Garvin Eddy

On his early life and influences; on television he watched as a kid; on visiting the set of Maude

On working in the art department as an assistant to Edward Stephenson for shows including Maude and Sanford & Son; on going from assistant to collaborator with Edward Stephenson on Amanda's, Victory at Entebbe, and other shows; on the role of a production designer or art director

On the importance of production designers doing research; on choosing the afghan and sofa on Roseanne; on making sets look unique and non-generic

On what he learned from his mentor Edward Stephenson; on the look of the Norman Lear shows he assistant art directed early in his career; on designing the junkyard on Sanford and Son, and on the junk or things around the set defining the characters

On how the set of Maude reflected the character of "Maude Findlay" played by Beatrice Arthur; on production designing for Good Times; on the logistics and budgets on production designing for sitcoms in the 1970s

On going to work in production design for Witt-Thomas-Harris productions with the series Soap; on production designing for Benson, a spinoff of Soap; on his first non-assistant production design job on the Beatrice Arthur series Amanda's (misidentified here as "Amanda's By the Sea")

On being hired as production designer for The Cosby Show; on designing the Huxtable residence on The Cosby Show and working with Bill Cosby; on his schedule during the run of The Cosby Show

On the number of sets for The Cosby Show, and on the evolution of and mood on the set; on favorite episodes or memories of The Cosby Show; on collaborating with the producers and directors of The Cosby Show, and on the budget of the show

On the legacy of The Cosby Show; on production designing for A Different World starring Lisa Bonet; on production designing for Roseanne

On how his sets may have contributed the success of Roseanne; on working with Roseanne Barr on Roseanne; on the most important, key pieces of the Roseanne set

On Roseanne Barr's conflicts with the producers of Roseanne; on being nominated for an Emmy Award for Roseanne; on staying with the show for its entire run

On the evolution of the title from art director to production designer; on becoming vice president of production design for the Carsey-Werner Company; on production designing for Grace Under Fire, and on the challenges of designing for the show; on working with Chuck Lorre

On dealing with product placement as a production designer; on production designing for Cybill starring Cybill Shepherd

On production designing for 3rd Rock From the Sun starring John Lithgow and Jane Curtin; on production designing for That '70s Show, and on the challenge of doing a period piece

On production designing for the John Goodman show Normal, Ohio and Sunny with a Chance; on what a producer needs to know about the production designer they're working with, and on their collaboration

On the most important developments in the technology or technique of production design; on the then-current state of production design on television; on the essential elements that make a production design work

On the importance of a production designer understanding what the camera sees, and on the challenge HDTV presented; on advice to aspiring production designers; on career highlights, and how he would like to be remembered