Arthur Schneider

On his early life and influences; on movies he enjoyed growing up; on moving to Los Angeles and attending USC, and on the first time he saw television

On his first job at NBC, starting in 1951 as a television engineer, and on learning how to edit; on the kinescope, and how it was used for television, and his other responsibilities at NBC

On editing The Colgate Comedy Hour; on editing The Dinah Shore Chevy Show, and This Is Your Life

On editing Milton Berle's Texaco Star Theater, The Perry Como Show, and Your Show of Shows; on how the transcontinental cable impacted television broadcasting in the United States, and on NBC moving to Burbank in 1954; on the advent of video tape and its impact on television

On editing on video tape, and on working for the NBC promotions department editing trailers; on his experience with the Hollywood Blacklist, and on NBC's colorblind test; on editing The Bob Hope Specials

On working with Bob Hope as editor of the Bob Hope Specials; on getting his nickname "Jump Cut" while working on the Bob Hope Specials ; on the production and editing process for the Bob Hope Specials

On the craft of editing for television; on editing on 16 millimeter film and other formats, and on workprints; on the double system method of editing, and on off-line editing and dealing with deadlines

On missing an editing deadline; on editing with a laugh track, and on video head incompatibility; on the responsibilities of the video tape opreator

On working on NBC Matinee Theater; on editing color videotape; on the various kinds of videotape editing technology he used

On how digital technology has changed editing for television; on editing for the 1964 Democratic National Convention

On editing for The Huntley-Brinkley Report; on his role in creating the instant replay; on editing for The Julie Andrews Show, with guest-star Gene Kelly

On editing a special for Danny Thomas; on editing for The Dean Martin Show; on editing for ABC Stage 67

On editing for Rowan & Martin's Laugh-In, produced by George Schlatter

On the use of jumpcuts on Rowan & Martin's Laugh-In, and on editing comedy; on the production of Rowan & Martin's Laugh-In; on the cast of Rowan & Martin's Laugh-In

On editing the notorious flop Turn-On; on editing the Sonny & Cher Comedy Hour; on editing Tony Orlando & Dawn, Maude, and the roast segments of The Dean Martin Show

On editing The New Mickey Mouse Club; on various editing systems he has used, and on meeting Stanley Kubrick; Candid Camera, Norm Crosby's The Comedy Shop, and The Greatest American Hero

On testing various editing systems; on editing his final Bob Hope Special, and on those being his favorites; on advice to an aspiring editor

On the then-current state of television editing, and on how computers have changed the quality of editing; on career highlights and regrets; on how he would like to be remembered