Alan Alda on his methodology for memorizing lines
Alan Alda on the importance of the relationship between the writers and the actors on M*A*S*H, as facilitated by director Gene Reynolds
Alan Alda on the role of improvisational training in his acting work, and specifically the work done at Second City.
Alan Alda on the uncomfortable things actors must do to accommodate the camera
Alan Alda on working out a scene with Wayne Rogers on M*A*S*H, after shooting for the satisfaction of getting it right
Alan Alda on the M*A*S*H episode "Sometimes You Hear the Bullet"-- its dramatic significance and Alda's critique of a scene in which he cries on camera
John Aniston on performing on stage versus performing on television
John Aniston on how he found acting roles in his early years, and on the play "Little Mary Sunshine"
John Aniston on the craft of acting
John Aniston on advice to aspiring actors
Ed Asner on the cancellation of Lou Grant and his stint as President of the Screen Actor's Guild
Ed Asner on his advice to aspiring actors
Ed Asner on actors as citizens
Ed Asner on advice to aspiring actors
Ernest Borgnine on his mother suggesting he be an actor
Ernest Borgnine on how life experiences contribute to being an actor
Ernest Borgnine on preparing for a role
Ernest Borgnine on acting in dramatic and comedic roles
Ernest Borgnine on how he went from a film star to television for McHale's Navy ; some considered it "lowering" himself, he considers it all entertainment
Eric Braeden on how fear can help you as an actor
Eric Braeden on making fantastical characters and storylines seem real on The Young and the Restless; on memorizing lines
Eric Braeden on not feeling satisfied by his work as an actor
Eric Braeden on advice to aspiring actors
Dan Castellaneta on joining Second City, and what he learned as an actor there
Dan Castellaneta on working with the ensemble of The Tracey Ullman Show, including Ullman, Julie Kavner, and Sam McMurray
Dan Castellaneta on advice to an aspiring actor
Tony Roberts on the craft of being a straight man, and on his philosophy of comedy
Tony Roberts on dealing with the peaks and valleys of an actor's career
Tony Roberts on an actor dealing with and learning from his audience
Tony Roberts on summing up his career as an actor, and how he has navigated it
Tony Roberts on the role agents and managers have played in his career
Tony Roberts on how an actor deals with being typecast
Tony Roberts on how he feels about his career
Charles Grodin on an important lesson Uta Hagen taught him in acting
Charles Grodin on his philosophy of acting
Charles Grodin on important skills and tools for the actor
Charles Grodin on his base of support when he decided to become an actor
Robert Culp on modifying his acting when going from stage to television
Robert Culp on making a living as an actor
Robert Culp on making money as an actor, and on getting work on the stage
Robert Culp on writing a play, and on learning how to prepare material to perform
Robert Culp on his chemistry with Bill Cosby on I Spy, and on acting advice he gave him
Robert Culp on advice to an aspiring actor
William Daniels on what he likes about acting, and on his mentor Howard Lindsay
William Daniels on his distinctive voice
William Daniels on how he approaches a script, and on being president of the Screen Actors Guild
William Daniels on advice to an aspiring actor
John Forsythe on studying at the Actors Studio
John Forsythe on the difference between acting on filmed or taped television and live television
John Forsythe on advice to aspiring actors
John Forsythe on researching his acting roles and playing in front of a live audience
On his first appearance on television and how he first got cast in a role
Dennis Franz on researching a part and his approach to a new role
Dennis Franz on type-casting
Dennis Franz on choreography and continuity of NYPD Blue and handling challenges of complicated dialogue
Louis Gossett, Jr. on making the transition from stage to television and features
Louis Gossett, Jr. on doing research to play "Fiddler" in Roots, and why the character was a breakthrough for him in terms of his acting process
Louis Gossett, Jr. on overcoming creative differences with other actors and on the importance of doing research on characters
Louis Gossett, Jr. on what he loves about acting
Robert Guillaume on the difference between acting for film or television
Robert Guilluame on the challenge of waiting for the punchline during a tense scene on All in the Family
Robert Guillaume on his pursuit to be funny without being a buffoon or playing a part with "dignity" on Soap
Robert Guillaume on not emphasizing racial issues directly with his character "Benson" on Soap; but finding ways to make a statement
Hal Holbrook on what he likes about acting
Hal Holbrook on rehearsing
Hal Holbrook on fame and celebrity, and on being part of an acting company
Hal Holbrook on being known as a character actor
Hal Holbrook on advice to an aspiring actor
Felicity Huffman and William H. Macy on Macy studying acting with David Mamet at Goddard College and how that led to Macy teaching acting in New York, where Huffman studied with him
