Kirk Browning

On his early life and influences; on his experience in World War II; on his uncle Worthington "Tony" Miner, and on his earliest memories of television

On his wife, and on getting into television; on his first job at NBC, and on NBC executive Warren Wade; on his early duties at NBC as a stage manager, and on working with Yul Brynner

On the NBC studios in the 1950s, and on the logistics of how they operated; on the person who taught him the ropes of stage managing, and on working on NBC Opera Theatre

On working on Kraft Television Theatre; on working at NBC in the 1950s, and on working on Amahl and the Night Visitors by Gian Carlo Menotti; on the technical aspects of bringing opera to television with NBC Opera Theatre

On his work on the NBC Opera Theatre production of "Salome" with non-singers John Cassavetes and Sal Mineo; on the rehearsal process for NBC Opera Theatre

On casting for NBC Opera Theatre; on the staging of NBC Opera Theatre and on miking the actors

On how operas were chosen for NBC Opera Theatre and on the translations; on the evolution of the camera technique on NBC Opera Theatre, and on the notion of television as a true art form

On doing the first color and videotaped shows for NBC Opera Theatre; on the sponsors of NBC Opera Theatre, and on audience reaction to the show; on favorite productions of NBC Opera Theatre including "Trouble in Tahiti" by Leonard Bernstein

On putting on "Carmen" and "Magic Flute" for NBC Opera Theatre ; on working with choreographer George Balanchine on NBC Opera Theatre, and on some of his favorite episodes

On the end of NBC Opera Theatre; on directing The Bell Telephone Hour and Producers' Showcase

On working with Arturo Toscanini on NBC Opera Theatre; on directing various episodes of The Alcoa Hour and Hallmark Hall of Fame with a young Richard Thomas; on directing "Antony and Cleopatra" for Producers' Showcase

On directing the Samuel Beckett play "Krapp's Last Tape" for Omnibus; on directing "Beauty and the Beast" for Shirley Temple's Storybook; on working with Frank Sinatra on the first episode of The Frank Sinatra Show

On directing the first episode of The Frank Sinatra Show; on not being interested in directing feature films, and on directing Noah and the Flood; on working with Bob Fosse on The Rosalind Russell Show

On directing various specials including the Miss America Pageant with Bert Parks; on leaving NBC to direct Play of the Week; on directing the Play of the Week adaptation of "Damn Yankees" with Lee Remick

On directing various musical specials; on directing NET Opera Theatre

On the schedule of directing the NET Opera Theatre; on directing Theater in America

On directing on Great Performances; on directing Live from Lincoln Center

On trying various different programs for Live from Lincoln Center, and on adapting his visual style as a director; on the "Tribute to Billy Wilder" and "Aaron Copeland's 85th Birthday" on Live from Lincoln Center, and on picking the program of that show; on his favorite productions from Live from Lincoln Center

On Live from the Met; on American Playhouse; on then-current projects and advice to an aspiring director

On the then-future of technology on television; on how he would like to be remembered