Jeffrey Hayden
Director
About This Interview
In his Archive interview, Jeffrey Hayden talks about his career as an associate director in the first years of the ABC-TV network (1948-50) and as a prolific director of comedy and drama series from the 1950s to the 1980s, including: The Donna Reed Show, The Andy Griffith Show, 77 Sunset Strip, Peyton Place, Quincy M.E., Palmerstown U.S.A., and Knight Rider. Hayden outlines how he came to produce one of the earliest sitcoms The Billy Bean Show (with Arnold Stang), before he began his work as a director gaining experience on such programs as the variety series The Bert Parks Show and quiz/variety show The Big Payoff.
He talks about his acceptance into the Actors Studio and its influence on his work, and notes throughout the interview the importance of rehearsal and improvisation to his directing style. Among dramatic series, he comments on the Philco-Goodyear Playhouse (and a memorable production he did with a difficult James Dean), 77 Sunset Strip (and the rewrites he'd do with the cast during lunch hour, despite network warnings to stick to the script), and The Lloyd Bridges Show (which he describes as one of the most arduous directing jobs of his career).
He speaks fondly of his years on The Donna Reed Show, working with writer-producer Paul West who incorporated some of Hayden's own family life into scripts and The Andy Griffith Show, a reunion with Griffith whom Hayden knew from his college days. For Peyton Place, Hayden notes his working relationship with breakout stars Ryan O'Neal and Mia Farrow (and the dramatic real-life moment when Farrow decided to cut her hair short mid-season). Among the other personalities he discusses are: E. G. Marshall (The Bold Ones), Peter Deuel (Alias Smith and Jones), Raymond Burr (Ironside), and Jack Klugman (Quincy, M.E.). Additionally for Quincy, Hayden discusses memorable episodes: "Seldom Silent, Never Heard," that influenced the passing of the Orphan Drug Act (ODA) and "Nowhere to Run," whose incest storyline hampered actor Charles Aidman's career.
He recounts the challenges he faced working on the series The Incredible Hulk, Knight Rider, and Palmerstown U.S.A. (this series led to a DGA rule about providing drivers to locations). Lastly, he acknowledged his satisfying work on daytime soaps Capitol and Santa Barbara (a return to the kind of work he did in his "live" TV days) and on two documentaries he made in the 1990s.
Jeffrey Hayden was interviewed in Los Angeles, CA on April 29, 2010; Stephen Bowie conducted the two-and-a-half-hour interview.
He talks about his acceptance into the Actors Studio and its influence on his work, and notes throughout the interview the importance of rehearsal and improvisation to his directing style. Among dramatic series, he comments on the Philco-Goodyear Playhouse (and a memorable production he did with a difficult James Dean), 77 Sunset Strip (and the rewrites he'd do with the cast during lunch hour, despite network warnings to stick to the script), and The Lloyd Bridges Show (which he describes as one of the most arduous directing jobs of his career).
He speaks fondly of his years on The Donna Reed Show, working with writer-producer Paul West who incorporated some of Hayden's own family life into scripts and The Andy Griffith Show, a reunion with Griffith whom Hayden knew from his college days. For Peyton Place, Hayden notes his working relationship with breakout stars Ryan O'Neal and Mia Farrow (and the dramatic real-life moment when Farrow decided to cut her hair short mid-season). Among the other personalities he discusses are: E. G. Marshall (The Bold Ones), Peter Deuel (Alias Smith and Jones), Raymond Burr (Ironside), and Jack Klugman (Quincy, M.E.). Additionally for Quincy, Hayden discusses memorable episodes: "Seldom Silent, Never Heard," that influenced the passing of the Orphan Drug Act (ODA) and "Nowhere to Run," whose incest storyline hampered actor Charles Aidman's career.
He recounts the challenges he faced working on the series The Incredible Hulk, Knight Rider, and Palmerstown U.S.A. (this series led to a DGA rule about providing drivers to locations). Lastly, he acknowledged his satisfying work on daytime soaps Capitol and Santa Barbara (a return to the kind of work he did in his "live" TV days) and on two documentaries he made in the 1990s.