Felicity Huffman and William H. Macy on how they help each other prepare for roles and the challenges of preparation as an actor
Felicity Huffman and William H. Macy on watching each other's work and their own, and how much they prepare for roles
Russell Johnson on studying at the Actors Lab
Russell Johnson on the challenges of working in live television
Russell Johnson on advice to aspiring actors
Russell Johnson on his acting style and how he prepares for roles
Bernie Kopell on doing accents, and on using them on My Favorite Martian, The Flying Nun, and The Doris Day Show
Bernie Kopell on his acting process, his preparation for a given role, and on working with Neil Simon
William H. Macy on studying acting with David Mamet at Goddard College
William H. Macy on the Practical Aesthetics acting technique, which he developed with David Mamet
William H. Macy on appearing in small roles on TV series early in his career
William H. Macy on his advice to actors for reading scripts
William H. Macy on what he likes about acting
William H. Macy on "being visited by the muse" while performing onstage
William H. Macy on the best advice he's received, and his advice to actors
William H. Macy on advice to aspiring actors
Bob McGrath on how his character on Sesame Street came to have the name Bob
Bob McGrath on his association with Mitch Miller and working on the Mitch Miller Show
Bob McGrath on advice he would give to a performer wanting to work in children's television
Bob McGrath on the highlight of his career
Ricardo Montalban on his acting training
Ricardo Montalban on the way of doing exposition on Fantasy Island
Ricardo Montalban on Gene Lockhart's advice to him about maintaining an acting career
Ricardo Montalban on the last day of shooting Fantasy Island and the importance of the star in creating a good atmopshere on the set
Ricardo Montlaban on his advice to aspiring actors
Leonard Nimoy on bringing character traits to small parts, as he did on Get Smart, prior to his starring on Star Trek
Leonard Nimoy on the shift in acting styles in the 1950s, when he began to teach acting
Leonard Nimoy on how he prepares for a role, and the importance of subtext
Leonard Nimoy on the intimacy the camera can provide to an actor
Leonard Nimoy on staying in character between takes, and his experience in film vs. TV
Carroll O'Connor on learning how to play comedy from Micheál MacLiammóir, at the Gate Theatre, which he later used in his characterization of Archie Bunker in All in the Family
Carroll O'Connor on a tip he gave actress Talia Balsam for a crying scene on an episode of Archie Bunker's Place
Carroll O'Connor on his advice to young actors to create a reputation for reliability
William Schallert on being a character actor and not feeling typecast
William Schallert on feeling like he could act, but that he didn't look like an actor
William Schallert on often playing several roles on one series
William Schallert on how he creates different personas
William Schallert on his tenure as President of SAG; on chairing a committee to merge SAG and AFTRA
William Schallert on the mission of SAG
William Schallert on how he gets jobs nowadays (2012)
William Schallert on advice to aspiring actors
Richard Schiff on his fear of acting
Richard Schiff on dealing with Aaron Sorkin's habit of turning in scripts late for The West Wing
Richard Schiff on auditioning
Richard Schiff on wanting to be an "actor's actor"
William Shatner on his famous halting style of delivery, and on appearing on stage in "Deathtrap"
William Shatner on what he learned performing Shakespeare on stage in Canada for several years
William Shatner on dealing with the cameras and working with directors in live television
William Shatner on how he prepared to act on live television, and some of the challenges he faced
Robert Vaughn on his fascination with being an actor
Robert Vaughn on his growth as an actor during The Man From U.N.C.L.E.
Robert Vaughn on how he gets into character and prepares for a role
Robert Vaughn on the acting for stage, film, radio and television
Robert Vaughn on advice to aspiring actors
Fred Willard on what he's learned about improv acting from the Christopher Guest movies
Fred Willard on playing dramatic roles and the types of roles he usually plays
Fred Willard on what he likes about acting, doing research for roles, and what attracts him to a role
Fred Willard on advice to aspiring actors
Henry Winkler on what it took to land a job in Hollywood at the start of his career
Henry Winkler on developing the character "Fonzie" for Happy Days
Henry Winkler on how acting is never a solo effort
Henry Winkler on being glad he didn't experience fame until he was older and able to handle it
Henry Winkler on an important lesson he learned from Garry Marshall about respect on the set
Henry Winkler on the importance of listening to your own instinct when deciding on projects and roles
Herny Winkler on letting a character grow organically on The Practice - a role which later earned him an Emmy nomination
Henry Winkler on advice to aspiring actors and producers "you have to need to act"; and you must train, and you must be passionate about your work
