Leonard Stern
Writer/ Producer
About This Interview
Leonard Stern (1922-2011) was interviewed for five hours (in two sessions) in Los Angeles, CA. Stern discussed his introduction to show business, writing jokes for Milton Berle. He described his work in network radio, notably his work on “The Abbott and Costello Show,” which led to writing in feature films for the duo. He described his first writing work for The Jackie Gleason Show, particularly “The Honeymooners” sketches. He described his work as a writer with Sydney Zelinka on many of the classic Honeymooners episodes during its one-year run as a series (1955-56), including “The $99,000 Answer,” “Alice and the Blonde,” and “The Babysitter.” Mr. Stern talked about his Emmy-winning work as a writer on The Phil Silvers Show. He talked about his work as a writer on The Steve Allen Show in the 1960s and his later work that decade as a writer-producer on such series as I’m Dickens He’s Fenster and Get Smart. As the executive-producer for Get Smart during its full run from 1965-70, Stern gave a full account of the landmark satirical show. Stern described his work as creator-writer-producer of such series as The Hero ( 1966-67), He & She (1967-70), and The Governor and J.J. (1969-72). Finally, he talked about his work as writer-producer-director of McMillan and Wife (1971-76) and Lanigan’s Rabbi (1967-77) and his later work on Partners in Crime (as creator and director, 1984), and Murphy’s Law (as co-executive producer, 1988-89). Mr. Stern also described his ventures in publishing, including his co-creation with Roger Price of Mad Libs. In Part II of his interview, Stern talked about knowing Academy of Television Arts & Sciences founder Syd Cassyd and commented on the early years of the Academy and the Emmy Awards; he also talked about his participation in the 2008 feature film version of Get Smart, starring Steve Carell. The interview was conducted by Gary Rutkowski on July 13, 2000 and by Jenni Matz on August 20, 2008.
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Highlights
Leonard Stern on the genesis of Get Smart as a satire of James Bond
Leonard Stern on Jackie Gleason, who memorized his lines, making a mistake on a commercial for Schick (02m 33s)
Leonard Stern on the origin of Bill Dana's "Jose Jiminez" character (01m 08s)
Leonard Stern on some classic episodes of The Honeymooners
Leonard Stern on the famous catchphrases of Get Smart;"sorry about that chief", "would you believe", "missed it by that much"
On his recollection of the early Emmy award shows in the 1950s
Chapters
- Chapter 1
- On his early childhood, parents, schooling
- On why he believes he started writing comedy; on being a "student of the medium" of radio; his desire to be a writer
- On his tenure in the Army; writing radio for Milton Berle and other name-personalities on Army radio
- On how Milton Berle gave him his first job; Berle's treatment of writers; other radio shows
- On writing adlibs for the $64,000 Question; moving to California in 1948; writing for Abe Burrows
- On writing for Abbott and Costello; the Dead End kids
- On his writing process with partner Martin Ragaway; writing the film Africa Screams; on his relationship with Bud Abbott and Lou Costello; on the "Who's on First" routine;
- On writing feature films for Abbott and Costello; trying to cast Phil Silvers in a role later given to Jimmy Durante; on how Abbott came to work with Costello
- Chapter 2
- On working with Lou Costello many years following Abbott & Costello
- On the first time he saw television - the Dodgers in 1941 on experiemental television at the NYU Science department;
- On the Comedy Writers Show (radio); dark or "sick" comedy; writing sketch material for Norman Abbott and Gabe Dell
- On working as a consultant on Broadway Open House for Norman Abbott and Gabe Dell; his first foray in television
- On how he came to write for the Jackie Gleason Show; naming his fee and Gleason's reaction; writing for the Alan Young Show and using stuntpeople
- On starting to work on the Jackie Gleason Show; how he wanted it to be different from the Honeymooners; how Gleason worked; the other writers
- Chapter 3
- On Jackie Gleason, who memorized his lines, making a mistake on a commercial for Schick; on Gleason's personality and their friendship
- On Jackie Gleason's talents as a comic actor; reacting to lines; some of the characters he portrayed; on Ralph Kramden as the Everyman; Joe the Bartender
- On The Honeymooners episodes he wrote: "Letter to the Boss", "Stand in for Murder", and "Teamwork Beat the Clock"
- On the producers of The Honeymooners; on an episode where Gleason broke his leg
- On why The Honeymooners became a series
- Chapter 4
- On The Honeymooners episode "Pal of Mine"; how Gleason and Carney remained in character
- On Art Carney and his Honeymooners character "Ed Norton"; how the hand gesticulations came about
- On the "get-rich-quick" motif on The Honeymooners; On classic '39 episodes "Something Fishy", "Oh My Aching Back"
- On The Honeymooners' Audrey Meadows and her "Alice" character
- On more classic Honeymooners epsiodes; "A Dog's Life"; on Gleason's fainting spells; jokes about his weight, "Head of the House"
- On Gleason and Carney's reactions to the lines, their technique; on the use of mystery; "On Stage" based on one word polo ponies
- On the Honeymooners episode "Mind you Own Business" and "A Man's Pride"; on director Frank Satestein
- Chapter 5
- On The Honeymooners' Joyce Randolph
- On why The Honeymooners was only on for one season
