Performers

Edie Adams on advice to aspiring performers

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, specifically 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 winning an Emmy, and how some of your best writing work can come as a surprise

Jason Alexander on advice to aspiring actors

Debbie Allen on advice she would give to someone aspiring to be a director or choreographer

John Amos on his favorite thing about acting

John Amos on advice to an aspiring actor

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

Lucie Arnaz on the craft of acting in different media and advice to aspiring actors

James Arness on advice to an aspiring actor

Beatrice Arthur on finding her comedic voice

Beatrice Arthur on acting in a sitcom

Beatrice Arthur on her advice to aspiring actors

Beatrice Arthur on comedy devices and originality in comedy

Beatrice Arthur on the craft of performance

Beatrice Arthur on her time at the Actors Studio and lessons she learned there

Beatrice Arthur on advice to an aspiring performer

Ed Asner on his advice to aspiring actors

Ed Asner on actors as citizens

Ed Asner on advice to aspiring actors

John Astin on his method of acting

John Astin on appearing on Night Court and on his philosophy of acting

John Astin on his longevity in the industry

Hank Azaria on advice to an aspiring actor

Bonnie Bartlett on what she likes about acting, and on doing comedy

Bonnie Bartlett on her process of acting once she gets a script, and on acting in different media

Bonnie Bartlett and Williams Daniels on acting together, and on their life together

Ed Begley, Jr. on the "rules" of comedy, and on then-favorite comedians, and managers of comedians

Ed Begley, Jr. on a performer or actor controlling his image or how he's seen by the public, and on improving as an actor or comedian

Ed Begley, Jr. on advice for aspiring performers

Milton Berle on his reputation as a perfectionist

Shelley Berman on his advice to an aspiring performer

Shelley Berman on the type of performer he is, and on developing his early nightclub act

Shelley Berman on stand-up comedians using a stool, and various other props of the trade, and on the challenges faced by a stand-up comedian

Shelley Berman on the comedian Jim MacGeorge, and on his own poetry

Shelley Berman on the source of comedy in a script or situation, and on "teaching" comedy

Shelley Berman on the construct of comedy, and the difficulty in pinpointing what is funny or why people laugh

Shelley Berman on the importance in comedy of the audience relating to the comedian, and on the evolution of comedy in terms of explicit language

Shelley Berman on the importance of comedy in his life, and American life in general

Shelley Berman on his reputation for being difficult, and on the ups and downs of his life and career, including the loss of his son

Ken Berry on advice to aspiring actors

Sharon Bialy on advice to an aspiring actor

Barbara Billingsley on her advice to aspiring performers

Lewis Black on his early interest in drama, and on becoming a comedian

Lewis Black on doing open mic nights at Catch a Rising Star in New York City

Lewis Black on working out his stand-up routine in front of audiences

Lewis Black on developing his comic persona

Lewis Black on the source of the anger in his comedy, and learning how to use the anger

Lewis Black on audience reaction to the evolution of his angry character

Lewis Black on doing political humor

Lewis Black on judging how far he can go with audiences

Lewis Black on whether comedy can be taught

Lewis Black on dealing with the business end of show business as a comedian

Lewis Black on longevity in a comedian's career

Tom Bosley on his acting process and how he approaches a role

Tom Bosley on advice to aspiring actors

Peter Boyle on advice for aspiring actors

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

Eddie Brill on teaching and learning comedy

Eddie Brill on developing a comedic voice

Eddie Brill on comedians using blue material

Eddie Brill on learning from older comedians

Eddie Brill on comedians being born or made

Eddie Brill on dealing with the business end of show business

Eddie Brill on the comedian's relationship to their audience

Eddie Brill on auditioning, and on working with Aretha Franklin

Eddie Brill on writing jokes, and on the power of laughter

Eddie Brill on what he gets out of being a comedian

Connie Britton on studying acting with Sanford Meisner 

Connie Britton on learning television comedy for Spin City

Connie Britton on the process of shooting and acting on Friday Night Lights

Sid Caesar on advice he has for aspiring performers

David Canary on acting in Western roles

George Carlin on the origin of his famous routine "Seven Dirty Words"

George Carlin on getting fired from the Copacabana and being relieved to finally leave mainstream comedy

George Carlin on getting to write about the "freak show"

George Carlin on the evolution of his comedy

George Carlin on why he never gets tired of performing his routines

George Carlin on why he never gets tired of performing his routines

George Carlin on defining himself and his role as an entertainer and a comedian

George Carlin on advice he gives young comedians: write it down and classify everything

Kevin Carlisle on his process of choreographing dances for television

Kevin Carlisle on what he liked about choreographing variety specials

Kevin Carlisle on traveling internationally for work

Kevin Carlisle on what he enjoys about choreography, and on what audiences like about dancing on television

Kevin Carlisle on dancers' footwear

Kevin Carlisle on advice to an aspiring choreographer

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

Dan Castellaneta on what makes a good voiceover actor

Dick Cavett on getting the first acting job he ever tried out for

Dick Cavett on the likeability of comics and the possibility of laughing at comics you don't like

Dick Cavett on his comedy style and the difficulty of writing material for yourself

Marge Champion on her chemistry with Gower Champion and her rehearsal process 

Marge Champion on the process of creating a dance number

Marge Champion on developing her act with Gower Champion and their first time on television 

