Horton Foote

On his early life and influences; on storytelling in his family, and on radio shows he listened to growing up

On his early jobs as a writer at various theater companies; on going to New York to write for the American Actors Company, and for the 1939 World's Fair; on the television exhibit at the 1939 World's Fair

On the American Actors Company producing his first play, "Wharton Dance," and other early plays he wrote; on his activities during World War II, and on bringing his play "Only the Heart" to Broadway; on going out to Hollywood in 1943, and on what he thought of it

On meeting his wife; on working with Tennessee Williams on "The Glass Menagerie," and on starting an experimental theater company in Washington, D.C.; on director Vincent J. Donehue and producer Fred Coe and The Gabby Hayes Show; on Kraft Television Theatre's production of his play "Only the Heart"

On having his play "The Chase" on Broadway; on writing "The Trip to Bountiful" starring Lillian Gish for Philco-Goodyear Television Playhouse and producer Fred Coe; on the studios and equipment used for Philco-Goodyear Television Playhouse

On a typical production day for Philco-Goodyear Television Playhouse; on writing various episodes of Philco-Goodyear Television Playhouse

On his play "The Midnight Caller," and on being protected by Fred Coe; on his relationships with various writers including Rod Serling; on Fred Coe's relationship with writers, and on his agent

On his writing process, and using his own life for ideas; on his work for Gulf Playhouse on the teleplays "The Death of the Old Man" and "The Tears of My Sister"; on the process of bringing Philco-Goodyear Playhouse's "The Trip to Bountiful" to Broadway

On continuing to work on Philco-Goodyear Playhouse and on the waning of his relationship with producer Fred Coe; on the cast of his Philco-Goodyear Playhouse teleplay "The Dancers"; on not rewriting parts for actors; on writing for The United States Steel Hour, and on his feature film "Storm Fear"

On the Hollywood Blacklist; on writing for Playwrights '56; on his adaptation of William Faulkner's "Old Man" for Playhouse 90

On adapting existing works for Playhouse 90; on his Playhouse 90 teleplay "The Shape of the River" (airdate: May 2, 1960); on the end of the Golden Age of Television; on his teleplay "The Night of the Storm" for The DuPont Show of the Month, which prompted the idea for his theater opus "The Orphans' Home Cycle"

On adapting "To Kill a Mockingbird" into a feature film, and on discovering Robert Duvall; on the importance of casting, and on the writer working with actors; on how he feels about directing as a writer

On writing "Gambling Heart" for DuPont Show of the Month, and on writers returning to their material; on adapting various material into feature films; on the collaborative process of working in theater as opposed to film or television

On his plays "The Orphans' Home Cycle"; on writing the feature film "Tender Mercies"; on the Hallmark Hall of Fame version of his teleplay "Old Man"

On writing for cable networks; on what represents television at its best; on his thoughts on the golden age of television

On the importance of creating a mood or setting for a story; on his greatest success and on what he's proudest of in his career; on his mentors, and on various people with whom he's worked in his career

On people he worked with in his career; on the then-importance of him continuing to work, and on what he loves about theater