Fred Steiner

On his early life and influences; on his experience of World War II, composing music for propaganda; on learning to score by watching his father score cartoons

On his early jobs in radio working for Van Cleave, who became a mentor; on composition teacher Norman Lockwood, who was a mentor to him

On the challenges on composing for radio; on some of the radio shows he scored, including "Columbia Presents Corwin" with Norman Corwin; on his earliest experiences with television

On composing for the radio show "Cathy and Elliott Lewis On Stage"; on composing and arraigning for early television, and how it was different from doing the same for radio; on the craft and composing and arranging for television, and tailoring the music to fit the star

On how he got work in the early days of television; on the process of composing for a pilot; on the Hollywood Blacklist

On how he started composing for feature films, and on favorites of his that he's worked on; on what makes for an outstanding score; on composing for My Favorite Husband

On the sound stages he's recorded on; on the logistics of a recording session for a television score; on following union regulations for musicians in recording sessions

On composing for Playhouse 90; on playing the music live for Playhouse 90 instead of recording it in advance; on collaborating with Playhouse 90 producer Martin Manulis and director John Frankenheimer

On composing for the Playhouse 90 episodes "The Comedian" and "A Sound of Different Drummers"; on the process of composing a score of a Playhouse 90 episode; on what he learned composing for Playhouse 90

On Lud Gluskin; on getting around the Petrillo ban on live music

On composing for Gunsmoke; on composing for Navy Log; on composing the theme song for Perry Mason

On moving to Mexico to reconnect with his family; on music he did while living in Mexico; on composing for Gerald McBoing Boing

On composing for The Bullwinkle Show for Jay Ward; on composing for various animated series

On composing for Tiny Toons in the style of the old Warner Brothers cartoons; on composing for The Twilight Zone

On composing for The Twilight Zone and on working for Rod Serling and producer Buck Houghton; on composing for specific episodes of The Twilight Zone

On composing for Star Trek; on composing for the Star Trek episode "The Corbomite Maneuver"; on composing for the Star Trek episodes "Who Mourns for Adonais?" and "Charlie X"; on composing for the Star Trek episode "Mudd's Women"

On composing for the Star Trek episode "What Are Little Girls Made Of?"; on composing for the Star Trek episode "Balance of Terror"; on composing for the Star Trek episode "Mirror Mirror"

On scoring specific episodes of Star Trek; on scoring the theme of Beany and Cecil; on scoring several episodes of The Andy Griffith Show

On scoring various made-for-television movies; on scoring several episodes of Bonanza; on scoring O'Hara, U.S. Treasury

On scoring several episodes of Hec Ramsey; on scoring several episodes of Hawaii Five-O; on his studies in musicology

On writing his dissertation on Alfred Newman, and his study of musicology; on his favorite film scores; on how the business has changed regarding scoring

On scoring episodes of Dynasty; on working on the feature film "The Color Purple" with Quincy Jones; on working on Death of a Salesman

On working on the updated Twilight Zone and Amazing Stories; on composing for Star Trek: The Next Generation; on some of his favorite feature film scores

On then-current projects; on the importance of television scores; on advice to an aspiring television composer

On b-roll pictures from his career- conducting for the radio show "This Is Your FBI"; conducting for radio; conducing London Philharmonic; conducting score for "King Kong"; conducing London Philharmonic; conducting score for "King Kong"; screening a take; conducting using a widescreen; Lud Gluskin; at home with his wife; sheet music by Alfred Newman;