Marge Champion on the logistics of shooting her and Gower Champion dancing for television

Marge Champion on advice to aspiring dancers

Cyd Charisse on the craft of dancing on television

RuPaul Charles on his message as a performer

Michael Chiklis on different schools of acting that he studied

Michael Chiklis on advice to aspiring actors

Margaret Cho on what she enjoys about comedy and why performing in front of an audience feels safe

Margaret Cho on what she learns from bombing on stage

Margaret Cho on how her act developed

Margaret Cho on always wanting to be an actress and on how she got roles when there were no parts for Asian Americans

Margaret Cho on her first comedy show/special after All-American Girl, I'm The One That I Want, and how comedy helped her at that time

Margaret Cho on the craft of comedy and her writing process

Margaret Cho on getting to work with her mentors

Margaret Cho on advice from other comedians that she's taken to heart

Margaret Cho on balancing serious topics and humor in her comedy; on cancel culture and on whether she's ever felt restricted in her comedy

Margaret Cho on the role of comedy in today's political climate

Margaret Cho on being a role model for Asian American female comedians

Margaret Cho on advice to an aspiring comedian

Margaret Cho on what she wishes she had known when she first started her career

Margaret Cho on advice for young women entering the industry

Robert Clary on what he likes about acting, and on his process for acting

Robert Clary on advice to an aspiring actor

Robert Conrad on his approach to acting and early influences

Robert Conrad on learning to do his own stunts

Robert Conrad on advice to aspiring actors

John Conte on acting on television as opposed to acting on stage

John Conte on advice to aspiring performers

Richard Coogan on the business of acting

Richard Coogan on the process of acting

Richard Coogan on what he learned about acting at The Actors Studio

Irwin Corey on his brand of comedy

Irwin Corey on doing his signature pantomime act

Irwin Corey on the signature comedy of various performers

Irwin Corey on whether a person can learn to be funny

Irwin Corey on using comedy as a vehicle for social commentary, and on appearing in the play "Sly Fox"

Irwin Corey on using comedy to put across his political views

Irwin Corey on developing his comedic style

Irwin Corey on the importance of the audience when he performs

Irwin Corey on the business part of show business

Irwin Corey on taking comedy seriously

Irwin Corey on his attempts and desire to transition from comedy to drama, and on his involvement with the guilds

Richard Crenna on his philosophy of acting

Richard Crenna on advice to aspiring actors

Hume Cronyn on the craft of acting

Hume Cronyn on preparing to act on live television 

Hume Cronyn on what attracts him to a script

Billy Crystal on advice to an aspiring comedian

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

Jane Curtin on what she enjoys about acting 

Jane Curtin on advice to aspiring actors

Bill Daily on advice to an aspiring actor

Bill Dana on advice to aspiring writers and comedians

Bill Dana on founding the American Comedy Archives at Emerson College and on the challenges of being a comedian

Bill Dana on comedians using situations and constraints to their advantage, and on the impatience of audiences

Bill Dana on learning to use humor as a weapon to disarm

Bill Dana on when he first learned he could make people laugh, and on attending Emerson College

Bill Dana on his early comedic influences

Bill Dana on what he's learned about the business side of the entertainment/comedy industry

Bill Dana on comedians stealing each other's material

Bill Dana on the source of his comedy, and his characters, and on Jonathan Harris as "Mr. Phillips" on The Bill Dana Show

Bill Dana on his answer to the question "What is funny?"

Bill Dana on the need for a performer to pay their dues

Bill Dana on his answer to the question "Was it worth it?"

Bill Dana on ethnic humor, and on the importance of good representation

Bill Dana on the importance of having a good agent

Bill Dana on the difficulties comedians face

Bill Dana on comedy being a difficult job, and on the most important quality of a comic

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

Tony Danza on advice to an aspiring actor

Ann B. Davis on her sense of gratitude toward writers

Ossie Davis on his advice to aspiring writers and actors

Richard Dawson on crafting his first act as a comedian and getting into acting

Danny DeVito on advice to actors - "don't be nervous just go in there and knock their socks off"

Danny DeVito on his advice to actors

Elinor Donahue on her very early start in show business

Patty Duke on how her acting process has evolved over the years

Patty Duke on advice to an aspiring actor

Barbara Eden on the craft of acting

Stephanie Edwards on wanting to be an actress, but having trouble with competition

Hector Elizondo on avoiding being typecast 

Hector Elizondo on what he likes about acting

Hector Elizondo on advice to an aspiring actor

Jeannie Epper on being one of the founding members of the Stuntwoman's Association of Motion Pictures

Jeannie Epper on dealing with the risks and fears that come with being a stuntwoman; on being part of a stunt family

Jeannie Epper on how safety regulations have changed for stunt people over the years

Jeannie Epper on her style as a stuntwoman, and insurance coverage for her profession

Jeannie Epper on how CGI has affected stunt work

Jeannie Epper on advice to an aspiring stunt person

Nanette Fabray on her acting style

Nanette Fabray on good advice she's gotten regarding her acting in her career

Nanette Fabray on working with a difficult director

Nanette Fabray on advice to aspiring actors

Edie Falco on not consciously doing research for roles

Edie Falco on what she likes in a director, as an actor

Edie Falco on why she prefers shooting single-camera television shows without an audience

