Ethel Winant

On her early life and influences; on her college years and working at the Pasadena Playhouse; on her early involvement in television via the Pasadena Playhouse; on seeing television at the 1939 World's Fair

On her experience during World War II; on moving to New York City in 1945 and on the cultural and artistic scene in Manhattan at that time; on working with Tennessee Williams as an agent's assistant

On working in the Broadway theater and getting involved with casting for television via Studio One

On going to work for David Susskind at Talent Associates; on the first television show she cast, Justice, and on casting Armstrong Circle Theatre; on dealing with the network on casting blacklisted actors and minorities on television in the '50s and on the kind of talent that was drawn to the classic anthology series of the era

On casting Playhouse 90; on casting various Playhouse 90 productions, including "Days of Wine and Roses"; on the importance of casting and on the different types of casting

On the craft of casting for television; on learning how to cast for television and on dealing with directors and producers when casting; on casting Suzy Parker in Playhouse 90's production of "The Death of Manolete"

On the differences between a casting director and a talent scout; on casting The Mary Tyler Moore Show; on casting Perry Mason

On helping to cast All in the Family and other shows for CBS; on dealing with the Hollywood Blacklist on shows like Armstrong Circle Theatre

On dealing with the Hollywood Blacklist as a casting director; on difficulties she encountered in casting minority actors for shows like Playhouse 90 and The United States Steel Hour's production of "Doomsday at Noon"

On Playhouse 90's productions of "Portrait of a Murderer" and "Judgement at Nuremberg", and on network and sponsor censorship

On being named Vice President of Talent and Casting at CBS; on rising up through the ranks at CBS as a woman

On being the first female executive at CBS and dealing with other executives like William S. Paley; on her mentors, including Audrey Wood and Irene Selznick, and how she felt about her career; on the then-current state of television

On producing The Great Adventure; on becoming Vice President of Movies and Miniseries at NBC in 1975 and later going to work for Metromedia; on producing made-for-television movies and miniseries and on not wanting to work on feature films; on career highlights

On various accolades she's received; on career regrets; on the Golden Age of Television and what represents the best of television; on advice to aspiring casting directors

On her personal qualities and what she might have done without television; on how she'd like to be remembered; on various people with whom she has worked in her career

On various people she's worked with in her career

On B-roll clips from her career: Paul Newman and Joanne Woodward on the set of Playhouse 90; Jack Lemmon and cast on the set of Playhouse 90; with the staff of Playhouse 90; Buster Keaton and cast on the set of Playhouse 90; Cliff Robertson and Piper Laurie on the set of Playhouse 90's production of "Days of Wine and Roses"; cast photo of The Mary Tyler Moore Show; with her best friend in high school; on the set of Andersonville with John Frankenheimer; a script for Shogun; John Houseman