Howard Smit

On his early life and influences; on his family moving to Los Angeles in 1928 and living though the Great Depression; on going to work for Max Factor and learning the techniques of makeup for movies

On the early days of makeup in the movies; on the early days of hairstylists in the movies

On the first time he saw television, and on his first involvement with experimental television, at a local Los Angeles station in the 1930s; on the challenges of doing makeup on early television; on leaving law school in 1937 to do makeup full time, and on joining the union

On doing makeup for the feature film "The Wizard of Oz"; on doing makeup for early Technicolor features and the emergence of television; on doing makeup for the classic feature film "The Hunchback of Notre Dame," and on working in black and white versus working in color

On his experiences during World War II; on being a negotiator for the hair and makeup union in 1942; on participating in making training films for World War II

On doing makeup for Dragnet, with Jack Webb; on what hairstylists and makeup artists thought of television in the early 1950s; on moving on from Dragnet after 13 episodes

On the process of corrective beauty makeup; on sharing information with other makeup artists; on dealing with fake beards and mustaches as a makeup artist

On creating fake blood for television and movies; on the process of aging actors and using various prosthetics on them; on dealing with makeup and the hot lights of the studio

On becoming president of the hair and makeup union in 1953, and on organizing the Deb Star Ball; on the Hollywood Blacklist; on helping improve working conditions for hair stylists and makeup artists as president of the union

On doing makeup for The Red Skelton Show; on doing freelance work as a makeup artist

On working with Red Skleton and the various guest stars of The Red Skelton Show; on doing makeup for Alfred Hitchcock Presents; on working with Alfred Hitchcock on "The Birds" and "Marnie"

On doing makeup for "The Lonely Wizard," an episode of Schlitz Playhouse of Stars, starring Rod Steiger; on doing makeup for Lloyd Bridges on The Lloyd Bridges Show, and on dealing with continuity in makeup; on working with various actors, and on the transition from live television to filmed television

On doing makeup for The Virginian and other Westerns; on working with Lee J. Cobb, James Drury, and Doug McClure on The Virginian

On doing makeup for The Mod Squad for producer Aaron Spelling; on the cast of The Mod Squad, including Peggy Lipton

On makeup artists dealing with different skin tones; on working with Sammy Davis, Jr. as a guest star on The Mod Squad; on going on location with The Mod Squad, and on the end of the show

On being the business rep for his union, and improving conditions for hair and makeup artists

On getting recognition from the Motion Picture Academy for hair and makeup artists; on receiving an award from his union; on his union's anti-discrimination policy and on negotiating for his union

On his retirement from the union and on his proudest achievements as a union representative; on the most important developments in television makeup, and on technological innovations in the medium; on his career highlights and how he would like to be remembered

On various people with whom he has worked in his career; on Milton Berle, Lucille Ball, Chuck Connors, and Danny Thomas

On working with Bing Crosby, John Forsythe, Jerry Lewis, and Jonathan Winters; on Walter Diehl; on his wives Edith Smit and Isabelle Smit

On b-roll pictures from his career- in 1943 during World War II; doing makeup for an Army Air Corps film; making up Jane Wyatt; applying makeup to Jackie Coogan; on the set of "The Birds" with Alfred Hitchcock; with Sammy Davis, Jr.; with Aaron Spelling; on the set of The Mod Squad; making up Peggy Lipton (2 pictures); applying clown makeup to Clarence Williams III on the set of The Mod Squad; with co-workers; with his first wife, Edith; with his second wife, Isabelle; the "Smitty Award," named in his honor