Edie Falco on what she likes about acting

Edie Falco on advice to aspiring actors

Barbara Feldon on what got her interested in performing and the thrill of performing when she was young

Barbara Feldon on not believing she's a comedienne

Barbara Feldon on being an actor performing comedy v. being a comedienne

Barbara Feldon on doing comedy v. drama and acting in the film Smile

Sally Field on film acting versus television acting

Sally Field on becoming a mother, and on studying under Lee Strasberg

Sally Field on studying under Lee Strasberg at the Actors Studio

Sally Field on advice to an aspiring actress

June Foray on coming up with voices for her early radio performances

June Foray on her advice to aspiring voice actors

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 

Jonathan Frid on advice to an aspiring actor

Budd Friedman on advice to an aspiring comedian

Eileen Fulton on her acting style, and on advice to aspiring actors

James Garner on becoming an actor

James Garner on stage acting verses television acting

Betty Garrett on advice to aspiring performers

Mitzi Gaynor on joining the Los Angeles Civic Light Opera Company and her first show

Mitzi Gaynor on advice to aspiring television performers

Larry Gelbart on the acting skills of Gary Burghoff during the taping of the M*A*S*H episode "Abyssinia, Henry" in which the character "Henry Blake" is killed

Marla Gibbs on taking acting classes when she first got to Los Angeles

Marla Gibbs on advice to an aspiring actor

Sandra Gimpel on how she learned to do stunts on Lost in Space, on which she was Bill Mumy's stunt double and stand-in

Sandra Gimpel on the community of stunt performers when she started out in the business, and on the most importance advice she got from early mentors

Sandra Gimpel on the fact that most stunt performers were men when she started out in the business

Sandra Gimpel on how her background as a dancer helped her when she became a stunt performer

Sandra Gimpel on the importance of emulating actors' movements and walk when doubling for them

Sandra Gimpel on why her small stature was advantageous when she became a stunt performer

Sandra Gimpel on "sugar glass", which is made of resin and used for stunt performers to be able go break through glass windows, and other forms of breakable glass used for stunt performers

Sandra Gimpel on the idea of actors "doing their own stunts": "99% of the actors have a stunt double...it's not that the actor can't do the stunt, it's not smart to let them do the stunt"

Sandra Gimpel on how she handled an actor wanting to their own stunts when she was the stunt coordinator on set

Sandra Gimpel on working with directors as a stunt coordinator, and on working with Jim Carrey on a stunt he wanted to perform in "The Truman Show" (where she was a stunt performer, not the coordinator on set)

Sandra Gimpel on a near fatal accident during a stunt she performed on the show Bring 'Em Back Alive, and on the importance of safety on set and double checking the set up before performing stunts

Sandra Gimpel on an accident when she was performing a stunt where she had to jump off a building, and on how she tries to ensure safety on sets

Sandra Gimpel on how much she rehearses a stunt before performing it on film, and on an accident that happened while she was performing a stunt in a Kellogg's cereal commercial

Sandra Gimpel on what a stunt coordinator does and what a second unit director does, and how it worked when she was acting as both on set

Sandra Gimpel on how the sunt coordinator works with the second unit director on set

Sandra Gimpel on her thoughts on the fatal accident that happened during the filming of a stunt on the 1983 "The Twilight Zone" movie (she did not work on that project), and on an incident when she insisted a director not shoot a stunt due to dangerous circumstances

Sandra Gimpel on whether accidents like the one on the set of "The Twilight Zone" movie have led to changes in safety standards in the industry

Sandra Gimpel on speaking out about the safety of a stunt, even at the risk of losing a job, but the fact that not everyone can or will speak up for fear of losing a gig, and on an accident on the set of Other World where she was acting as stunt coordinator

Sandra Gimpel on stunts she won't perform, including her dislike of motorcycles, and on how she handles it when the on-set set ups don't meet her expectations

Sandra Gimpel on the most dangerous stunt she's performed, and on the closest calls in her career

Sandra Gimpel on injuries she's sustained while performing stunts

Sandra Gimpel on insurance coverage for stunt performers

Sandra Gimpel on not having a speciality as a stunt performer, but being able to perform many different kinds of stunts, and on how the equipment stunt performers use has changed over time especially for women

Sandra Gimpel on redoing stunts when she is acting as second unit director

Sandra Gimpel on what makes a good stunt performer

Sandra Gimpel on each stunt person having an indvidual style, and on why Taekwondo is a good style for fighting on-camera

Sandra Gimpel on being the stunt coordinator and second unit director on Harts of the West with Beau Bridges, and on her feelings about Westerns

Sandra Gimpel on performing stunts for television versus film: "television's much faster... features, they take their time"

Sandra Gimpel on what she likes about doing stunts, and on not know she would end up as a stunt performer when she was starting out

Sandra Gimpel on how stunt work has changed since she started in the industry

Sandra Gimpel on advice for aspiring stunt performers

Paul Michael Glaser on advice to aspiring actors

Sharon Gless on what caused her to lose her fear of pursuing acting

Sharon Gless on why being on a hit TV show is her favorite acting experience

Sharon Gless on the chemistry between her and Tyne Daly: it's either there or it isn't, and it was there on Cagney & Lacey