- On the Hollywood Blacklist and how Gleason fought for the original "Alice" who was blacklisted
- On his involvement with the Phil Silvers Show; becoming a writer replacing Nat Hiken; on some specific episodes
- On coming on board the Steve Allen Show (Sunday evening NBC show) as head writer; hiring Don Knotts, Tom Poston, Bill Dana, Tim Conway, Dayton Allen, Pat Harrington
- On recurring sketches on The Steve Allen Show: "Man on the Street" and "The Question Man"; how Don Knotts' "nope!" came about; Tom Poston's character who forgot his name; Martha Raye
- On Bill Dana's "Jose Jiminez" character on The Steve Allen Show; how it came about
- Chapter 6
- On how "Jose Jimenez" character came about on The Steve Allen Show, developed by Bill Dana
- On his role on The Steve Allen Show (1961) as head writer and director of comedy
- On the open audition process on The Steve Allen Show; Mike Nichols and Elaine May's audition; The Smothers Brothers
- On teaming up with Roger Price to found Price Stern (later Price Stern Sloan); the birth of Mad libs
- On his transition from The Steve Allen Show to Sgt. Bilko, and the birth of his show I'm Dickens, He's Fenster; on the changes in comedy at the time
- On the origin of I'm Dickens, He's Fenster; describing how a pitch meeting went in the 1960s; the premise of the show; the lead actors and director Arthur Hiller
- Chapter 7
- On Talent Associates; on Get Smart as a satire of James Bond; pitching it to ABC which was rejected; switching the lead from Tom Poston to Don Adams
- On the humorous pitch meeting for Get Smart with Grant Tinker and Dick Darso
- On the contributions of Mel Brooks and Buck Henry to Get Smart; on the original 7 minute pilot; receiving network notes only on Don Adam's "strident delivery"
- On the title of Get Smart; on the opening sequence and music by Irving Szathmary
- On the creation of "Maxwell Smart" on Get Smart; how Don Adams was cast
- On the famous catchphrases of Get Smart;"sorry about that chief", "would you believe", "missed it by that much"; why Maxwell Smart's agent name was 86
- On Get Smart' s Agent 99 and how Barbara Feldon, Ed Platt, and Bernie Kopell were cast; casting agent Pat Harris
- On his changing role as the "paternal figure" on Get Smart
- On Get Smart' s producer-director Jay Sandrich, writers Buck Henry, Stan Burns, Jerry Gardner, Bill Dana, and other contributors
- On a typical workweek on the set of Get Smart; on some memorable episodes, "Ship of Spies" which won an Emmy
- Chapter 8
- On the movie reunions of Get Smart and his involvement with "The Nude Bomb"
- On the movie adaptation of Get Smart,"Get Smart Again"
- On two television shows he created: The Hero and Run Buddy Run; on He and She and how Paula Prentiss was cast with her husband Richard Benjamin; the protests over the show's cancellation amidst its many honors; why it was groundbreaking
- On the premise of He & She; the interrelation of a couple
- On The Governor and J.J with Dan Dailey and Julie Sommars; incidents with casting; Carroll O'Connor was to have been in the show but wound up on All in the Family
- On The Good Guys with Bob Denver
- On how McMillan & Wife came about out of his desire to write a mystery; on casting Rock Hudson and Susan Saint James
- On the Snoop Sisters; inadvertently sending the script to Helen Hayes for the third time; working again with Art Carney
- On Lanigan's Rabbi with Art Carney; getting a network note to make the rabbi "less jewish"
- On Faraday and Company; with Dan Dailey, introducing Sharon Gless,
- Chapter 9
- On Diana with Diana Rigg, Richard Mulligan; problems finding writers for that show
- On Vanities; with Kathy Bates; on the "voodoo" of marketing research
- On Holmes and Yo-Yo with Richard B. Schull and John Schuck
- On Operation Petticoat; an adaptation of the film; changes he made to the script
- On Rosetti & Ryan; the premise; on Tony Roberts and Squire Fridell
- On Windows, Doors, and Keyholes written by Arnie Sulton, Bill Dana and
- On the pilot Wild about Harry; a personal favorite of Sterns, with his wife actress Gloria Stroock
- On the feature film Just you and Me Kid with George Burns
- On Partners in Crime; developed for Lynda Carter and Loni Anderson
- On Murphy's Law; the premise of a wheel of different detectives but going with just one- George Segal
- Leonard Stern on his greatest professional achievment- making people laugh; on his mentors
- On his advice to aspiring writers- keep writing!
- On the legacy of The Honeymooners, Get Smart, and how he'd like to be remembered
- Chapter 10
- On the birth of the Television Academy and Syd Cassyd's vision for the Academy of Television Arts & Sciences
- On writer's attitudes between writing for film and television; within that community screenwriting had always been the "ultimate"; but gradually that changed in the "golden age" of television
- On how Syd Cassyd got him to be among the very first votes for the Television Academy; his desire to emphasize television as an important medium and the role the new Academy should take
- On the importance of preserving the history of television; and all its participants from creators and editors down the line
- On the award ceremony associated with the Academy: The Emmys; in the early days the writers were not allowed to attend the awards show for which they were nominated
- On the fact Jackie Gleason was never nominated for an Emmy award
- On his recollection of the early Emmy award shows in the 1950s


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