Michael Schultz

On his childhood and early influences; on getting interested in cinema while he was in college, and on studying theater at Marquette University; on moving to New York City to become a director, and on his first jobs as a director in theater

On his Broadway debut leading to his first opportunity to direct for television on the TV movie To Be Young, Gifted and Black; on the difference between directing for theater and film versus directing episodic television; on moving into directing for episodic television, and on directing an episode of Roll Out!

On coming under contract as a director for Universal Television; on directing an episode of The Rockford Files; on directing an episode of Baretta, and on what he appreciates about directing theater-trained actors; on directing Ceremonies in Dark Old Men

On movies he loved as a kid; on moving between film and television projects in his career, and on the importance of storytelling; on how he approaches casting, and on discovering Denzel Washington, Blair Underwood, and Samuel L. Jackson; on working with Richard Pryor

On directing Earth, Wind & Fire in Concert; on directing "For Us the Living: The Medgar Evers Story" for American Playhouse, and on how he works with actors when directing them in pieces that enact traumatic events; on directing the TV movie Timestalkers, and on handling the different personalities on that set

On directing Tarzan in Manhattan, and on working on various Hollywood backlots throughout his career; on directing Hammer, Slammer, & Slade, and on how he approaches directing pilot episodes; on directing episodes of The Young Indiana Jones Chronicles, and on the 1994 Northridge earthquake happening on his first day of shooting

On directing episodes of Picket Fences and The Practice, and on working with David E. Kelley; on how the prep time and shooting schedule for episodic television has changed over the course of his career, and on the challenging circumstances he faced when directing an episode of Arrow

On where he likes to be on set when he is directing television episodes, and on his post-production process as an episodic director; on directing episodes of Chicago Hope, and on dealing with actors who tell him "don't direct me"; on directing episodes of Ally McBeal, and on working with the show's cast and David E. Kelley

On working with Steven Bochco, and on directing L.A. Law; on the impact of technological advances throughout the course of his career, and on the editing process on his film Sgt. Pepper's Lonely Hearts Club Band; on his thoughts on A.I.

On directing episodes of Touched By an Angel, and on directing Everwood; on becoming a producer on Everwood, and on directing Woman Thou Art Loosed at the same time; on directing episodes of Jack & Bobby

On directing episodes of Arrow, and on filming outside of Los Angeles; on directing episodes of Dirty Sexy Money, and on directing episodes of Brothers & Sisters; on directing episodes of All American, and on filming the backdoor pilot and first episode of All American: Homecoming

On directing episodes of Found, and on directing episodes of Chuck; on directing episodes of Black-ish, and on directing episodes of New Girl; on why he continues to direct, and on his directing style; on how streaming has impacted the entertainment industry and wider society

On how opportunities have changed since he first started out in the industry, and on advice for aspiring directors; on the value of oral history interviews, and on his proudest career achievement; on how he would like to be remembered