Dick Berg on writing for Kraft Television Theater and Studio One
Dick Berg on writing "Hollywood Award Winner" for Kaiser Aluminum Hour and "The Clay Pigeon" for Robert Montgomery Presents
Dick Berg on writing "The Right Hand Man" for Playhouse 90
Dick Berg on writing "Man Under Glass" for Studio One
Walter Cronkite on how the news went live in 1950 with no script
Walter Cronkite on replacing Douglas Edwards on the CBS Evening News, at that time the news broadcast was only 15 minutes long
Walter Cronkite on some of the bloopers that happened when filming live television for the program You Are There involving a historical re-creation of the Hindenburg disaster
Hume Cronyn on directing live television in the '50s
Hume Cronyn on directing Jessica Tandy in "Portrait of a Madonna" for Actors Studio
Hume Cronyn on appearing as John Quincy Adams on Ominbus
Hume Cronyn on appearing in the series The Marriage with wife Jessica Tandy
Hume Cronyn on appearing in Studio One's presentation of "A Member of the Family"
Imero Fiorentino on lighting The U.S. Steel Hour at ABC
Imero Fiorentino on a shadow thrown on the actors from a microphone on live TV, during the first U.S. Steel Hour production "P.O.W." with Richard Kiley
Imero Fiorentino on Paul Whiteman's Goodyear Revue, with Glenn Osser (conducting) and Paul Whiteman and a story about an opera singer who refused to sing the show's finale
Arthur Hiller on the schedule for producing NBC Matinee Theater and the excitement of directing for live television
Arthur Hiller on dealing with an athlete who couldn't act appearing on NBC Matinee Theater, and his love of doing "live" television
Arthur Hiller on camera tricks and fast changes he had to make while directing Playhouse 90
Arthur Hiller on the excitement of "live" television
Jack Lemmon on acting on Kraft Television Theatre and appearing on live television
Jack Lemmon on working on Studio One
Jack Lemmon on appearing on Ford Television Theatre's "The Day Lincoln Was Shot"
Jack Lemmon on appearing on the Playhouse 90 production of "Face of a Hero"
Jayne Meadows on the challenges of working in live television
Jayne Meadows on getting a job as a panelist on I've Got a Secret and meeting Steve Allen
Jayne Meadows on being a panelist on I've Got a Secret
Jayne Meadows on her sister Audrey Meadows as "Alice Kramden" on The Honeymooners
Jayne Meadows on how television has changed since the '50s
Tad Mosel on writing for Ominbus
Tad Mosel on writing for Medallion Theater
Tad Mosel on writing "The Haven" for Philco-Goodyear Television Playhouse produced by Fred Coe and on Coe's contribution to television
Tad Mosel on writing for Philco-Goodyear Television Playhouse
Tad Mosel on writing for Philco-Goodyear Television Playhouse
Tad Mosel on writing for Studio One
Tad Mosel on writing "The Waiting Place" for Playwrights '56
Tad Mosel on writing for Philco-Goodyear Television Playhouse
Tad Mosel on working with Humphrey Bogart, Lauren Bacall, and Henry Fonda on Producers' Showcase: "The Petrified Forest"
Tad Mosel on working with Martin Manulis on Playhouse 90
Tad Mosel on writing "The Five Dollar Bill" for Studio One
Tad Mosel on writing for Playhouse 90
Tad Mosel on watching Playhouse 90 and other live dramas of his be performed
Tad Mosel on what the Golden Age of Television means to him
Tad Mosel on the camaraderie among writers during the Golden Age of Television
Actress Maria Riva on making costume changes in "live" TV in the 1950s
Maria Riva on how she became a contract player for CBS in the early 1950s, along with actress Mary Sinclair, John Newland, and (possibly) John Forsythe all of whom then worked on such CBS series of the day as Studio One and Danger
Maria Riva on establishing herself as a TV star in the 1950s, and how little TV demanded of acting "talent" in the early days of the medium
Maria Riva on a gaffe that happened on "live" TV in the 1950s when the prop gun that actor Rod Steiger was using didn't fire— prompting him to instead say "bang" (possibly on Lux Video Theater: "Cafe Ami" [their only confirmed co-starring TV show])
Maria Riva on the Golden Age of "live" TV in New York in the 1950s, exemplified by such classic anthology series as Studio One
William Schallert on working on Matinee Theater
William Schallert on working in live TV on Matinee Theater
William Schallert on appearing on The George Burns and Gracie Allen Show
William Schallert on appearing on The George Burns and Gracie Allen Show
Ellen M. Violett on writing Shirley Jackson's "The Lottery" for Cameo Theater
Ellen M. Violett on writing "Breakdown" for Suspense
Ellen M. Violett on writing for Omnibus
Ellen M. Violett on writing for Producer's Showcase
