On his early life and influences; on going to work for Jack Haley, Jr. on the documentary series Hollywood and the Stars
On learning to write for documentaries, including National Geographic Specials "Reptiles and Amphibians"; on working for David L. Wolper, and on meeting Jacques and Philippe Cousteau; on shooting The Undersea World of Jacques Cousteau
On working in several capacities (cinematographer, producer, director) on David L. Wolper's National Geographic Specials; on the challenge of shooting nature footage for the National Geographic Specials; on directing the Time-Life Specials: The March of Time episode "The Search for Vengeance" about the search for Nazi war criminals around the world
On the impact David L. Wolper and Jack Haley, Jr. made with documentary series such as The Race for Space; on the first time he saw television, and on watching television when he was traveling internationally; on writing and executive producing the television movie Strange New World, from a concept by Gene Roddenberry
On writing the narration for the television documentary Mysteries of the Sea for William Holden; on meeting David Milch and going to write for Hill Street Blues; on learning to write for Hill Street Blues, and on Dick Wolf becoming story editor
On the process of putting together a script for Hill Street Blues along with Jeffrey Lewis and David Milch; on Steven Bochco having left Hill Street Blues and how it impacted his rapport with the cast; on contretemps with ABC Standards & Practices during his time on Hill Street Blues, and on working for MTM
On introducing the character "Lt. Norman Buntz," played by Dennis Franz, on Hill Street Blues, and on other characters; on using his background experience to write for Hill Street Blues, and on what he learned about writing for television from the show; on the legacy of Hill Street Blues and Steven Bochco
On Dick Wolf hiring him to write for Law & Order; on finding story ideas for Law & Order from the headlines and from his own experiences; on Paul Sorvino leaving Law & Order, to be replaced by Jerry Orbach as "Lennie Briscoe," and on writing his first episode
On Dick Wolf casting S. Epatha Merkerson as "Anita Van Buren" on Law & Order; on the relationship between the cast of Law & Order and the writers while he was there; on the popularity of the Law & Order franchise
On going to write for NYPD Blue for Steven Bochco as David Caruso was leaving the series; on writing the first NYPD Blue episode with Jimmy Smits as "Bobby Simone," "Simone Says"; on NYPD Blue winning the Emmy Award for Outstanding Drama in 1995, and on leaving the show after one year
On being hired by John Wells as co-executive producer on ER; on learning medical jargon for ER; on favorite episodes and storylines of ER during his stint there
On writing for the short-lived Law & Order: Trial by Jury; on paying attention to things like ratings for the shows he wrote on, and on the cancellation of Law & Order: Trial by Jury; on writing for Law & Order: Criminal Intent
On being the showrunner on the 2003 revival of Dragnet for Dick Wolf; on co-creating Conviction with Dick Wolf; on what makes a good writer
On what he likes about writing; on his writing process; on never having had to deal with writers block, and on the importance of rewriting
On working on the feature "WarGames," and on writing the feature film "The Wild Bunch"; on working with "The Wild Bunch" director Sam Peckinpah; on the level of violence in his feature film "The Wild Bunch," and on where he got the story for the movie
On directing the documentary "The Hellstrom Chronicle," produced by David L. Wolper, for which Green won an Oscar; on helping out with a sequence involving insects in the David L. Wolper-produced feature film "Willy Wonka and the Chocolate Factory"
On adapting "Killing Jesus," based on Bill O'Reilly's book, for a National Geographic Special; on writing an episode of The Man in the High Castle and an episode of Mercy Street, and on staying active in the industry; on William Friedkin, Tony Richardson, and Stephen Frears being mentors to him
On what it has meant to him over the years to be a member of the Writers Guild; on advice to an aspiring writer
On the value of the Television Academy Foundation interviews, and oral histories in general; on dream projects and his proudest career achievement; on how he would like to be remembered