Leslie H. Martinson

On his early life and influences; on getting into show business and going to work for MGM

On his experience in World War II; on being a script supervisor at MGM; on working with writers and directors as a script supervisor at MGM

On working with Judy Garland; on the feature films he worked on as script supervisor at MGM; on the first time he saw television 

On making the transition from movies to television; on making the transition from script supervisor to director; on directing The Roy Rogers Show

On working with Roy Rogers on The Roy Rogers Show and a typical production day; on writing a song for Dale Evans

On directing The Mickey Rooney Show; on working with Mickey Rooney on The Mickey Rooney Show

On almost directing The Honeymooners; on his directing style; on the Hollywood Blacklist

On his association with Warner Bros. Television; on working with Jack Warner

On working with Jack Warner; on the differences between directing in film and working in television; on directing Topper

On directing Maverick and winning an Emmy; on directing Cheyenne

On directing Tales of Wells Fargo; on directing Colt .45; on directing Bronco and The Lawman; on directing Bourbon Street Beat

On directing 77 Sunset Strip and Hawaiian Eye; on the production system at Warner Bros. Television in the '50s and '60s

On the declining years of Warner Bros. and directing The Roaring 20's; on the craft of directing; on the technical preparations he makes to direct; on working with actors

On working with producers as a director; on what draws him to direct a script and his directing style; on how directing comedy and drama are different

On directing comedy and drama; on directing a sitcom with a live studio audience; on the most important role a director fills on a sitcom

On collaborating with other professionals on set as director; on dealing with post-production and the editing process as a director; on the advent of color television; on directing Batman

On directing Batman; on directing Mannix; on directing The Brady Bunch and Gilligan's Island

On directing Love, American Style; on directing The Six Million Dollar Man; on directing Wonder Woman

On directing Quincy, M.E., Eight Is Enough and CHiPs; on directing Ironside and Fantasy Island

On directing Dallas; on directing Diff'rent Strokes and Buck Rogers in the 25th Century; on directing Airwolf, Harper Valley PTA and Small Wonder

On his retirement and then-recent activities; on his proudest professional achievement; on advice to aspiring television directors; on how he'd like to be remembered