Garry Marshall's Archive of American Television Interview Is Now Online

'70s/'80s hit-maker Garry Marshall's 6-part Archive interview is now available online. Click here to access the entire interview.

Excerpt: Marshall on the initial concept of "Fonzie" on Happy Days from Part 4

"We created this character Fonzie who was originally called Arthur Masharelli, but M*A*S*H was the name of a show so the nickname Mash wouldn’t work so Bob Brunner, who was one of the writers came up with the name, Fonzarelli. We needed something we could have short[ened]. And that was "Fonzarelli" and we put him in and I had done, see a lot of times people don’t understand, you try something here it doesn’t work; you try it again over here. I played a character in Blansky’s Beauties. I acted. I played a guy who worked in the casino in Vegas, never spoke. Just wore dark glasses and walked around scaring everybody. So I said let’s do that again. We get a guy who don’t talk. It’s always scary when a guy doesn’t talk. So Arthur Fonzarelli was really written just to point, to do gestures and say very little. And I always remember, one of my favorite actors was Gary Cooper, who said mostly "yup" and became a gigantic star, which amazed me. So I said, he’ll say little."

Interview description:
Marshall’s lively interview consists of many entertaining anecdotes about his over forty years in the television business. He describes his early years as a journalist and his eventual entry into comedy writing for The Tonight Show with Jack Paar. He talks about his work honing his craft as a writer on such ‘60s sitcoms as The Joey Bishop Show, The Dick Van Dyke Show, Love American Style (which served as a pilot for Happy Days) and The Lucy Show. He speaks in detail about developing The Odd Couple for television with his partner Jerry Belson. He then discusses helming some of the most popular sitcoms of the 1970s, including Happy Days, Laverne & Shirley, and Mork & Mindy. For these shows he details the casting, development, and production as well as discussed the impact these series had on ABC. Finally, he briefly talks about his entry into feature filmmaking. The interview was conducted by Karen Herman on August 28, 2000.

And Then There's Maude Season One

Walter: Maude, did you wreck the car again?

Maude: Did you hear that, everybody? Did you hear that? Not "Maude, are you sick?" Or "Maude, are you unhappy?" Or even, "Maude, are you pregnant?" No, "Maude, did you wreck the car again?"

Walter: You're right, darling. You're absolutely right. I'm sorry. So tell me, are you sick?

Maude: No.

Walter: Are you unhappy?

Maude: No.

Walter: Are you pregnant?

Maude: Yes.

-- from the episode "Maude's Dilemma" which first aired on November 14, 1972

The long awaited Maude: Season One is out on DVD today. Maude was the liberal counterpoint to All in the Family's Archie Bunker.


In part 3 of her interview, Beatrice Arthur talks about the character of Maude and the tone of the show. PRESS THE PLAY ARROW IN THE PLAYER ABOVE TO WATCH THE SEGMENT NOW.

The Archive of American Television has interviewed several of the notables involved with the show's production including: Beatrice Arthur ("Maude Findlay"), Hal Cooper (director/executive producer), Norman Lear (creator), Rue McClanahan ("Vivian Cavender Harmon") [online soon], Rita Riggs (costumes designer), and Bob Schiller & Bob Weiskopf (writer/producers).

Chicago TV Pioneer Sterling "Red" Quinlan Has Died

Sterling Quinlan, who helped build station WBKB-TV (now WLS) in Chicago, has died at age 90. Quinlan is pictured here at right (in brown jacket) with Archive interviewer Roy Leonard (on left).

Quinlan was interviewed by the Archive of American Television on July 20, 1999.

Interview description:

Sterling “Red” Quinlan was interviewed for nearly three hours in Chicago, IL. He discussed how his career began in 1947 at WBKB in Chicago where he eventually worked his way up to the title of station manager. During that time he participated in the rise of the “Chicago School” of television. During the interview he recounted his relationships with Burr Tillstrom, Studs Terkel and Dave Garroway. Until he left WBKB in 1965, he was considered the most independent station manager in the country. He went on to consult for WTTW, Chicago’s public television station and is currently working with DG Systems in Chicago.

The interview can be viewed at the Television Academy headquarters in North Hollywood, CA. Sterling "Red" Quinlan was also featured as an interviewee in Jeff Kisseloff's The Box: An Oral History of Television 1920-61.

James Sheldon's Interview is Online

Director James Sheldon's Archive of American Television Interview is now online. Click here to access his entire interview.


