the sequence as a 15-minute short in case the picture's financing fell through ; Bakshi, however, was determined to complete the film as a feature.

Although Krantz, in an attempt to get the film an R rating, prepared different versions of scenes involving sex and violence, Heavy Traffic was rated X.

However, Krantz told Bakshi that studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.

Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film.

However, Krantz told Bakshi that studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.

Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film.

These stories served as the basis for a pair of film adaptations produced by Steve Krantz, Fritz the Cat 1972, directed by Ralph Bakshi, and The Nine Lives of Fritz the Cat 1974, directed by Robert Taylor.

In 1969, New York animator Ralph Bakshi came across a copy of R. Crumb's Fritz the Cat and suggested to producer Steve Krantz that it would work as a film.