Albert Heschong

On his early life and influences; on attending Carnegie Tech; on his activities during World War II and on doing sets for "Pursuit of Happiness"

On the 1939 World's Fair; on his first television job at ABC as art director; on art directing Pulitzer Prize Playhouse

On the facilities at ABC, and on art directing Broadway plays and feature films; on art directing Celanese Theatre, and on working with director Alex Segal

On his style, and on the duties on an art director; on collaborating with the director as art director, and on where he was while the show was airing; on the duties of the set decorator and prop master

On the process of the set designer; on art directors dealing with the technological limitations of early television; on art directors making the transition from black and white to color

On being art director for The United States Steel Hour; on being art director for The United States Steel Hour production of "No Time for Sergeants"; on moving over to CBS

On art directing The United States Steel Hour production of "A Garden in the Sea"; on moving over to CBS, and on production designing for The Red Skelton Show; on doing art direction for Climax!

On art directing the Playhouse 90 production of "Requiem for a Heavyweight," for which he won an Emmy Award; on the process of art directing Playhouse 90, and on working with various directors on the show; on working with John Houseman on the show

On art directing for Adventures in Paradise; on returning to CBS and art directing various shows including Gunsmoke and Pete and Gladys

On being hired on Gunsmoke as the production designer; on working with "forced perspective" on Gunsmoke; on working with the cast and crew of Gunsmoke, and on the sets of the show

On becoming head of the art department at CBS, and working on events for affiliates; on art directing for The Wild Wild West and Hawaii Five-O

On art directing for The Bob Newhart Show; on art directing several made for television movies

On art directing My Wicked, Wicked Ways: The Legend of Errol Flynn; on art directing the made for television movie Visions

On his time at the head of the art department at CBS, and on the changes he made while there; on being involved with creating special effects on shows, and on some memorable effects from The Wild Wild West

On the challenge of crafting on airplane set, including on Spencer's Pilots; on art directors location scouting

On his retirement from CBS, and on going to work for MTM Productions and various pilots; on his retirement; on his design style

On advice to an aspiring art director; on the then-current state of art direction on television; on career highlights and regrets

On his mentor; on how he'd like to be remembered

On b-roll, pictures from his career- at ABC studios in New York City; in his office at ABC; with a producer at the Theatre Guild; main set for The United States Steel Hour; kitchen set for Playhouse 90; drawing room set for Playhouse 90; Playhouse 90 set for the episode "Dark December"; exterior of Playhouse 90 "Dark December" set; sketch for eventual Playhouse 90 set; concept sketch for Playhouse 90 ; exterior set for the Playhouse 90 episode "Wings of a Dove"; interior for Playhouse 90 "Wings of a Dove"; Playhouse 90 set; Playhouse 90 set for "Innocent Sleep"; the outdoor set for Playhouse 90's "Miracle Worker"; Playhouse 90 railroad set; interior Playhouse 90 set; Playhouse 90 set, reused in several episodes; set for Playhouse 90's "One Coat of White"; Playhouse 90 set for "Rank and File"

On b-roll, pictures from his career- various street and interior sets from Playhouse 90's "Requiem for a Heavyweight"; with Rod Serling after having won an Emmy Award for "Requiem for a Heavyweight"

On b-roll pictures from his career- sketches for Gunsmoke; exterior Gunsmoke sets; miniatures of Gunsmoke sets; pictures of Gunsmoke interior sets; sequence of sketches made for the pilot of Hawaii Five-O; illustrations done for yearly event at CBS Television City