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Person

Sid Caesar
"I was very, very demanding. I would never settle. Sometimes, you have to because of the time element. But if I could, I would not settle. I'd say, 'Come on, we can  get better than that.' I always pushed. And that pushed (the writers). So it was a 'love-terror' arrangement. There was a lot of terror, and a lot of love."
Collection

Producers Guild of America Collection

The Producers Guild of America (PGA) advocates for a thriving future for producers of film, television and emerging media. Beginning in 2025, The Interviews began co-producing recorded interviews with prominent...

Collection

America at 250

As part of a National Endowment of the Arts initiative, "America 250", The Television Academy Foundation Education team has partnered with “The Interviews: An Oral History of Television to curate...

Collection

30 Years of Interviews: The Stories That Started It All

The Archive of American Television (now known as "The Interviews: an oral history of television") was officially founded in 1997 to capture, preserve, and make publicly available primary source interviews...

Person

Louise Lasser

"'Mary Hartman’s' big breakdown scene affected me as I played it. It started to go darker and darker, so by the end, you could see I was really affected, and she goes to the institution. It was done beautifully by everyone because it was done with such restraint. I got the best compliment in my life from Norman Lear on that. That really means something."

Person

David F. Poltrack

"I have the best job in the world. I'm involved in all the decisions and responsible for none of them. That's essentially what the research function is: your job is to inform decision-makers… It isn't to make those decisions for them. And that's the way I always look at myself. The bottom line, though, is in reality, you are responsible."