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Alan J. Levi on comparing single-camera and multi-camera production for different genres

Alan J. Levi on helping build the television station WNUR at Northwestern and teaching TV directing at Northwestern as an undergraduate

Alan J. Levi on getting water dumped on him on the Mutiny on the Bounty set

Alan J. Levi on the meaningful experiences he had in Israel while directing ABC's Wide World of Entertainment "Salute to Israel-25" special as a Jewish director

Alan J. Levi on working on the television version of Father of the Bride

Alan J. Levi on working as a cameraman on Wide World of Sports and shooting the cliff diving championships

Alan J. Levi on working as an associate producer on Rowan & Martin's Laugh-In

Alan J. Levi on directing the TV special for ABC’s Wide World of Entertainment “Salute to Israel–25"

Alan J. Levi on working with Russian ballet dancer Rudolf Nureyev in Israel for the ABC's Wide World of Entertainment "Salute to Israel-25" special

Alan J. Levi on the set for the television version of National Velvet

Alan J. Levi on getting his first job out of college, on the television version of National Velvet

Alan J. Levi on getting his first job out of college, on the television version of National Velvet

Alan J. Levi on working with BNCs (blimped newsreel cameras) on the television version of Father of the Bride

Alan J. Levi on the kinds of cameras he used for sports location shoots

Alan J. Levi on contributing to the coverage of the 1968 and 1972 Olympics, including  "up close and personal" features and final events

Alan J. Levi on contributing to the coverage of the 1968 and 1972 Olympics, including  "up close and personal" features and final events

Alan J. Levi on knowing he wanted to be a director after watching the film Good News

Alan J. Levi on comparing single-camera and multi-camera production for different genres

Alan J. Levi on his preference for live audiences over canned laughter

Alan J. Levi on the impact of switching from filming in black-and-white to color

Alan J. Levi on knowing he wanted to be a director after watching the film Good News

Alan J. Levi on connecting with Dick Powell by writing letters and how that led to him coming to Hollywood to shadow TV professionals there

Alan J. Levi on connecting with Dick Powell by writing letters and how that led to him coming to Hollywood to shadow TV professionals there

Alan J. Levi on connecting with Dick Powell by writing letters and how that led to him coming to Hollywood to shadow TV professionals there

Alan J. Levi on the kinds of cameras he used for sports location shoots

On his contract with Universal Television; on helping Leslie Stevens and Bob Seidenglanz form Compact Video; on directing The Invisible Man and working with Harve Bennett; on directing the pilot for Gemini Man; on the terms of his contract with Universal; on being a guest director on Miami Vice

On the special effects used in the Universal shows in the 1970s; on working with Image Transform for special effects in commercials; on directing The Bionic Woman and a typical production week on the show; on working with his crew, including assistant directors, the editors, and the composer 

On working with Lee Majors on The Bionic Woman and The Six Million Dollar Man; on working with Sandra Bullock as the new “Bionic Woman” in Bionic Showdown; on working with Bill Bixby and Lou Ferrigno on The Incredible Hulk television series and the show's two pilot episodes; on getting involved in the pilot for Battlestar Galactica, the complexities of directing the pilot, and how expensive it was 

On working with producer John Dykstra on the special effects for Battlestar Galactica; on shooting on the bridge set of the pilot; on his parents visiting him on set; on the pilot’s theatrical release and the legacy of the show; on the cost of special effects on JAG 

Alan J. Levi on the special effects used to make people invisible on the Universal shows in the 1970s