Paul Monash

Writer/ Producer

The Academy of Television Arts & Sciences Foundation Presents

02:26

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About

About this interview

In his three-and-a-half hour Archive interview, Paul Monash (1917-2003) speaks about his writing career that began in the 1950s and included such acclaimed series as Playhouse 90. He discusses in great detail, the 1960s series Peyton Place, which he created and executive-produced. He then talks about his work in feature films and television movies. Stephen J. Abramson conducted the interview in Beverly Hills, CA on October 2, 2002.

"My biggest regret? That I found television and films so easy, I didn't stick with writing novels. On the other hand, I might not have written the novels anyway."

Highlights

Paul Monash on writing for Atom Squad, and on writing features

04:42

Paul Monash on dealing with standards and practices on Peyton Place, and on planning the stories of the show

04:24

Paul Monash on creating Peyton Place for television

02:22

Paul Monash on juggling several characters on Peyton Place, and on later additions to the cast

02:58

Full Interview

Chapter 1

On his early years and influences; on his experience with World War II

on the first time he saw television, and on his early interest in writing; on writing Foreign Intrigue, his first writing job for television; on writing Atom Squad

Chapter 2

On writing for Atom Squad, and on writing features; on writing "The Singing Idol" for Kraft Television Theatre; on writing "The Lonely Wizard" for Schlitz Playhouse of Stars

On writing Playhouse 90, and on working with Martin Manulis; on writing "Bailout at 43,000 Feet" for Climax!; on working with John Frankenheimer on the Playhouse 90 episode "The Death of Manolete"

On other writers of Playhouse 90 including Rod Serling; on writing for Westingtonhouse Desilu Playhouse

Chapter 3

On writing for Desilu, and on writing "The Scarface Mob", the pilot for The Untouchables; on his time as an executive at MGM and CBS; on how he got work as a freelance writer in the '50s, and on the challenge of writing for live television

On the Hollywood Blacklist; on producing a number of feature films, and on getting involved in casting; on writing Cain's Hundred

Chapter 4

On creating Peyton Place for television; on casting Mia Farrow as "Alison MacKenzie" on Peyton Place; on declining to bring Irna Phillips on to Peyton Place

On Peyton Place being groundbreaking in terms of being the first nighttime serial; on the subject matter of Peyton Place; on the casting of the show, and on losing Mia Farrow

On initial reaction to Peyton Place, and on the budget of the show; on trying new things later in the run of Peyton Place, and on the production process of the show; on the cast of the show

Chapter 5

On juggling several characters on Peyton Place, and on later additions to the cast; on dealing with standards and practices, and on planning the stories of the show; on the end of Peyton Place, and on the legacy of the show

On creating Judd for the Defense; on his writing style, and on his writing process; on working with an agent

Chapter 6

On being a producer; on how producing feature film and television was different; on producing the feature films "Carrie," "Salem's Lot," and various other feature films

On producing "Butch Cassidy and the Sundance Kid" and various other features; on writing and/or producing several made-for-television movies

On producing Stalin; on producing Kingfish; on writing and producing George Wallace

Chapter 7

On summing up; on his advice to aspiring writers; on his opinion of modern television; on how he would like to be remembered

Shows

All Quiet On The Western Front

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Paul Monash on writing and/or producing several made-for-television movies including All Quiet on the Western Front

05:31

Atom Squad

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Paul Monash on writing Atom Squad

07:19

Paul Monash on writing for Atom Squad, and on writing features