Lee Grant

On her early life and influences; on appearing with the Metropolitan Opera at the age of four; on her early experience seeing television and her earliest acting jobs

On changing her name to Lee Grant, and on her singing career; on working with Sanford Meisner at the Neighborhood Playhouse; on understudying in "Oklahoma!"

On making her Broadway debut in "Joy to the World" and appearing in the Broadway show "Detective Story," which proved to be her big break; on appearing in the film version of "Detective Story," and on adjusting her performance for film

On her relationship with Arnold Manoff and their experiences with the Hollywood Blacklist

On testifying before the House Un-American Activities Committee; on her friends and co-workers reaction to having been blacklisted, and on what her life was like when she was on the blacklist

On the fate of her then-husband Arnold Manoff, who'd been blacklisted, and on how other writers and actors dealt with the Hollywood Blacklist; on her feelings on those who named names to the House Un-American Activities Committee like Elia Kazan, and on the end of the blacklist; on how television actors were looked upon, and on early television appearances

On working in early live television; on appearing on Search for Tomorrow; on appearing on various episodes of Danger

On working with Fred Coe on various series like Playwrights '56, and on appearing on The Defenders with E.G. Marshall; on appearing on various episodes of Kraft Television Theatre, produced by David Susskind

On appearing on two episodes of The Nurses, produced by Herb Brodkin; on being cast on Peyton Place, and on her Peyton Place character "Stella Chernak"

On her work on Peyton Place, and on working with producer Paul Monash; on the cast of Peyton Place; on winning an Emmy for her performance on Peyton Place

On the popularity of and audience reaction to Peyton Place; on appearing on several shows including Judd for the Defense, starring Sam Wanamaker; on appearing on the ABC Stage 67 production of "The Love Song of Barney Kempinski" and "The People Trap"

On appearing in the feature films: "In the Heat of the Night," "Valley of the Dolls," "The Landlord"

On co-starring in the 1971 made-for-television movie The Neon Ceiling; on her Emmy-winning guest-starring role in the pilot for Columbo, "Ransom for a Dead Man"; on starring in Plaza Suite; on her short-lived sitcom Fay, and its abrupt cancellation

On winning an Academy Award for her work in "Shampoo"; on her transition to directing; on directing The Shape of Things; on her documentaries for the America Undercover series; on Down and Out in America

On directing documentaries; on directing Nobody's Child, and various other made-for-television movies; on acting in various made-for-television movies

On directing the series Intimate Portrait for Lifetime; on her then-current projects, including directing an episode of American Masters; on how opportunities for women in television have changed over the years

On how the Hollywood Blacklist affected television as a whole; on her mentors; on advice to aspiring actors

On the then-future of television; on how she'd like to be remembered; on various people with whom she has worked in her career