Sharon Gless on being accepted by Ron Cowen and Daniel Lipman for the part of "Debbie" on Queer as Folk

Whoopi Goldberg on starting to gain traction as a performer in San Diego and starting to do improv

Whoopi Goldberg on Jumpin' Jack Flash and playing roles that were originally intended for people of other races and genders

Whoopi Goldberg on hosting Comic Relief as another character, "Whoopi"

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

Lee Grant on working with Sanford Meisner at the Neighborhood Playhouse

Lee Grant on advice to aspiring actors

Shecky Greene on why he started in comedy, and on his earliest gigs

Shecky Greene on the relationship between laughter and depression

Shecky Greene on developing his comedy act, characters in comedy, and his role in creating the Comedy Store

Shecky Greene on doing dialects in his act, and on working for the mob

Shecky Greene on what he has gotten out of his comedy career

Shecky Greene on his comedic persona, and on appearing on Today with Katie Couric

Shecky Greene on surviving in comedy

Shecky Greene on the then-current state of comedy, and on Jewish comedy and the joys of performing

Shecky Greene on summing up his career

Dick Gregory on what comedy can do and cannot do for society

Dick Gregory on what he wanted to accomplish with this stand-up comedy, and on his early experiences with nightclubs

Dick Gregory on coming up with material for his act

Dick Gregory on defining what a comedian is

Dick Gregory on using his life experiences as fodder for his act

Dick Gregory on advice to aspiring comedians, and on profanity in comedy

Dick Gregory on comedians developing a technique

Dick Gregory on the role of the comic in society

Andy Griffith on getting into performing

Charles Grodin on labeling himself according to his talents

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 brand of comedy, and on figuring out he was funny

Charles Grodin on his base of support when he decided to become an actor

Jon Hamm on his early days trying to make it as an actor in Los Angeles

Jon Hamm on what he likes about acting - "you get paid to play"

Jon Hamm on what he would want to tell his younger self when starting out in the business

Jonathan Harris on being typecast as eccentrics and villains, and on being a character actor

Jonathan Harris on advice to aspiring actors

Don Hastings on what it was like to act on live television in the '50s

Don Hastings on the process of getting his script and memorizing lines for As the World Turns

Don Hastings on advice to an aspiring actor

Florence Henderson on deciding to become an actress

Florence Henderson on advice to young actors

Florence Henderson on making scenes believable

Marilu Henner on advice to an aspiring actor

Leslie Hoffman on training to be a stuntwoman

Leslie Hoffman on rehearsing stunts

Leslie Hoffman on dealing with life or death situations as a stunt person

Leslie Hoffman on doing pratfalls

Leslie Hoffman on doing staircase falls

Leslie Hoffman on performing fire stunts

Leslie Hoffman on the risks of a high jump stunt and precautions she takes

Leslie Hoffman on advice to aspiring stunt people

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

Ellen Holly on appearing as "Stephanie" in the Broadway production of Too Late the Phalarope, and on how she played the role

Ellen Holly on being invited to join the Actors Studio by Lee Strasberg

Ellen Holly on what she learned at the Actors Studio, and why she didn't like Lee Strasberg as a teacher

Ellen Holly on what she learned from her time on One Life to Live, including advice she would give to young actors about the business-end of television

Felicity Huffman on what she likes about acting and the importance of storytelling

Felicity Huffman on advice for aspiring actors

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

Kim Hunter on advice to aspiring actors

Allison Janney on becoming interested in acting and doing a play directed by Paul Newman

Allison Janney on memorization's place in acting

Allison Janney on worries about being typecast

Allison Janney on her acting style

Allison Janney on the most important advice she ever received about acting

Allison Janney on advice to aspiring actors

Geri Jewell on the first time she did stand-up comedy, and how she talked about cerebral palsy in her routine

Geri Jewell on filming the Deadwood episode "Jewel's Boot Is Made for Walking" and how show creator/director David Milch coaxed a reaction from her

Geri Jewell on what she loves about performing and her hopes for her career as she ages

Geri Jewell on advice for aspiring actors

Julie Ann Johnson on the training and physical requirements to be a stunt performer

Julie Ann Johnson on the role of a stunt person

Julie Ann Johnson on the wardrobe she wore as a stunt person

Julie Ann Johnson on the logistics of being a stunt person in terms of getting work

Julie Ann Johnson on the different types of stunt work she did

Julie Ann Johnson on the people on the set she works with most closely

Julie Ann Johnson on her reputation as a stunt person and what she was known to be able to do well

Julie Ann Johnson on how stunt performers pay scales are determined, and on working for Hal Needham

Julie Ann Johnson on changes that have taken place in the stunt performing industry

Julie Ann Johnson on forming the Society of Professional Stuntwomen in 1975

Julie Ann Johnson on her style as a stunt performer and her favorite kinds of stunts

Julie Ann Johnson on the importance of a stunt person staying in good shape, and on the substance abuse problems in the industry

Julie Ann Johnson on comparing how stunt women are treated in features and in television

Julie Ann Johnson on how budgets impact what a stunt person is able to do

Julie Ann Johnson on advice to an aspiring stunt woman

Lamont Johnson on advice to an aspiring actor

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

Shirley Jones on advice to an aspiring actress, and on how she'd like to be remembered

