Del Reisman
Writer
About This Interview
Del Reisman (1924-2011) was interviewed for six hours at the Writer’s Guild of America, west in Los Angeles, CA. Reisman looked back on his early years growing up as a “studio brat” observing his mother at work as a secretary at Universal Studios in the 1930s. He described his entry in television as a reader on the anthology series Four Star Playhouse. He detailed his most prolific period in television as an associate producer/ story editor on such television series as: the “live,” daily color anthology Matinee Theater, the prestigious ninety-minute anthology Playhouse 90, the classic filmed anthology The Twilight Zone, the popular crime series The Untouchables, the western series Rawhide, and the drama The Man and the City. He discussed his work as story consultant on the nighttime soap opera Peyton Place, for which he wrote the cliffhanging final episode (the series was canceled without a finale). He also talked about his later work as a freelance writer of such 1970s series as The Streets of San Francisco and Little House on the Prairie. Finally, Reisman described his long service to the Writers Guild of America, west for which he ultimately served as President from 1991-93. Other subjects discussed include the Hollywood blacklist and the McCarthy era, as well as Reisman’s work (at the WGA) to restore the credits of blacklisted writers of feature films made in the 1950s-60s. The interview was conducted by Gary Rutkowski on October 28, 2003.
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Highlights
Story editor Del Reisman on moving to Playhouse 90, where he began as associate story editor; on producer Martin Manulis; on writer James P. Cavanagh (22m 34s)
Story editor Del Reisman on the advent of the Blacklist; on loyalty oaths; on "fronts" (18m 27s)
Associate producer Del Reisman on joining The Twilight Zone
Story editor/associate producer Del Reisman on The Untouchables; on the series' storylines and violence; on producing for the series (18m 31s)
Chapters
- Chapter 1
- Introduction
- On his early years growing up in Los Angeles; on his World War II serivce; on his interest in writing
- Chapter 2
- On working as a journalist; on beginning his career in television; on working for Four Star Television
- On being a story editor on Matinee Theater
- Chapter 3
- On the production details of Matinee Theater; on some of the key personnel and actors on the show; on the series us of NBC color
- Chapter 4
- On Matinee Theater producer Albert McCleery; on his family life at the time he worked on Matinee Theater
- On the advent of the Blacklist; on loyalty oaths; on "fronts"
- Chapter 5
- On the end of the Blacklist era
- On moving to Playhouse 90, where he began as associate story editor; on producer Martin Manulis; on writer James P. Cavanagh
- Chapter 6
- On specific writers and teleplays of Playhouse 90
- Chapter 7
- On specific Playhouse 90 teleplays; on director John Frankenheimer; on the departure of producer Martin Manulis; on the legacy of the series
- On joining The Twilight Zone as associate producer
- Chapter 8
- On being associate producer on The Twilight Zone; on some of the key writers and teleplays
- Chapter 9
- On The Twilight Zone's popularity; on the show's use of mirrors; on the socially conscious aspects of the series
- On being story editor and then associate producer on The Untouchables; on the series' storylines and violence; on producing for the series
- Chapter 10
- On Robert Stack; on TV violence; on The Untouchable s' end
- On working on The Leiutenant; on producer Gene Roddenberry
- On working on Rawhide
- On being executive story consultant/associate producer on Peyton Place
- Chapter 11
- On Peyton Place's show bible; on working on Bracken's World; on beginning to work freelance on such dramatic series as Streets of San Francisco, Cannon, and Little House on the Prairie; on writing The Billie Holiday Story
- On editing your script; on becoming involved in the Writers Guild of America, West
- Chapter 12
- On credits disputes; on the 1988 Writers' Strike; his work as President of the Writers Guild of America, West; on winning the guild's Morgan Cox Award; on his then-current projects; on his achievements; on his advice to aspiring writers; on how he would like to be remembered


hi del
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