Alan Alda on the process of learning lines with the ensemble cast of M*A*S*H and the importance of laughter with fellow actors
Alan Alda on the relationship between the writers and the actors on M*A*S*H, as facilitated by director Gene Reynolds
Alan Alda on his fidelity to Larry Gelbart's script to the extent that he spoke a typo on M*A*S*H: "Larry wrote it, so I said it"
Alan Alda on the way improvisation was incorporated into the classic M*A*S*H episode "The Interview"
Alan Alda on the approach of making a comedy show about war in developing M*A*S*H
Alan Alda on the way Larry Gelbart got around the censors to use the word "virgin" in an episode of M*A*S*H
Alan Alda on the research done on M*A*S*H
Alan Alda on the network's objection to the sight of a jock strap on an episode of M*A*S*H
Alan Alda on his M*A*S*H character, "Hawkeye" Pierce
Alan Alda on getting shots just as the sun set while directing M*A*S*H
Alan Alda on his impressions of M*A*S*H producer Gene Reynolds
Alan Alda on M*A*S*H show creator/writer Larry Gelbart
Alan Alda on the philosophy behind adding new characters to M*A*S*H
Alan Alda on M*A*S*H executive producer Burt Metcalfe
Alan Alda on working out a scene with Wayne Rogers on M*A*S*H, after shooting for the satisfaction of getting it right
Alan Alda on Loretta Swit's contribution to making her M*A*S*H character three-dimensional.
Alan Alda on working with Harry Morgan on M*A*S*H, and Morgan's sense of humor
Alan Alda on the M*A*S*H episode "Sometimes You Hear the Bullet"-- its dramatic significance and Alda's critique of a scene in which he cries on camera
Alan Alda on writing the M*A*S*H episode "Dear Sigmund" and the performance of Allan Arbus as "Major Sidney Freedman"
Alan Alda on the M*A*S*H episode "Inga"
Alan Alda on the content and the shooting of the last scene shot of M*A*S*H
Alan Alda on the M*A*S*H finale
Alan Alda on how CBS believed in M*A*S*H despite initial low ratings
Alan Alda on why M*A*S*H was a successful television show