Eartha Kitt on performing on live television

Jack Klugman on his desire to go to drama school in Pittsburgh and his first acting experiences

Jack Klugman on being scared in front of the camera

Jack Klugman on the craft of acting and on the differences between performing on stage and in front of a camera

Walter Koenig on his advice to a young actor

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

Sid and Marty Krofft on advice to aspiring puppeteers

Sid and Marty Krofft on advice to aspiring puppeteers

Lisa Kudrow on realizing there was no "mystical truth" to becoming a working actor after seeing her brother's friend, Jon Lovitz, land a gig on Saturday Night Live

Lisa Kudrow on what she learned about acting from her work at The Groundlings Improv group and how invaluable the character monologues were

Lisa Kudrow on her first-ever performance in front of an audience

Lisa Kudrow on some realities of working in television and the expectations and challenges of coming in as guest-star on a long-running sitcom

Lisa Kudrow on the challenges of performing the same character for so many years, as on Friends with "Phoebe"

Lisa Kudrow on advice to aspiring actors "as long as it's not porn, do it"

Sheila Kuehl on advice to aspiring actors and politicians

Angela Lansbury on wanting to be an actress

Jack Larson on the instant popularity of "Jimmy Olsen" on Adventures of Superman and being typecast as an actor

Louise Lasser on being typecast (or not) after Mary Hartman, Mary Hartman, and on her relationship with the character

Louise Lasser on advice to an aspiring actor

Piper Laurie on the craft of acting for television

Piper Laurie on advice about the craft of acting

Lucy Lawless on what she likes about acting and her approach to acting

Lucy Lawless on her advice to an aspiring actor

Vicki Lawrence on the importance of listening when performing, especially with live television

Michael Learned on what she likes about acting

Michael Learned on advice to aspiring actors

Gene LeBell on early stuntwomen and men doubling for women

Gene LeBell on how he got into stunt work

Gene LeBell on the lack of early safety regulations for stunt people

Gene LeBell on his specialty in stunts and the background necessary for the profession

Gene LeBell on coordinating stunts

Gene LeBell on different types of stunts - high falls, stunt driving, pratfalls, stair falls and fistfights

Gene LeBell on preparations for stunt fistfights and fire stunts

Gene LeBell on stunts he won't do and stunts he'd like to do

Gene LeBell on essential qualities for a stuntperson

Gene LeBell on how he's credited a stuntperson

Jack Lemmon on the challenges of acting on live television 

Jack Lemmon on acting on live television

Jack Lemmon on taking acting lessons 

Al Lewis on meeting John Wayne at the Universal commissary and his views on acting careers

Al Lewis on his acting process and being a professional

Al Lewis on advice to an aspiring actor

Jerry Lewis on his father's influence on his performances

Judith Light on figuring out her acting career

Judith Light on advice to an aspiring actor

Judith Light on balancing her career as an actress and marriage

Judith Light on what she loves about acting 

Hal Linden on advice to aspiring actors

James Lipton on moving to New York City, and studying acting with Stella Adler at The Actors Studio

Barry Livingston on learning lines when he was a child

Barry Livingston on being a guest actor on an established show

Barry Livingston on advice for aspiring actors

Loretta Long on advice to aspiring actors, and how she'd like to be remembered

Julia Louis-Dreyfus on her early interest in acting

Julia Louis-Dreyfus on the challenge of portraying a version of herself on Curb Your Enthusiasm

Julia Louis-Dreyfus on one of her favorite improv moments on Veep

Julia Louis-Dreyfus on advice to aspiring actors

Susan Lucci on receiving and learning her All My Children  scripts and the rehearsal process

Susan Lucci on good advice she's received as an actor

Susan Lucci on her advice to aspiring actors

Gavin MacLeod on his early representation as an actor

Gavin MacLeod on playing multiple guest-starring roles and the same series, and on how casts regard a guest-star

Gavin MacLeod on being cast to play "Murray Slaughter" on The Mary Tyler Moore Show and on following his instincts at the audition

Gavin MacLeod on how he prepared to play "Murray Slaughter" on The Mary Tyler Moore Show, and on his relationships on the show

Gavin MacLeod on advice to an aspiring actor

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

Anita Mann on doing choreography for television, and what she learned from working for Lucille Ball

Anita Mann on her duties as an assistant choreographer

Anita Mann on her process of choreographing a number for television, and on choreographing the Miss America Pageant for which she won an Emmy

Anita Mann on how choreography on television has changed since she started

Anita Mann on what she looked for when she hired dancers on Solid Gold

Anita Mann on how choreography on television has changed since she first started

Anita Mann on what she enjoys about choreography

Anita Mann on advice to an aspiring choreographer

Randolph Mantooth on becoming comfortable in front of the camera

Randolph Mantooth on his approach to acting

Randolph Mantooth on advice to aspiring actors

Sonia Manzano on being cast on Sesame Street

Rose Marie on whether comedy can be learned

Rose Marie on dealing with the business part of show business

Rose Marie on what she learned from the great performers, including Milton Berle and Phil Silvers

Rose Marie on how she knows what's funny

E.G. Marshall on his training as an actor, and on working with The Actors Studio

E.G. Marshall on his method of acting

Producer Garry Marshall on his advice to actors

Penny Marshall on what she liked about acting

Cindy Williams and Penny Marshall on performing the physical comedy of Laverne & Shirley

