Carl Gottlieb

On his early life and influences; on radio and television shows he listened to and watched while growing up

On performing comedy shows in the Army with Larry Hankin; on being part of The Committee improv comedy group; on the San Francisco comedy scene in the mid-1960s

On The Committee establishing a theater in San Francisco; on the members of The Committee improv group, including Peter Bonerz, Del Close, John Brent and Avery Schreiber; on going to New York, but returning to San Francisco to work on long-form improv at The Committee's new theater

On working with Peter Bonerz, Howard Hesseman, and Del Close at The Committee improv group; on the sociopolitical content of his work in The Committee improv group, which led him into being a writer

On how improv skills dovetail with writing skills; on The Committee in Los Angeles, and on Rob Reiner being part of a new improv group

On being hired to write for The Summer Brothers Smothers Show; on making the transition from writing supervisor of The Summer Brothers Smothers Show to writing supervisor of The Smothers Brothers Comedy Hour, and on Tom Smothers becoming more of a hands-on producer in the third season

On working with Steve Martin in the writers room at The Smothers Brothers Comedy Hour; on the music sensibility of The Smothers Brothers Comedy Hour; on the friendship between the writers on The Smothers Brothers Comedy Hour, including Rob Reiner, John Hartford, Steve Martin, Bob Einstein, and non-show writer Albert Brooks (Einstein's brother)

On teaming up with Lorenzo Music on The Smothers Brothers Comedy Hour to write monologues for the Smothers, and long-form sketches for guest-stars like Bob Newhart; on working with writer Murray Roman on The Smothers Brothers Comedy Hour; on getting his jokes and sketches on air on The Smothers Brothers Comedy Hour

On Tom Smothers battling CBS Standards & Practices department over the content of The Smothers Brothers Comedy Hour; on Tom Smothers holding back the master tapes of episode of The Smothers Brothers Comedy Hour so that they could not be censored by CBS; on CBS approving the content of The Smothers Brothers Comedy Hour at various stages of production

On the cancellation of The Smothers Brothers Comedy Hour; on David Steinberg's sermons on The Smothers Brothers Comedy Hour

On The Smothers Brothers Comedy Hour winning Emmy Awards after it was cancelled; on the legacy of The Smothers Brothers Comedy Hour

On doing comedy advertising spots during The Tonight Show Starring Johnny Carson; on writing for a series of Flip Wilson Specials (along with Lorne Michaels) after the end of The Filp Wilson Show; on working with Richard Pryor on the 1974 Flip Wilson Special

On working with Peter Sellers on the Flip Wilson Specials; on Flip Wilson's character "Geraldine" not appearing in the Flip Wilson Specials; on writing for The Odd Couple

On writing the feature film "Jaws" for Steven Spielberg; on doing rewrites for "Jaws" on the fly during production, and on the production of the movie; on the USS Indianapolis Speech in "Jaws"

On the "bigger boat" line in "Jaws"; on the technical challenge of filming "Jaws"; on John Williams' score for "Jaws"

On the casting of "Jaws"; on Richard Dreyfus and Robert Shaw in "Jaws"; on the huge success of "Jaws"

On the impact "Jaws" had on his career; on the legacy of "Jaws"

On writing the Steve Martin film "The Jerk," directed by Carl Reiner

On directing the feature "Caveman," starring Ringo Starr

On what he loved about writing for television; on his writing process

On finding structure in his writing; on writing alone versus collaborating; on the process of editing and rewriting

On the Writers Guild of America; on mentorship; on advice to an aspiring writer

On the value of an education to a writer; on career achievements and regrets; on how he would like to be remembered