In part 4 of his interview, Sheldon talks about working with James Dean in "live" television. James Dean appeared in about twenty television productions in the early 1950s before embarking on his feature film career.
PRESS THE PLAY ARROW IN THE PLAYER ABOVE TO WATCH THE SEGMENT NOW.

James Sheldon directed one of the quintessential episodes of the classic anthology series The Twilight Zone— "It's A Good Life," in which a boy (played by Billy Mumy) holds an entire town in fear demanding that they think "good thoughts" or face his wrath. As Rod Serling describes in his introduction to the episode: "....Oh yes, I did forget something, didn't I? I forgot to introduce you to the monster. This is the monster. His name is Anthony Fremont. He's six years old, with a cute little-boy face and blue guileless eyes. But when those eyes look at you, you'd better start thinking happy thoughts, because the mind behind them is absolutely in charge. This is the Twilight Zone." Sheldon discusses "It's A Good Life" and the other five episodes of The Twilight Zone he directed in Part 5 and Part 6 of his interview.

Interview description:
James Sheldon was interviewed for over three hours in New York, NY. He spoke about breaking into the business as an NBC page, and after a few years in advertising, turning his attentions to directing for television. He described his work on several shows from the 1950s including such diverse fare as: sitcom Mr. Peepers, daytime variety series The Eddie Albert Show, military anthology West Point Story, and drama The Millionaire. He also spoke in great detail about working with then-budding actor James Dean in two “live” television productions of Armstrong Circle Theater and Robert Montgomery Presents. He discussed his work on the anthology series The Twilight Zone, for which he directed such classic episodes as “It’s A Good Life” starring Billy Mumy. Other series he discussed included Family Affair and My Three Sons. The interview was conducted by Karen Herman on April 6, 2005.

Fred Silverman's Interview is Now Online

We're happy to report that legendary television executive Fred Silverman's interview is now online. At almost 6-1/2 hours, this amazing interview encompasses over three decades of television history and gives a fascinating inside look at the networks and programming so many of us grew up with (just take a look at the brief interview description below and you'll see what we mean!). Not one to rest on his many laurels, Silverman is currently ramping up his Fred Silverman Co. to develop scripted and unscripted comedies.



Here's part 7 of the interview where he describes the programming of the hit miniseries Roots.
PRESS THE PLAY ARROW IN THE PLAYER ABOVE TO WATCH THE SEGMENT NOW.

Click here to access Fred Silverman's entire interview.

Interview description:
Network television executive Fred Silverman speaks about his first job in TV, at WGN in Chicago, where he created such programs as Zim-Bomba, Bozo’s Circus and Family Classics. He then explains his move to CBS in New York, where he quickly worked his way up the corporate ladder, first as head of daytime programming, (where he revitalized the Saturday morning lineup, Scooby-Doo being among them), and later as the Vice President of Programming. During this time, he oversaw such programs as All in the Family, The Bob Newhart Show, Kojak, The Mary Tyler Moore Show, M*A*S*H, The Sonny and Cher Comedy Hour and The Waltons. Next, he talks his appointment as President of ABC Entertainment, where he oversaw such programs as Charlie’s Angels, Donny and Marie, Eight is Enough, Laverne & Shirley, The Love Boat and Three’s Company. He also touches on the development and scheduling of the miniseries Rich Man, Poor Man and Roots. Mr. Silverman talks about his next move, to NBC as President and CEO in 1978. There, he oversaw the development of programs including and Diff’rent Strokes, The Facts of Life, Hill Street Blues. Mr. Silverman also explains the basic tenets of working as a network television executive, and discusses his methods for development, scheduling and promotions. Finally, he talks about his work as an independent producer for such programs as the Perry Mason television movies, Matlock, In the Heat of the Night and Diagnosis Murder. The interview was conducted in two sessions in 2001 by Dan Pasternack.

Students: The Television Academy Foundation's 2007 Summer Internships Application Deadline is Approaching

Students: Just a reminder that the deadline applications for the Television Academy Foundation's Student Internship Program -- Summer 2007 is March 15th.

Even if you've watched just one Archive interview, you know how life-changing a mentor or on-the-job experience can be. The Academy Foundation's internship program, one of the most prestigious in the country, offers selected students the chance to "get their foot in the door" of today's television industry. The paid internships are designed to give qualified full-time students (undergraduate and graduate) pursuing degrees at colleges and universities in the United States in-depth exposure to television production, techniques and practices in a variety of professional disciplines. If you're a student who's pursuing a career in television, don't miss your chance to apply for this incredible opportunity. Click here for full details and application information.