Penny Marshall on her advice to aspiring actors and directors

Dick Martin on his advice to aspiring performers and directors

Jackie Mason on performing live, and on the process of building his act

Jackie Mason on where his comedy comes from

Jackie Mason on using comedy as a way to impart knowledge or help people

Jackie Mason on developing his on-stage persona, and on his beginnings as a comedian

Jackie Mason on being careful not to offend or hurt people with his act

Jackie Mason on using the crowd in his act, and on his relationship with his audience

Jackie Mason on dealing with the business aspect of show business

Jackie Mason on the trajectory of his career

Jackie Mason on the importance of timing

Bob May on advice to an aspiring performer

David McCallum on his early involvement in the amateur dramatics society and how he got interested in acting

David McCallum on his philosophy on preparing for a role

David McCallum on what he likes in a director and what a director adds to a set

David McCallum on advice to aspiring actors

David McCallum on how he's dealt with the lack of job security that's part of being an actor

Chuck McCann on learning comedy

Chuck McCann on doing voiceover work

Chuck McCann on his versatile career

Chuck McCann on his versatile career

Chuck McCann on his advice to aspiring comedians

Rue McClanahan on acting in front of an audience, and on the best advice she ever received about acting

Rue McClanahan on advice to an aspiring actor

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

Jayne Meadows on her early stage experience and deciding to become an actress

Jayne Meadows on playing different historical characters on the series Meeting of Minds

Jayne Meadows on advice she'd give to aspiring actors

Anne Meara on her path to becoming an actress

Anne Meara on her acting style

Jerry Stiller and Anne Meara on how they became a comedy team

Carlos Mencia on making a connection with his audience as a comedian, and the commonalities between people of different backgrounds

Carlos Mencia on the risks and rewards of doing edgy or racial humor

Carlos Mencia on aiming to inspire people, as well as make them laugh, though his comedy

Carlos Mencia on how comedy can heal divides, and solve problems in society

Carlos Mencia on his reaction to the notion of political correctness in comedy, and in life

Carlos Mencia on using "blue" material in his act, and how the choice of words can affect comedy

Carlos Mencia on comedians tailoring their acts to their environments

Carlos Mencia on being responsible to his community in his comedy

Carlos Mencia on having been accused of stealing jokes from other comedians

Carlos Mencia on advice to aspiring comedians

S. Epatha Merkerson on advice to an aspiring actor

Mary Tyler Moore on initially being a "dramatic" actress on a comedy on The Dick Van Dyke Show

Rita Moreno on how acting for television is different than acting for films, and appearing in Oz

Rita Moreno on having the "EGOT" (Emmy, Grammy, Oscar, Tony) and on studying acting

Rita Moreno on what it is like for an actor to guest-star on a show

Pat Morita on getting his foot in the door as a comedian, and on knowing Flip Wilson in the early years

Pat Morita on tailoring his stand up act for television, and on using his Japanese heritage in his act

Pat Morita on starting to make the transition from comedian to actor

Pat Morita on he and his representatives realizing he wanted to be an actor, and on what it takes to make it as an actor

Pat Morita on advice to aspiring actors

Howard Morris on his voiceover work

Howard Morris on doing voiceover work for Hanna-Barbera for shows like The Jetsons and The Flintstones

Howard Morris on advice to aspiring actors and directors

Diana Muldaur on what it means for an actor to work in a creative environment

Diana Muldaur on advice to an aspiring actress

Bill Mumy on the kinds of roles he got as a child actor and his acting style

Jan Murray on comedians from different generations, recognizing the great comedians of each one, and the greatness and faults of comedians from the then-current generation

Jan Murray on becoming the host of Blind Date and on being the first comedian to host a live game show

Jan Murray on using isolated stories at the start of his routine to get the audience used to his persona

Jan Murray on learning to adapt his material to the audience when performing in Israel

Jan Murray on being a naturally funny kid and getting into comedy as a result

Jan Murray on entertaining in the Cavaliers Social Club early in his career

Jan Murray on getting his gig working in the Catskill Mountains

Jan Murray on getting his gig at the Melbourne Hotel and deciding to pursue show business

Jan Murray on how entertainers come from all walks of life

Jan Murray on receiving show business advice from Al Jolson

Jan Murray on performing for benefits and how it impacts a comedian's business

Jan Murray on providing feedback to Shelley Winters and adapting a routine they did together

Jan Murray on performing comedy as medicine

Hal Needham on doing stunts "by the seat of his pants"

Hal Needham on advice to aspiring stuntmen and directors

Hal Needham on stunt men staying physically and mentally fit

Hal Needham on insurance coverage for stunt men

Bob Newhart on his comedic style and how it has and hasn't work on TV over the years

Bob Newhart on performing and writing comedy routines

Bob Newhart on advice to aspiring performers

Laraine Newman on creating characters for animated shows

Laraine Newman on advice to aspiring actors

Laraine Newman on creating characters for Saturday Night Live

Nichelle Nichols on the challenge of moving from acting on stage to acting in features or on television

Nichelle Nichols on advice to an aspiring actor

Louis Nye on what drew him to comedy

Louis Nye on the value of humor

Louis Nye on bringing back Old Vaudeville in his characters

Louis Nye on his characters potentially being offensive and on working with Jack Benny, Bop Hope, and Jimmy Durante

