Earle Hagen

On his early life and influences; on his early professional band experience

On being in Benny Goodman's band, and later Tommy Dorsey; on the kinds of venues he played early in his career

On playing at the dog track in Culver City and recording at Decca; on writing arrangements

On being on the road as a musician early in his career; on writing the song "Harlem Nocturne"; on becoming a staff musician at CBS

On joining the radio production unit of the Air Force during World War II; on deciding to stop playing trombone, and become a "full time" songwriter; on meeting his wife Elouise "Lou" Sidwell

On studying to be an arranger and composer; on his post-World War II activities, and on writing an arrangement of "The Trolly Song" for the "Philco Radio Show"; on finding success as an arranger/conductor

On the difference between a composer and an arranger; on going to work for 20th Century Fox studios as a arranger in 1946; on working for 20th Century Fox music director Alfred Newman

On teaming up with Herbert W. Spencer, and working on various musicals; on leaving 20th Century Fox studios

On switching from working in feature films to working in television in the early '50s; on the Spencer-Hagen Orchestra, and on how he and Herbert W. Spencer split work assignments

On the evolution of the media on which he'd record; on composing and conducting music for The Danny Thomas Show ; on his professional relationship with Danny Thomas when he was composer/conductor for The Danny Thomas Show

On using "Danny Boy," or "Londonderry Air" as the theme song to The Danny Thomas Show; on Sheldon Leonard's philosophy of using original music for his shows like The Danny Thomas Show; on filming The Danny Thomas Show in front of a live studio audience

on composing and conducting for The Ray Bolger Show; on working with Roy Bolger on The Ray Bolger Show; on the production of The Ray Bolger Show, and on the workload

On the difference between composing for film and television; on the origin of The Andy Griffith Show, a spin-off of The Danny Thomas Show; on writing the theme to The Andy Griffith Show

On composing music for Don Knotts' character on The Andy Griffith Show; on collaborating with Andy Griffith and director Bob Sweeney on scoring The Andy Griffith Show;

On the lyrics to The Andy Griffith Show theme song; on working with producer Aaron Ruben on The Andy Griffith Show; on the process of scoring an episode of The Andy Griffith Show

On the terms "click track" and "free timing"; on timing out his workload for The Andy Griffith Show, and dealing with musicians union rules; on being attuned to how things would sound though a small television speaker, and on post production of the music

On the creation by Carl Reiner of The Dick Van Dyke Show, produced by Sheldon Leonard; on composing the theme for The Dick Van Dyke Show, and on scoring the episodes; on comparing scoring The Dick Van Dyke Show to The Andy Griffith Show

On working with Carl Reiner and Dick Van Dyke on The Dick Van Dyke Show; on the pilot of Gomer Pyle, U.S.M.C.; on beginning his work for I Spy

On the amount of different material needed for I Spy; on writing the theme for I Spy; on NBC initially not approving Bill Cosby to co-star in I Spy because it feared repercussions from Southern affiliates

On orchestrating the music for I Spy and bringing in another composer to help with the workload on that show; on composing exotic music for I Spy depending on the location of the episode

On traveling with the company of I Spy; on favorite episodes of I Spy

On never using music of the time for I Spy; on releasing albums of his music from I Spy; on being a "packager" and on the business end of composing music for television

On working on That Girl; on using library music for Guestward Ho!; on creating the theme song for The Mod Squad

On pressure to score The Mod Squad with a more rock and roll sound; on using different types of beats for different scenes on The Mod Squad and on the band he used for the show

On using the theme he wrote for the town of Mayberry on The Andy Griffith Show as the theme for the spinoff Mayberry RFD ; on composing the theme for The Guns of Will Sonnett ; on becoming a teacher of music

On creating the music library for Mary Hartman, Mary Hartman sight-unseen; on his work on The Dukes of Hazzard; on his work on Mickey Spillane's Mike Hammer

On his decision to retire from music; on the role of music in television, and on how things have changed in the industry since he started

On advice to an aspiring television composer; on technological advancements in music in television since he started his career; on career highlights, including winning the Emmy Award

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

On b-roll footage- pictures from his career