Perry Lafferty

On his early life and influences; on what he wanted to do when he grew up as a child; on attending Yale University to study music

On his orchestra playing on radio during his time at Yale; on going to work for Norman Corwin at CBS Radio; on being an assistant director for CBS Radio, and on eventually becoming a director

On his activities during World War II, including working for Armed Forces Radio; on returning to CBS Radio after World War II; on when he first become aware of television, and on his career going into television

On his first television job directing Celebrity Time; on directing Kay Kyser's Kollege of Musical Knowledge along with Buzz Kulik

On directing The Victor Borge Show; on the writing staff of Kay Kyser's Kollege of Musical Knowledge and other early shows he worked on; on Art Carney co-starring on The Victor Borge Show

On producing The Imogene Coca Show and directing The Arthur Murray Party; on working with Imogene Coca on The Imogene Coca Show, and on what makes a performer a "top banana"; on directing Name That Tune

On making the transition into directing drama with Tales of Tomorrow and Robert Montgomery Presents

On James Cagney appearing on Robert Montgomery Presents and on Cagney forgetting his lines; on The Robert Montgomery Presents episodes "Good Friday, 1865," dealing with the assassination of Abraham Lincoln, and "One Minute to Ditch"; on the budget and sponsors of the show, and on working the various actors who appeared on it

On producing Your Hit Parade, directed by Norman Jewison; on CBS Programmer Michael Dann being his mentor; on working with Arthur Godfrey

On working the 1952 political conventions, and subsequent conventions; on producing The Big Show

On producing Person to Person, hosted first by Edward R. Murrow and later by Charles Collingwood; on having John F. Kennedy and Richard M. Nixon on Person to Person

On producing The Aquanauts aka Malibu Run; on the difference between working in live television and working in prerecorded or filmed television, and on the live episode of ER; on the Golden Age of Television

On directing The Twilight Zone and working with producer Rod Serling; on producing The Danny Kaye Show; on the format of The Danny Kaye Show and on The Judy Garland Show

On the end of The Danny Kaye Show; on making the transition from producer to executive when he became a vice president at CBS; on some of the hit shows during his tenure at CBS, including The Smothers Brothers Comedy Hour

On James T. Aubrey and William S. Paley; on programming All in the Family on CBS; on Robert D. Wood, CBS's purge of rural programming in the early 1970s, and dealing with various CBS presidents

On the significant shows he programmed at CBS, including The Smothers Brothers Comedy Hour, M*A*S*H, All in the Family, and The Mary Tyler Moore Show; on Grant Tinker and MTM Productions; on leaving CBS for Filmways

On producing The Mary Tyler Moore Comedy Hour; on being in charge of movies and miniseries at NBC in the 1980s, and on Brandon Tartikoff turning around the fortunes of NBC; on the importance of made-for-television movies and miniseries on a network schedule

on the importance of a programming executive interacting with the creative community, and executives working with producers; on leaving NBC to become a producer; on unusual pitches he heard as an executive

On casting being the most important element to a hit television series; on career regrets; on how television audiences have changed since he began his career, and on the then-future of television

On how he would like to be remembered; on various people he worked with in his career

On Hy Averback, E. Duke Vincent, Larry Gelbart, Alan Alda, and Beatrice Arthur

On b-roll pictures from his career- 1952 conventions; on the set of Robert Montgomery Presents; on the set of Robert Montgomery Presents; with Michael Dann; with Norman Jewison; directing Arthur Godfrey; with Carol Burnett; with Jack Lord and his wife; with James Arness and Carol Burnett; with Tom Smothers and Don Rickles