Tad Mosel

On his early life and influences; on growing up in the Great Depression and his experience in World War II 

On enjoying going to the theater as a child and books he enjoyed growing up

On what he learned from the plays he read as a child; on learning to write as a child

On acting in high school; on being editor of his school paper; on the importance of finishing projects he started

On his education at Amherst College; on directing plays at Amherst College and on writing plays while in the Air Force; on finding his writing style and on his influences 

On the first plays he got published and produced; on writing an adaptation as opposed to writing an original piece

On acting while at the Yale School of Drama and on Broadway; on becoming a teacher and winning a Pulitzer 

On taking his first jobs in television; on early television shows he watched and the first script he sold for television, "The Haven"; on adapting a James Thurber short story for Omnibus

On writing for Ominbus; on a typical episode of Omnibus and adapting a James Thurber short story for the show; on writing "The Decision at Arrowsmith" for Medallion Theater starring Henry Fonda

On writing for the series Jamie and on working with producer David Susskind; on how a writer got work in television in the '50s; on writing "The Haven" for Philco-Goodyear Television Playhouse produced by Fred Coe and on Coe's contribution to television; on the studios where live television was produced in the '50s

On how the technological advances in camera work affected writing for television and on the challenges of writing to accommodate costume changes; on writing to commercial breaks for live television and on adapting "A Death in the Family" for the stage; on his first meeting with Fred Coe and on his fondness for Coe

On writing "The Haven" for Fred Coe's Philco-Goodyear Television Playhouse;  on the first scripts he wrote that were produced for Philco-Goodyear Television Playhouse

On working with director Delbert Mann; on writing "Other People's Houses" for Philco-Goodyear Television Playhouse; on working with various directors on Philco-Goodyear Television Playhouse including Arthur Penn and Delbert Mann

On his involvement in production with shows like "The Haven" for Philco-Goodyear Television Playhouse; on casting Philco-Goodyear Television Playhouse; on writing "The Morning Face" and "The Lawn Party" for Philco-Goodyear Television Playhouse and "The Play Room" for Playhouse 90

On working with Eileen Heckart and various other actors including Kim Stanley; on writing "The Presence of the Enemy" for Studio One and working with E.G. Marshall; on writing "The Out of Towners" (starring E.G. Marshall and Eileen Heckart) for Studio One

On writing "The Waiting Place" for Playwrights '56; on writing "Guilty is the Stranger" for Philco-Goodyear Television Playhouse; on writing "My Lost Saints" for Philco-Goodyear Television Playhouse

On his writing process

On working with Humphrey Bogart, Lauren Bacall, and Henry Fonda on Producers' Showcase: "The Petrified Forest"

On working in Hollywood as opposed to working in New York; on working with Martin Manulis on Playhouse 90

On writing "The Five Dollar Bill" for Studio One; on writing for Playhouse 90 for producer Martin Manulis; on the differences between producers Martin Manulis and Fred Coe

On writing "If You Knew Elizabeth" for Playhouse 90; on how Playhouse 90 handled the time difference between the East Coast and the West Coast with the use of kinescopes; on writing "The Play Room" and "The Innocent Sleep" (featuring Buster Keaton) for Playhouse 90

On casting for Playhouse 90; on watching Playhouse 90 go live

On watching Playhouse 90 and other live dramas of his be performed; on the pressures of writing and performing for live television and the decline of live television

On the advent of video tape and its impact on television; on writing "The Invincible Teddy Roosevelt" for Our American Heritage; on adapting James Agee's novel "A Death in the Family" into the Pulitzer Prize wining play "All the Way Home"

On adapting James Agee's novel "A Death in the Family" into the Pulitzer Prize wining play "All the Way Home," and on the show being saved by a plug from Ed Sullivan; on the experience of winning the Pulitzer for "All the Way Home "

On writing "Three Roads to Rome" starring Deborah Kerr for ITV Play of the Week; on adapting various novels into feature films including "Up the Down Staircase"; on writing The Adams Chronicles 

On his work on The Adams Chronicles;  on what the Golden Age of Television means to him and on camaraderie among writers in that era

On the programs that have represented the best of television; on the then-future of television; on dealing with network censorship on an NBC adaptation of All the Way Home

On various people he worked with in his career; on his mentor, Kurt Canfield

On individuals he worked with over the course of his career

On the Archive of American Television