Kent McCray

On his early life and influences; on his earliest experience with television, and on his education

On his early experience in the theater, and on his mentor, Dr. Nagy; on early jobs he did while trying to establish himself; on his first job in television, as a stagehand at the NBC affiliate in Los Angeles

On his mentors, and people he learned from while working at NBC in Los Angeles; on the experience of working as a stagehand for NBC on shows like The Colgate Comedy Hour and All Star Revue; on various tasks he undertook at NBC, and on working with Ralph Edwards, Red Skelton, and Ed Sullivan

On his duties as a unit manager at NBC, and on working with Eddie Cantor on The Colgate Comedy Hour; on working with Groucho Marx on You Bet Your Life; on being an associate producer on NBC Matinee Theater

On associate producing NBC Matinee Theater; on being unit manager for Bob Hope on a show from Alaska, also featuring Ginger Rogers

On being unit manager for a Bob Hope USO show that also featured Mickey Mantle; on cultivating relationships and figuring out the dynamics of his crew

On being unit manager, and later associate producer for Bob Hope's USO Christmas shows: on traveling around the country as an associate producer on Bob Hope's USO Shows

On the experience of being with Bob Hope's USO show for the first time in Okinawa; on the logistics of shooting Bob Hope's USO shows

On traveling to South Korea to associate produce Bob Hope's USO shows; on what it was like working for Bob Hope, and on his decision to move on from working with him

On associate producing Philip Marlowe starring Phil Carey; on being production manager for Bonanza, and on working with creator David Dortort; on associate producing Outlaws and on his producing style

On hiring and firing his crews; on making his crews comfortable with individual hotel rooms; on associate producing The High Chaparral, and on the location of the show

On the budget of The High Chaparral, and on working with his crew on the show; on how he communicates with this crew to get what he wants from them; on producing Dinah Shore's concerts in Europe

On the craft of being a production manager; on coming up with the idea of sharing production on Bonanza and The High Chaparral to cut costs

On the casts of Bonanza and The High Chaparral; on working with Michael Landon (who loved pranks) on Bonanza; on the decline of the western as a television genre, and on the end of Bonanza

On how he came to be the production manager for Michael Landon's Little House on the Prairie; on scouting locations for Little House on the Prairie; on shooting the pilot for Little House on the Prairie and on dealing with complications due to weather when shooting

On basing Little House on the Prairie on the series of books, and on what made the show good; on friction between producer/star Michael Landon and producer Ed Friendly on Little House on the Prairie; on choosing Simi Valley as the main location to shoot Little House on the Prairie

On working with children; on working with Michael Landon on Little House on the Prairie, Father Murphy, and Highway to Heaven

On summing up his career; on how the industry has changed since he started; on mentors in his career

On Michael Landon's final series not being picked up; on advice to aspiring production managers; on the importance of keeping things light with his crew

On his wife, Susan; on his relationship with Michael Landon, and on Landon's funeral; on how he'd like to be remembered

An overview of Kent McCray's career and accomplishments, narrated by Susan McCray