Richard Lewis

On his early life and influences; on his early interest in theater and movies, and getting interested in the entertainment industry; on his early education and how the Great Depression affected his family

On radio he listened to growing up; on his experiences at Yale University and studying drama there; on writing radio plays while at Yale University

On his overall experience at Yale; on the first time he saw television, at the 1939 World's Fair; on going to work for an advertising agency and working with Phillip Morris

On on doing work for Orson Welles' "Mercury Theater" on radio; on directing the radio show "Crime Doctor" and other early radio shows; on Jack Benny and other stars appearing on the radio quiz show "Take It or Leave It"

On working on the radio show "Let Yourself Go," hosted by Milton Berle; on creating the radio show "Quick as a Flash"

On creating and directing the radio show "Quick as a Flash"; on his experience during World War II; on creating various pilots for radio

On how he starting working in television, producing Take a Chance and Two Girls Named Smith; on the DuMont television studios at Wannemaker's; on producing the early sitcom Two Girls Named Smith

On producing Blind Date with Arlene Francis; on Grace Kelly being rejected on Blind Date, and on selecting contestants for the show; on the production aspects of the show and on the difference between producing for television and producing for radio

On producing Who's There, starring Arlene Francis and Melvyn Douglas, who was blacklisted; on producing the television version of Quick as a Flash; on producing the pilot Mickey Spillane's Mike Hammer

On the character of "Mike Hammer" making the transition from radio to television on Mickey Spillane's Mike Hammer and on William S. Paley refusing to air the show; on producing Crusader, starring Brian Keith

On casting Brian Keith as "Mike Hammer" on Mickey Spillane's Mike Hammer; on going to work for MCA/Revue as an executive producer; on MCA's reputation when he joined the company, and on the structure of MCA/Revue Productions

On working with Jules Stein and Lew Wasserman at MCA; on MCA's relationship with the television networks; on producing The General Electric Theater, hosted by Ronald Reagan; on producing The General Electric Theater's production of "Clown," starring Henry Fonda and "The Blond Dog," starring Cornell Wilde

On producing Studio 57 and M Squad; on producing Leave it to Beaver and making the pilot

On producing Schlitz Playhouse of the Stars and Tales of Wells Fargo; on producing the pilot for Bachelor Father and various other pilots; on what distinguished Wagon Train from other Westerns

On producing Wagon Train; on various pilots he produced that were not picked up, including Portrait, starring Ronald Colman, which aired as a Studio 57 episode; on the deals that get made between networks and studios and on producing the series Checkmate

On attempting to produce a series for Edward G. Robinson; on producing Riverboat and various other shows; on the power of the networks in the 1950s and early 1960s, and the networks wresting control from producers; on producing Laramie

On Revue/MCA becoming Universal Televison; on testifying to Congress about violence in television Westerns; on producing Alcoa Premiere, including the episodes "End of a World" and "People Need People"

On producing the Alcoa Premiere episodes "The Fortress" and "Family Outing"; on Alcoa Premiere staying on the air while other anthology series got cancelled; on his week-to-week duties on Alcoa Premiere

On producing various episodes of Alcoa Premiere; on the title design for Alcoa Premiere; on producing a pilot for Fred Astaire and Barrie Chase

On his involvement in the made-for-television movie concept; on the process of filming made-for-television movies as opposed to feature films and on networks' reaction to the concept; on television production moving from New York to Los Angeles, and developing the feature film "A Lovely Way to Die" for MCA and on various other projects

On creating the series Mama Malone with playwright Terrence McNally; on producing shows with Jack Barry and Dan Enright; on then-recent activities

On the key to making a successful series and on what represents the best of television; on the then-future of television and how he'd like to be remembered; on various people with whom he's worked in his career

On various people with whom he worked in his career

On various people with whom he worked in his career; on his family

On b-roll pictures from his career- on stage at Yale; newspaper clipping about "Quick as a Flash"; with Brian Keith; with Mickey Spillane; receiving an award for Wagon Train; with Jack Benny; with Fred Astaire and John Wayne; article about Mama Malone;; letter informing Richard Lewis he was a Vice President of Revue Productions