Jan Scott

On her early life and influences; on deciding to be a production designer; on when she first became aware of television, and on her first job at NBC in Chicago

On working on various shows out of NBC in Chicago, including Kukla, Fran & Ollie; on mishaps she witnessed on live television, and on going to work for the NBC station in Philadelphia; on going to work at NBC in New York City as an art director

On working for the Metropolitan Opera; on her early days as a production designer at NBC; on working with directors Fielder Cook, Franklin J. Schaffner, and George Roy Hill

On working with Franklin J. Schaffner on Ford Startime and Hallmark Hall of Fame; on mishaps in live productions she worked on; on a typical work day as a production designer in the 1950s

On working with other art directors in the 1950s; on audience reaction to her work in art direction, and on collaborating

On doing art direction for NBC Matinee Theater, and on being nominated for Emmys; on how technological advancements impacted her career as an art director; on doing art direction for the Sunday Showcase production of "The Sacco-Vanzetti Story"

On how the advent of video tape impacted her work as an art director; on doing art direction for Kismet; on her temperament

On being the head art director and having people report to her; on working for director Dan Curtis, and on working with actors

On being involved with location scouting; on working with cinematographers; on working with Paul Bogart

On doing production design for Andersonville, with George C. Scott; on doing production design for "Scarecrow" on Hollywood Television Theatre for director Dwight Hemion; on doing production design for Eleanor and Franklin for director Daniel Petrie

On doing production design for Eleanor and Franklin for director Daniel Petrie; on doing production design for Roots; on doing production design for The Gathering, starring Ed Asner

On doing production design for Orphan Train; on doing production design for Evergreen; on doing production design for Foxfire, with Jessica Tandy

On how she selects projects to work on; on working on The Kennedys of Massachusetts, directed by Lamont Johnson; on how digital technology impacted her work as a production designer

On dealing with ageism in the television industry, and on working on feature films; on briefly working in Disney's art department; on her involvement with the production designer's union, and with the Television Academy

On helping to design the Television Academy headquarters in North Hollywood; on her then-more recent production design jobs, including Harvest of Fire, The Summer of Ben Tyler, and The Love Letter

On her final production design job, Grace & Glorie, and on then-future plans; on the biggest changes in production design that happened during her career, and technological advancements in the field; on her style as a production designer

On career regrets and the then-future of production design; on advice to aspiring production designers; on how she would like to be remembered

On various people with whom she worked in her career