Bill Melendez

On his childhood and early influences; on being hired by Walt Disney in the animation department

On the early in-house animation process at Disney, and on what he learned there; on the style of animation employed when he was at Disney, and the rules for specific characters; on Walt Disney, and on Disney's animators going on strike

On the animators strike against Walt Disney, and on Disney's hurt feelings over it; on various features he worked on at Disney, including "Pinocchio" and "Fantasia"

On going to work for Warner Bros. as an assistant animator to Bob Clampett; on the difference in style between Disney and Warner Bros. animation; on working with Tex Avery at Warner Bros. animation

On working with Chuck Jones at Warner Bros. animation; on working with Maurice Noble and Frank Tashlin at Warner Bros. animation; on drawing the Warner Bros. characters

On what he learned from working at Warner Bros. animation; on working with Mel Blanc at Warner Bros. animation; on his experiences during World War II

On leaving Warner Bros.; on going to work animating for UPA, the studio that produced "Madeline," "Mr. McGoo," and "Gerald McBoing Boing"; on animators he worked with at UPA

On going to work as an animator for producer John Sutherland; on the Hollywood Blacklist; on the first time he saw television

On working for Playhouse Pictures animating spots for Ford Motor Company; on "Peanuts" creator Charles M. Schulz; on meeting producer Lee Mendelson, and being hired to animate the "Peanuts" gang for A Charlie Brown Christmas

On the challenges of animating the "Peanuts" characters for the Charlie Brown Specials; on A Charlie Brown Christmas, and on "Snoopy" fighting the Red Baron

On Charles M. Schulz casting the voices for A Charlie Brown Christmas; on "Linus" reading from the Bible at the end of A Charlie Brown Christmas; on the Vince Guaraldi score of the Charlie Brown Specials

On the content of the Ford Motor Company commercials featuring the "Peanuts" gang; on the characters of "Charlie Brown" and "Snoopy" on the Charlie Brown Specials; on the characters of "Linus" and "Lucy" on the Charlie Brown Specials

On the role of Lee Mendelson on A Charlie Brown Christmas; on his and others' initial reaction to the finished product of A Charlie Brown Christmas, and on it later becoming a classic; on animating It's the Great Pumpkin, Charlie Brown

On animating You're in Love, Charlie Brown and A Charlie Brown Thanksgiving; on animating It's the Easter Beagle, Charlie Brown and What Have We Learned, Charlie Brown?; on animating It's Flashbeagle, Charlie Brown and Why, Charlie Brown, Why?

On animating Why, Charlie Brown, Why?; on the stages of producing the Charlie Brown Specials, and on collaborating with Charles M. Schulz

On how the "Peanuts" characters have evolved over the years on the Charlie Brown Specials; on providing the voices for "Woodstock" and "Snoopy" on the Charlie Brown Specials; on the adult voices on the Charlie Brown Specials

On the holiday centered Charlie Brown Specials, and on the themes of the shows; on his favorite and least favorite Charlie Brown Specials; on animating the "Peanuts" feature films

On animating The Charlie Brown and Snoopy Show and This is America, Charlie Brown; on his production company; on producing The Story of Babar, the Little Elephant and Yes, Virginia, There Is a Santa Claus

On opening a production office in London; on animating The Lion, the Witch & the Wardrobe; on producing two Garfield Specials, The Cathy Specials, and "Peanuts" straight-to-video specials

On producing Frosty Returns; on the death and legacy of Charles M. Schulz, and on the longevity of their collaboration; on continuing to work in his later years, and on awards

On advice to an aspiring animator; on the then-current state of animation on television; on career highlights and regrets, and how he'd like to be remembered