Ruth Engelhardt

On her early life and influences; on moving to Los Angeles; on her early years at the William Morris Agency, and the agency's role in packaging early television shows

On the first time she saw television; on the legal concerns in the early years of television

On packaging the first version of The Life of Riley, starring Jackie Gleason; on how the various departments at William Morris got along and interacted, and how actors regarded television; on packaging I Married Joan, and on learning the business from Ann Rosenthal

On her mentors and on attending law school while working at William Morris; on packaging The Danny Thomas Show; on the role of the advertiser in the early days of packaging television shows, and on controversy over The Dick Van Dyke Show and The New Dick Van Dyke Show

On the early structure of the William Morris Agency, and what she liked about the company; on the early competitors of the William Morris Agency, and on working with company head Abe Lastfogel; on the William Morris Agency mailroom, and on her mentor, Samuel Sacks

On the various offices of William Morris working together, and on the focus on the West Coast operation; on the shift in television from sponsors to networks; on Mary Tyler Moore wanting a raise on The Dick Van Dyke Show, and working with Larry Hagman on Dallas

On actors walking out of shows in order to get raises, and on the issue of piracy of movies and television; on the Hollywood Blacklist; on the Quiz Show Scandals

On the Quiz Show Scandals, and how they impacted the sponsors; on William Morris' relationship with ABC, and various other studios and networks; on packaging The Mod Squad produced by Aaron Spelling and Danny Thomas

On her sister being an agent at William Morris, and on how she was treated as a woman in the industry; on working on the Writers Guild of America's live agreement of 1958; on packaging The Andy Griffith Show and The Dick Van Dyke Show, and That Girl

On packaging Gomer Pyle - USMC, Mayberry R.F.D. and The Bill Dana Show; on packaging Rowan & Martin's Laugh-In

On the creation and packaging of The Loretta Young Show; on the continued popularity of The Dick Van Dyke Show, and on working with Carl Reiner

On packaging I Spy for Sheldon Leonard; on the locations of I Spy and on doing business deals with Danny Thomas and Sheldon Leonard; on becoming a vice president at William Morris, and later becoming an agent

On the formation of CAA, and the comings and goings at William Morris Agency; on being head of business affairs for television at William Morris

On packaging Murphy Brown, My Sister Sam, and other '80s series; on syndicating The People's Court; on her involvement with The Cosby Show

On what it takes to package a show

On the art of negotiation; on her then-current projects; on advice to an aspiring agent

On various people she's worked with in her career, including Marilyn Monroe

On various people she's worked with in her career, including Bernie Brillstein, Barry Diller, Lou Weiss, Larry Auerbach, George Schlatter, and Berle Adams

On various people she worked with in her career, including Abe Lastfogel; on the legacy of the William Morris Agency

On the importance of continuing to work; on career achievements and regrets; on how she'd like to be remembered

On b-roll pictures from her career- with Mayor Tom Bradley; with President Gerald R. Ford; at the 50th Anniversary of the USO