Morley Safer

On his childhood in Toronto and his early influences; on wanting to be a journalist when he was young; on being a child of World War II; on his interest in print journalism; on attending the University of Western Ontario for a few weeks

On his first job at a newspaper at the Woodstock Sentinel Review; on working for the London Free Press in London, Ontario; on connections between his early print journalism work and later work in broadcast journalism; on his interest in foreign reporting; on working for the Oxford Mail and writing features for the Free Press; on the first time he saw television

On returning to Canada in 1955 and his start in television at the CBC; on his early writing for news anchors; on print journalism looking down on broadcast journalism; on editing the CBC News Magazine; on his first on-camera reporting in 1956 - covering the Hundred Hour War in Tel Aviv

On still not being comfortable in front of the camera; on what he learned from covering the Hundred Hour War; on the response to his on-camera work; on moving to England and writing radio copy for the BBC

On working as editor-in-chief of the evening news for an independent TV station in Canada; on working for CBC News Magazine as the London correspondent and producing; on traveling to Algeria and the Middle East; on catching the attention of CBS

On differences between working for the CBC and CBS in London; on joining the CBS team and working with Charles Collingwood; on being hired by Fred Friendly; on Walter Cronkite and fellow CBS newsmen; on covering Churchill's funeral

On his first trip to Vietnam

On his initial impressions of Vietnam and how he approached coverage of the conflict for CBS

On the Cam Ne story, during which he reported on American soldiers burning a Vietnamese village 

On the reasons told to him for the purpose of Cam Ne operation; on the public reaction to his reporting of Cam Ne; on the reaction by the Pentagon; on a smear campaign against him 

On Bill Moyers role in how Safer was perceived; on allegations that Safer had violated security by reporting on Cam Ne; on the support of Fred Friendly and CBS

On the impact of the Cam Ne story on public opinion in the United States; on being a broadcast journalist in Vietnam during the war; on feeling in danger at times in Vietnam

On differences in how broadcast and print journalism covered the war in Vietnam; on changes in news coverage; on documentaries he did on Vietnam; on the General Westmoreland interview; on Fred Friendly resigning from CBS News and Dick Salant as Friendly's successor

On differences between Fred Friendly and Dick Salant's styles as head of CBS News; on Morley Safer's Vietnam and Morley Safer's Red China Diary

On serving as London Bureau Chief from 1967-70 and returning to Vietnam; on Edward R. Murrow's role as London Bureau Chief

On joining 60 Minutes; on the success of 60 Minutes

On the premise of 60 Minutes and Don Hewitt's role in conceiving the idea for the program; on the average age of the 60 Minutes corespondents; on Mike Wallace; on an example of a quintessential Morley Safer story

On the role of a 60 Minutes  correspondent in initiating a story; on the role of segement producer, Joseph Wershaba, on 60 Minutes; on the Gulf of Tonkin story on 60 Minutes; on the Lenell Geter story and helping to save a man's life

On important stories he reported on; on his interview with Betty Ford; on his interview with Mickey Cohen 

On significant stories on 60 Minutes - "The Music of Auschwitz"; on "Casa Verde"; on comparing interviewing Katharine Hepburn and Jackie Gleason; on "Yes, But it is Art"

On his piece "Returning to Vietnam" and writing his book Flashbacks on Returning to Vietnam; on the hardest and most rewarding parts of his job; on the witholding of a segment about the tobacco industry; on the biggest problems facing broadcast journalists today; on his legacy, how he'd like to be remembered