me." In other interviews, however, Fontana said he saw the decision as a sign of support: "This is not just a casual action on NBC's part. It's a real statement to me that we have a possibility to return." Levinson said he believed "four shots are better than nothing", adding: What I learned is that it is very hard for a network to make a real commitment. A hit-and-run sensibility is prevalent... In all fairness to NBC, this is a tougher kind of show than any other show they carry. It is different, and no one is going to endorse different in this world, no one celebrates different. Crew Homicide was produced by Levinson's company Baltimore Pictures, which had partnered with Reeves Entertainment during the first season. However, Reeves Entertainment went out of business after the first season concluded, so NBC bought into the show and formally became a co-producer, which gave the network more latitude to demand creative changes. The second season marked the debut of Jean de Segonzac as director of photography. He replaced Wayne Ewing, who Levinson felt was too inexperienced and did not trust with the responsibility of managing the show's cinematography. Among Segonzac's film credits was Laws of Gravity (1992), which was directed by Nick Gomez, who directed the Homicide first-season episode "Son of a Gun". Season premiere "Bop Gun" was directed by Stephen Gyllenhaal, a feature director then best known for such films as Waterland (1992) and A Dangerous Woman (1993). Chris Menaul directed the back-to-back episodes "See No Evil" and "Black and Blue", while the season finale, "A Many Splendored Thing", was directed by John McNaughton, who previously directed Homicide star Belzer in the film Mad Dog and Glory (1993). The second season included much of the same crew as the first: in addition to executive producers Levinson and Fontana, Jim Finnerty returned as supervising producer, Debbie Sarjeant worked as associate supervisor and screenwriter James Yoshimura became story editor starting with the second season, with Bonnie Mark as a staff writer and Chris Friel as a script supervisor. Other crew included Cindy Mollo as editor, Vincent Peranio as production designer, Susan Kessel as set decorator, Roland Berman as costume designer, Ivan Fonseca as post-production coordinator, Bruce Litkey as sound mixer and Louis DiGiaimo and Pat Moran as casting directors. Ted Zachary and Allan Chaflin worked as the executives in charge of production. Cast