Jeffrey Hayden was interviewed in Los Angeles, CA on April 29, 2010; Stephen Bowie conducted the two-and-a-half-hour interview.
Related To This Video
Featured Content
Video: Opening titles to 77 Sunset Strip (as posted on You Tube):
Video: The Andy Griffith Show: "A Black Day for Mayberry" (airdate: 11/11/63), as posted on You Tube (Part 1)
Resources
Links:
DVD: The Donna Reed Show: Season Three (Hayden's first season with the show)
DVD: The Andy Griffith Show: The Complete Fourth Season (with episodes directed by Hayden)
IMDb entry on Jeffrey Hayden
Wikipedia entry on Jeffrey Hayden
YouTube video player - HTML5 compatible.
Highlights
Director Jeffrey Hayden on how the placement of The Big Payoff as Milton Berle's summer replacement helped his career
Clip begins at: 27:25, Duration: 01m 04s
Director Jeffrey Hayden on memorable Philco-Goodyear Television Playhouse shows "Thunder of Silence" and "Run Like A Thief" (and his difficulties with James Dean on the latter)
Clip begins at: 36:14, Duration: 03m 26s
Director Jeffrey Hayden on working with several trained geese on Lassie (and also how well-trained the dogs were on the show)
Clip begins at: 49:30, Duration: 01m 48s
Director Jeffrey Hayden on working with Donna Reed on The Donna Reed Show
Clip begins at: 53:05, Duration: 00m 36s
Director Jeffrey Hayden on what made The Andy Griffith Show special
Clip begins at: 11:12, Duration: 01m 08s
Director Jeffrey Hayden on how Mia Farrow came to impulsively cut her hair short following an altercation that happened on Peyton Place
Clip begins at: 27:42, Duration: 03m 38s
Director Jeffrey Hayden on Raymond Burr's great story sense on Ironside, but the difficulties in accommodating his contractual agreement that he would not do location work and would require TelePrompters for his scenes
Clip begins at: 49:58, Duration: 03m 27s
Director Jeffrey Hayden on Quincy episode "Nowhere to Run" and how its incest storyline affected guest star Charles Aidman
Clip begins at: 00:03, Duration: 02m 19s
Director Jeffrey Hayden on how filming Palmerstown, U.S.A. at the Disney ranch led to a Directors Guild rule about providing drivers to locations
Clip begins at: 21:13, Duration: 03m 02s
Interview
- Part 1
- Introduction
Clip begins at: 0:0 - On his background; on his theater studies at UNC; on starting at NBC in the radio division
Clip begins at: 00:11 - On producing the 1949 sitcom The Billy Bean Show, starring Arnold Stang; on converting former riding stables to editing suites for ABC; on his duties as an associate producer of remotes, such as Roller Derby
Clip begins at: 06:29 - On serving as an associate producer on Don Ameche musical-variety series Holiday Hotel; on directing interview series The Gloria Swanson Hour; on directing for Stop the Music, that led to his helming of variety series The Bert Parks Show; on the Actors Studio and what he took away from studying there under Lee Strasberg; on meeting his wife Eva Marie Saint; learning TV technique from Alex Segal; on the regulars and the schedule of The Bert Parks Show
Clip begins at: 13:08 - On his role as writer-director of The Big Payoff; on how the placement of The Big Payoff as Milton Berle's summer replacement was propitious; on directing two Max Liebman "spectaculars" in the mid-50s— "Lady in the Dark" and "The Chocolate Soldier"
Clip begins at: 24:21 - On getting hired for The Philco-Goodyear Television Playhouse's 1954-55 season; on working primarily with producer Gordon Duff since regular Philco producer Fred Coe was off with other projects; on two memorable productions of Philco-Goodyear Television Playhouse he directed: "Thunder of Silence" and "Run Like A Thief"; on his difficulties with James Dean during rehearsals of "Run Like A Thief"; on directing for "live" TV as similar to directing theater (versus the rushed schedule of filmed TV)
Clip begins at: 34:09 - On his stint at MGM in feature films, where he directed The Vintage (1957); on the Hollywood Blacklist; on directing for Lassie and The Loretta Young Show (for which he received the Robert E. Sherwood Award)