Louis Nye on his process for learning dialects

Louis Nye on tools he learned for getting laughs

Louis Nye on the business of comedy

Louis Nye on the Pagliacci syndrome and the prevalence of depression among comedians

Louis Nye on his work in nightclubs and on Broadway

Louis Nye on how comedy has changed since he started his career

Louis Nye on advice to students about a career in comedy and on sacrifices he made to be in the business

Louis Nye on what drove him to be a comedian and on his career longevity

Louis Nye on people expecting him to be in character

Louis Nye on originality in comedy

Louis Nye on whether it was all worth it

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

Ed O'Neill on his audition process

Ed O'Neill on his style of acting

Ed O'Neill on his approach to acting

Ed O'Neill on advice for aspiring actors

Edward James Olmos on advice to aspiring actors

Gary Owens on the importance of the straight man in comedy, and on working with Jonathan Winters

Gary Owens on what drew him to comedy and comedy writing, and on his days of being a disc jockey in Los Angeles

Gary Owens on his comedic style

Janis Paige on navigating her acting career through the years

Fess Parker on advice to an aspiring actor

Estelle Parsons on advice to an aspiring actor

Suzanne Pleshette on acting on stage versus acting on television

Suzanne Pleshette on acting in sitcoms

Suzanne Pleshette on advice to aspiring actors

Tom Poston on advice to an aspiring actor

Charlotte Rae on what she likes about acting

Charlotte Rae on advice to aspiring actors, and how she'd like to be remembered

Frances Reid on her acting style, and her career

Frances Reid on advice she would give an actor on a soap opera

Tim Reid on meeting and becoming comedy partners with Tom Dreesen

Tim Reid on developing a stand-up comedy act with Tom Dreesen; on honing their act

Tim Reid on addressing race head-on in his stand-up comedy act with Tom Dreesen

Tim Reid on the end of his partnership with Tom Dreesen

Tim Reid on comedians today that push boundaries and the power of comedy and storytelling

Tim Reid on William Paley's comments about Frank's Place and how they impacted him as a storyteller

Tim Reid on teaching his younger castmates valuable lessons about performing on an episode of Sister, Sister (possibly with guest star, Milton Berle)

Tim Reid on mentoring his younger castmates on Sister, Sister

Tim Reid on learning a valuable lesson from Jack Benny about performing

Rob Reiner on advice to aspiring actors

Director John Rich on the casting process

Jack Riley on dealing with agents and managers as an actor

Jack Riley on advice to aspiring performers

Jack Riley on doing voice-overs, and on appearing in various feature films

Doris Roberts on the difference between acting on stage and acting on television

Doris Roberts on advice to aspiring actors

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

Cliff Robertson on his formal acting training at The Actors Studio

Cliff Robertson on actors who inspired him

Cliff Robertson on his acting style

Cliff Robertson on advice to aspiring actors

Fatima Robinson on how she started dancing in music videos

Fatima Robinson on her dance style: hip-hop

Fatima Robinson on on some of the first music video sets she was on and on meeting Lionel Martin and Hype Williams

Fatima Robinson on her process for coming up with choreography

Fatima Robinson on her timeline and process for creating choreography for the music video for "Remember the Time" and on her process for auditioning actors

Fatima Robinson on her process for working with an artist for the first time

Fatima Robinson on what makes for a good relationship between a choreographer and a director

Fatima Robinson on the process of choreographing for episodic television

Fatima Robinson on the role of a choreographer and how choreography can impact storytelling

Fatima Robinson on the importance of footwear, costumes, and rehearsal in choreography

Fatima Robinson on the space where she feels freest as a creative person -- concerts

Fatima Robinson on the process for choreographing performances on music competition shows

Fatima Robinson on how choreographing for television has changed since she first started

Fatima Robinson on how opportunities have changed since she started working

Fatima Robinson on advice to an aspiring choreographer

Paul Rodriguez on developing his early stand-up routine, and on being Richard Pryor's runner

Paul Rodriguez on being inspired by Richard Pryor to use his Mexican heritage and identity in his act, and on the language he uses in his act

Paul Rodriguez on the importance of comedians taking chances, and on basing his comedy routines around his life

Paul Rodriguez on dealing with agents and managers in his career, and on longevity in his career

Mickey Rooney on how acting for television differs for acting for film or the stage

Mickey Rooney on his acting style and preferences

Marion Ross on her process for learning her lines

Marion Ross on acting in front of an audience

Marion Ross on how she creates her characters

Marion Ross on important advice she's received as an actress, and on the importance of having an agent

Marion Ross on advice to an aspiring actor

Stanley Ralph Ross on actors making script suggestions

Stanley Ralph Ross on the process of doing voiceover

Isabel Sanford on her process as an actress

William Schallert on feeling like he could act, but that he didn't look like an actor

William Schallert on being a character actor and not feeling typecast

William Schallert on how he creates different personas

William Schallert on often playing several roles on one series

William Schallert on how he gets jobs nowadays (2012)

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 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

Cybill Shepherd on acting advice she received from a fellow actor (Jason Robards)

Cybill Shepherd on what she likes in a director and getting to know John Ford and how he directed

