Marian Rees

On her early life and influences; on her education 

On becoming involved with the black community; on her personal identity 

On her post-college activities in New York at the United Nations; on getting into television as a secretary at NBC in Hollywood

On the state of television when she started working in the industry circa 1952; on working on The  Dennis Day Show;  on going to work on This is Your Life  with Ralph Edwards

On working on Lux Video Theatre in New York with Franklin Schaffner, George Roy Hill and Fielder Cook; on matriculating though the television business; on artistic disagreements over Lux Video Theatre

On the "rules" the sponsor had for Lux Video Theatre; on working on the Lux Video Theatre production of "Zola" and the empowerment of drama; on being fired from NBC

On going to work as a production assistant on An Evening With Fred Astaire 

On joining Tandem Productions with Bud Yorkin and Norman Lear; on the overriding mission of Tandem Productions when it started; on Tandem Productions being on the Paramount lot and Tandem producing a feature film; on her day-to-day duties during her early years at Tandem 

On Tandem Productions producing feature films with Norman Lear

On Norman Lear adapting Till Death Us Do Part into All in the Family; on casting All in the Family; on the network response to All in the Family

On the cast of All in the Family; on working on Sanford and Son; on selling Sanford and Son to the networks

On being dismissed from Tandem Productions; on going to work for Tomorrow Entertainment

On producing "Tell Me Where it Hurts" for General Electric Theater  and her commitment to feminism; on developing "Tell Me Where it Hurts" for General Electric Theater  and other shows from scratch

On producing The Autobiography of Miss Jane Pittman;  on various other Tomorrow Entertainment projects

On producing Deadman's Curve  and The  Cracker Factory;  on producing Orphan Train;  on leaving EMI for Nicholl Ross West

On producing The Marva Collins Story;  on producing Angel Dusted;  on her mentor Fay Kanin and her advice to create her own company

On starting her own production company; on executive producing Miss All-American Beauty  and her struggle to get it financed; on the production of Miss All-American Beauty  starring Cloris Leachman and Jayne Meadows

On attempting to produce her passion project "Love Is Never Silent" and pitching it to Donald Hall; on executive producing "Love Is Never Silent" for Hallmark Hall of Fame  and her struggle with the network to cast deaf actors in lead roles

On executive producing "Love Is Never Silent" for Hallmark Hall of Fame;  on executive producing Foxfire  starring Hume Cronyn and Jessica Tandy; on executive producing "Miss Rose White" for Hallmark Hall of Fame

On executive producing "The Shell Seekers" for Hallmark Hall of Fame;  on the guidelines as to what was acceptable in a Hallmark Hall of Fame presentation; on executive producing Between Friends

On working with Elizabeth Taylor and Carol Burnett on Between Friends;  on executive producing The Gift of Love;  on executive producing Is There Life Out There?

On executive producing When the Vows Break;  on executive producing Ruby Bridges

On the African-American crew on Ruby Bridges and gaining Ruby's trust; on the Norman Rockwell painting on which Ruby Bridges was based and recreating it

On becoming involved with Masterpiece Theatre's American Collection  and selling the show; on gaining full creative control over Masterpiece Theatre's American Collection

On programming Masterpiece Theatre's American Collection;  on Masterpiece Theatre's American Collection's presentation of "Cora Unashamed"

On Masterpiece Theatre's American Collection's presentation of "A Death in the Family" and "Almost a Woman"; on the politics at PBS regarding Masterpiece Theatre's American Collection and public reaction to the series

On public reaction and the educational benefits of Masterpiece Theatre's American Collection's "Almost a Woman"

On then-current projects; on the challenges facing independent producers and how distribution has changed

On her involvement in Women in Film; on advice to aspiring female television producers; on her producing partner Anne Hopkins

On ageism in the industry; on career highlights; on career regrets

On B-roll photos from her career- at The Christopher Awards with Ed Waterstreet; with Juilanna Feld on the set of Hallmark Hall of Fame's  "Love Is Never Silent"; with Carol Burnett and Elizabeth Taylor; with producing partner Anne Hopkins