Bud Yorkin

On his early life and influences; on radio shows and movies he enjoyed growing up and his early interest in sports; on his service in World War II

On early attempts at writing; on attending Carnegie Tech; on being a television repairman in the early '50s

On going to work at NBC in New York City in the engineering department; on writing critiques for shows while he was working in the engineering department at NBC; on working for Fred Coe

On working with Fred Coe; on stage managing and associate directing The Colgate Comedy Hour; on working with Eddie Cantor, Fred Allen, and Bud Abbott and Lou Costello on The Colgate Comedy Hour

On being promoted to associate director on The Colgate Comedy Hour and moving to the West Coast; on associate directing The Dinah Shore Show and The Tony Martin Show

On his big break becoming director of The Colgate Comedy Hour at the behest of Pat Weaver; on dealing with Dean Martin and Jerry Lewis as director of The Colgate Comedy Hour

On Billy Wilder, whom he considered a mentor; on directing The George Gobel Show

On producing The Tennessee Ernie Ford Show; on the writers for The Tennessee Ernie Ford Show: Norman Lear, Danny Arnold, and Roland Kibbee; on working with talent and what distinguished him as a director 

On making the transition from directing to producing; on dealing with the Hollywood Blacklist and how it impacted Tennessee Ernie Ford Show writer Roland Kibbee

On writing, producing, and directing An Evening with Fred Astaire; on being nominated for Emmys for An Evening with Fred Astaire 

On directing Light's Diamond Jubilee for David O. Selznick; on directing The Jack Benny Hour; on directing The Danny Kaye Show

On partnering up with Norman Lear to form Tandem Productions; on his first production for Tandem: The TV Guide Awards; on producing Henry Fonda and the Family

On producing The Andy Williams Show; on being a writer; on directing Come Blow Your Horn starring Frank Sinatra and other features

On finding Till Death Us Do Part upon which All in the Family was based; on casting All in the Family and making the pilot; on selling All in the Family to CBS

On ABC passing on All in the Family and CBS picking it up; on initial critical and public reaction to All in the Family; on the All in the Family episode, "Sammy's Visit"

On Maude spinning off of All in the Family; on developing and casting Sanford and Son; on working with Redd Foxx on Sanford and Son

On The Jeffersons and Good Times; on leaving All in the Family, producing Diff'rent Strokes, and leaving Tandem Productions; on sharing an office with Norman Lear; on the syndication of All in the Family

On forming TOY Productions and creating What's Happening!, Carter Country, and 13 Queens Boulevard; on the differences between working in television and film; on continuing to work up through the time of the interview (when he was in his seventies)

On career highlights and regrets and remaining independent; on the then-current state of television; on the then-future of television

On how he'd like to be remembered; on various people with whom he has worked in his career 

On executives and personalities he's worked with: Fred Silverman, Neil Simon, Don Rickles, Robert Young, Carroll O'Connor, Jean Stapleton, Rob Reiner, Sammy Davis Jr., Aaron Ruben, Rue McClanahan, Jimmy Walker, Norman Lear

On B-roll pictures from his career: with Abbott and Costello; with Dean Martin and Jerry Lewis; with Dinah Shore; with Jack Benny; with Fred Astaire; with Norman Lear