Cybill Shepherd on her process for learning the dialogue on Moonlighting

Cybill Shepherd on what she enjoys about acting

Cybill Shepherd on what being in front of a live audience adds to a performance

Cybill Shepherd on acting in different media and what she learned about film by screening movies with Peter Bogdanovich

Cybill Shepherd on mentors throughout her career: Stella Adler and what she learned from her; on what she learned from performers and directors she worked with

Hazel Shermet on the audition process for television commercials

Hazel Shermet on her experience acting in commercials

Doris Singleton on honing her acting skills in radio

Doris Singleton on learning comedic timing from her work in radio

Doris Singleton on performing in front of an audience on radio shows

Doris Singleton on how acting for soap operas differed from acting for sitcoms

Doris Singleton on her acting style

Doris Singleton on the most important advice anyone ever gave her about acting

Doris Singleton on advice to actors just starting out

Doris Singleton on acting for television, stage, radio

Erika Slezak on wanting to become an actress and her father insisting that she be properly trained in acting

Erika Slezak on her advice to aspiring daytime drama actors

Robert Smigel on wanting to be a comedian since he was three years old

Robert Smigel on the "modern" type of "so bad it's good" comedy he was interested in early in his career; catching the comedy bug after performing and winning a comedy standup contest at NYU; "I was stung, I was infected"; on getting to perform at The Comic Strip in New York city; on his closing bit as Ronald Reagan (foreshadowing a later TV Funhouse sketch "The X Presidents"); on getting more gigs after that; on being a fan of comedy that "tore everything down and made fun of itself"

Robert Smigel on joining a sketch comedy program (The Players Workshop) at Second City in Chicago; on his love of Chicago and how the experience at Second City helped build his confidence as a comedian; on gravitating towards sketch comedy over improv; learning how to develop writing sketch comedy from the players at Second City like Dan Castellaneta; on his early sketch comedy ideas; on meeting Dan Crowley in Chicago and joining his comedy group (All You Can Eat) as his replacement; on Al Franken and Tom Davis, original writers from Saturday Night Live, coming to Chicago to see a show Smigel had created, "All You Can Eat and the Temple of Doom"

Robert Smigel on whether there is a disconnect between himself and his character "Triumph the Insult Comic Dog" and how his identity merged with "Triumph’s" character; on his feeling "Triumph" has more irony and absurdity than an insult comic, which makes "Triumph" less biting or mean

Gary Smith on the differences between producing in the United Kingdom and producing in the United States, and on working with Jim Henson

Jaclyn Smith on her advice to an aspiring actor

Yeardley Smith on her stage fright and how she's overcome it by being "over prepared"

Yeardley Smith on her early determination to find success as an actress, and feeling that she had a "gift"

Yeardley Smith on playing to your strengths as an actor and finding her way into a role

Yeardley Smith on the differences between television/film and theater, and appearing as a guest star on a TV show

Yeardley Smith on performing "Lisa Simpson"

Yeardley Smith on being on The Simpsons and wanting to get more on-camera roles

Yeardley Smith on production on The Simpsons during the COVID-19 pandemic -- moving from recording like a radio play with everyone together, to recording in her home, to recording solo at the studio

Suzanne Somers on her experiences at the beginning of Three's Company, and learning to play "Chrissy Snow" as she went

Suzanne Somers on advice for aspiring actresses

Jean Stapleton on the professional reasons for not giving her age

Jean Stapleton on consciously trying to avoid being typecast by "Edith Bunker"

Mary Kay and Johnny Stearns on the challenges of acting in live television

Johnny Stearns on the craft of acting

Mary Kay and Johnny Stearns on the challenges of acting in live television

Mary Kay Stearns on how she conquers stage fright

Mary Kay Stearns on how she approaches a role

Nick Stewart on advice to those starting in the entertainment industry

Jerry Stiller on considering himself a comedian

Jerry Stiller on the creative freedom and support he felt on Seinfeld

Jerry Stiller and Anne Meara on how they became a comedy team

Maxine Stuart on performing under bandages, her face entirely obscured, for the classic Twilight Zone episode "Eye of the Beholder"

George Takei on how he approaches the craft of acting

George Takei on his advice to aspiring actors

Jeffrey Tambor on advice to an aspiring actor

June Taylor on getting music for the June Taylor Dancers

June Taylor on adapting the choreography for the cameras on Cavalcade of Stars and working with director Frank Bunetta

June Taylor on the challenges of choreographing a ballet with several dancers on The Jackie Gleason Show, and on the Jackie Gleason composed ballet "Rhapsody"

June Taylor on the rehearsal process of The Jackie Gleason Show and Gleason's aversion to rehearsing 

Marlo Thomas on wanting to be an actress 

Marlo Thomas on her advice to aspiring actors and producers

Richard Thomas on what he likes in a director

Richard Thomas on what he enjoys about acting

Richard Thomas on advice to an aspiring actor

Daniel J. Travanti on the challenge of playing characters based on real people, like Edward R. Murrow

Daniel J. Travanti on the life of an actor

Leslie Uggams on singing on television shows as a child and when she began to seriously studying singing

Leslie Uggams on studying acting as a child and later on with Stella Adler

Leslie Uggams on performing on stage versus performing on television

Leslie Uggams on what she loves about performing

Leslie Uggams on her favorite songs in her repertoire