Art Linkletter's Archive Interview is Now Online

Take a look at one of the newest interviews online -- show host Art Linkletter. He's truly an engaging and a exceptional storyteller. Here's one of our favorite little-known anecdotes from the interview:


On the opening of Disneyland in 1956 (Part 4 at 16 minutes in):

Walt Disney asked me if I would be MC [for the opening of Disneyland]. It was live, two hours, no tape in those days, no rehearsal, jumping all over the fairgrounds doing the thing. He knew I was good at that and he wanted me to do it. Then he said, "Art, we have a difficult moment here. We’re good friends, and I’ve gotta negotiate a price with you. Why don’t you have an agent like every other normal star in Hollywood?" I said, "because I like to do my own business." He said, "I’m not playing poor boy, but we’ve had cost overruns, we’ve had strikes, we’ve had problems financing. I’ve had to mortgage part of the studio." I said, "it’s a sad story but don’t tell me any more because you don’t need any of those arguments with me. I’ll do it for scale." He said, "you’ll do it for scale?" I said, "Certainly. And in return I expect you to do something for me. I’m a partner in one of the largest photo development companies in Los Angeles, and I would like to have the concession for all the film and all the cameras sold at Disneyland for the next ten years." He says, "You've got it!" So I got the highest fee anybody ever got for appearing on any show, even Oprah.

To access his whole interview, click here.

Interview description:
In his 6-part oral history interview, Art Linkletter discusses his years in radio and his start, in 1950, in his first television series, Life with Linkletter. Linkletter recounts his most memorable stories from the television series he is most associated with, Art Linkletter's House Party and People Are Funny. For these series, he discusses the shows' universal appeals and his humorous interviews with thousands of kids. The interview was conducted on September 15, 1997 by Sam Denoff.

The Archive's Dan Rather Interview featured in Emmy Magazine

The latest issue of Emmy magazine (Issue No. 1, 2007, with Ryan Seacrest on the cover) includes selections from our Archive of American Television interview with Dan Rather. He was interviewed in 2005 in two sessions totalling 8 hours. Here are some excerpts from the article:

Q: When did you know you wanted to be a journalist?
I cannot remember a time when I did not want to be a reporter. I think the reason for that was my father’s tremendous interest in newspapers; and to a degree, my mother’s. But who knows where the wellsprings are? This I know: from a very early age, I said I wanted to be a reporter. In that, I’ve been very lucky. There are very few people who get to live their dream.

Q: Walter Cronkite announced his retirement in 1980. Had you anticipated succeeding him?
No. There was talk that Walter Cronkite was going to retire at some point. I couldn’t imagine CBS news without him. Meanwhile, my contract was coming up and ABC came to me with a tremendous offer. It was 10, 12 times what I was making-to come do World News Tonight. I couldn’t imagine myself leaving CBS news, but I also couldn’t imagine turning that down.

CBS News president Bill Leonard, said, “We haven’t made it public, but we’ve been talking with Walter and he’s trying to figure out when he wants to go. We’re going to make this change pretty soon at Walter’s request.” CBS then said, We want to keep you. Would you be willing to do a dual anchor with Roger Mudd? You in New York and Roger in Washington."

I said yes. Not only did I not have any problem with that, but I can see some advantages, which might allow me to report from the outside. Bill Leonard then went to Washington and when he came back, he said, “The dual anchor is not going to work. Walter wants to retire in 1981; we will make the retirement in March of 1981.” I went to talk with Walter at his home to make sure he was okay with it. I signed the contract Valentine’s Day 1980 to be Walter Cronkite’s successor. Nobody replaces Walter Cronkite.

Q: Is journalism a job you’d recommend?
Absolutely, if you have a passion for it. Journalism is a great life’s work, but, one, you must burn with a hot, hard flame to do it. Two, you have to learn to write. Three you have to learn to write. Four, you have to learn to write. If you have and do those two things then it can be a great profession. I prefer to call it a craft because it’s a lifetime of learning.

Other topics covered in the article include:
- His early work at KHOU in Houston
- Covering Hurricane Carla, which brought him to the attention of CBS News
- Covering the Civil Rights Movement
- Seeing the Zapruder film of President Kennedy's assassination for the first time
- Covering the Vietnam War
- His interaction with President Nixon
- Interviewing Saddam Hussein
- Retiring from CBS Evening News

You can find the issue at some newsstands, or it can be ordered through the Emmy Magazine Webpage.