Clip begins at: 43:04 - On working with Donna Reed on The Donna Reed Show; on writer-producer Paul West; on his chats with Paul West about his personal life which ended up in scripts; on a couple examples of Hayden's personal life that West built Donna Reed Show scripts around
Clip begins at: 53:05 - Part 2
- On the ensemble of The Donna Reed Show and how star Reed interacted with them; on the shooting schedule of The Donna Reed Show; on getting hired for The Andy Griffith Show; on having known Andy Griffith from college; on the ensemble of The Andy Griffith Show
Clip begins at: 0:0 - On working on Leave It to Beaver (which was not as satisfying as his other sitcom work); on what made The Andy Griffith Show special
Clip begins at: 10:10 - On getting hired on 77 Sunset Strip; on how he and the cast would work on new ideas for their current scripts at lunch; on working with producer Joel Rogosin; on how Lloyd Bridges required long hours on The Lloyd Bridges Show (and how Hayden quit smoking at this point in his life); on producer Aaron Spelling and the celebrity line-up on Burke's Law; on casting in local community theaters while directing on-location series Route 66
Clip begins at: 13:34 - On his year as one of the rotating directors on Peyton Place; on the good-natured relationship he had with star Ryan O'Neal; on how Mia Farrow came to impulsively cut her hair short following an altercation that happened on Peyton Place; on the ease of shooting Peyton Place for him due to the closeness of the studio and its vast resources
Clip begins at: 25:44 - On the rotating format of The Bold Ones; on the real-life contemporary medical issues addressed on The Bold Ones segment The New Doctors; on The New Doctors lead E. G. Marshall's talent; on writer-producer Roy Huggins' technique and talent for writing scripts; on the premise of Alias Smith and Jones; on his penchant for directing westerns; on the difficulty in location shooting on Alias Smith and Jones; on his reputation as a director who delivered on time; on Alias Smith and Jones lead Pete Deuel's personality and intellect and his suicide during the show's second season
Clip begins at: 34:47 - On the quality work that was done on Mannix; on Raymond Burr's great story sense on Ironside, but the difficulties in accommodating his contractual agreement that he would not do location work and would require TelePrompters for his scenes; on Quincy's plots, including the episode "Seldom Silent, Never Heard," that influenced the passing of the Orphan Drug Act (ODA)
Clip begins at: 47:57 - Part 3
- On Quincy episode "Nowhere to Run" and how its incest storyline affected guest star Charles Aidman; on his work on The Incredible Hulk and his feelings about working with cinematographer John McPherson and star Bill Bixby; on the time challenge presented by the use of contact lens for Bill Bixby's transition from Dr. David Banner to the Hulk; on producer Kenneth Johnson
Clip begins at: 0:0 - On how each subsequent season of Knight Rider required more stunts; on star David Hasselhoff; on being excited for a Malibu script that ended up being done in the studio when he worked at Warner Bros.; on how the Knight Rider scripts were written piecemeal by different writers; on the premise of Palmerstown, U.S.A.; on how filming Palmerstown, U.S.A. at the Disney ranch led to a DGA rule about providing drivers to locations; on the talented cast, including Michael J. Fox; on directing for Magnum P.I. and Cagney & Lacey
Clip begins at: 10:08 - On how he came to direct the daytime serial Capitol and executive-produce Santa Barbara; on directing In the Heat of the Night; on the impact of his 1996 documentary Children in America's Schools with Bill Moyers; on a transition he noticed in TV from the theater-trained directors of his generation to more technically-oriented directors of today; on his career highlights; on working with Walt Disney (on the segment The Further Adventures of Gallegher for Walt Disney's Wonderful World of Color) and his regret at not working on other projects with him
Clip begins at: 28:48



Be the first to comment!
Post new comment