Walter E. Grauman
Director
About This Interview
Walter Grauman, who directed countless projects for television, attests that his proudest career achievement was “flying 56 combat missions in Europe. The rest of it was fun.” Walter Grauman directed for television from the 1950s to the 1990s, and is often associated with the series of executive producer Quinn Martin: The Untouchables, The Fugitive, The Streets of San Francisco, and Barnaby Jones.
In his Archive interview, Grauman describes how he began his career in the television industry, as a co-producer (with Alan A. Armer) of the talent search series Lights, Camera, Action. He describes how he broke into network television, directing for producer Albert McCleery on the live anthology series Cameo Theatre, making such an impression that McCleery hired him to direct for his next series, Matinee Theater.
For Matinee Theater, Grauman vividly recalls several memorable “close calls” on this live series, which aired daily on NBC. In one instance, working with boxer Primo Carnera (cast as Frankenstein’s monster), Grauman recounts a harrowing moment that involved a stunt gone wrong: “He lifted [the stuntman] up like he’s a toy, and threw him. And the guy went right through the scenery. I’m in the control room and all I hear is this crashing thud. And I think, oh god, that’s the end of the show and the guy’s dead. Well, by the grace of god, he wasn’t hurt. He just was bruised a little bit. And we went on to continue the rest of the show.”
Grauman looks back on his initial enthusiasm with the first Untouchables script he read (that prompted him to take the job as a producer-director on the series) and discussed several episodes he helmed. He gives his impressions of several stars he worked with in TV, including: Charles Bronson (guesting on Colt .45), Robert Stack ( The Untouchables), Peter Falk ( Columbo), Buddy Ebsen ( Barnaby Jones), and Natalie Wood ( The Memory of Eva Ryker).
Lastly, he recounts his work on the series Murder, She Wrote (and his rapport with star Angela Lansbury), the television movie The Forgotten Man (learning from military advisors how the Viet Cong operated during the Vietnam War), and the series Peter Gunn (including some advice he received from producer-director Blake Edwards on not making artistic compromises). B-roll includes Grauman displaying and commenting on several behind-the-scenes photos from his career.
Walter Grauman was interviewed in Los Angeles, CA on April 17, 2009; Stephen Bowie conducted the two-and-a-half-hour interview.
In his Archive interview, Grauman describes how he began his career in the television industry, as a co-producer (with Alan A. Armer) of the talent search series Lights, Camera, Action. He describes how he broke into network television, directing for producer Albert McCleery on the live anthology series Cameo Theatre, making such an impression that McCleery hired him to direct for his next series, Matinee Theater.
For Matinee Theater, Grauman vividly recalls several memorable “close calls” on this live series, which aired daily on NBC. In one instance, working with boxer Primo Carnera (cast as Frankenstein’s monster), Grauman recounts a harrowing moment that involved a stunt gone wrong: “He lifted [the stuntman] up like he’s a toy, and threw him. And the guy went right through the scenery. I’m in the control room and all I hear is this crashing thud. And I think, oh god, that’s the end of the show and the guy’s dead. Well, by the grace of god, he wasn’t hurt. He just was bruised a little bit. And we went on to continue the rest of the show.”
Grauman looks back on his initial enthusiasm with the first Untouchables script he read (that prompted him to take the job as a producer-director on the series) and discussed several episodes he helmed. He gives his impressions of several stars he worked with in TV, including: Charles Bronson (guesting on Colt .45), Robert Stack ( The Untouchables), Peter Falk ( Columbo), Buddy Ebsen ( Barnaby Jones), and Natalie Wood ( The Memory of Eva Ryker).
Lastly, he recounts his work on the series Murder, She Wrote (and his rapport with star Angela Lansbury), the television movie The Forgotten Man (learning from military advisors how the Viet Cong operated during the Vietnam War), and the series Peter Gunn (including some advice he received from producer-director Blake Edwards on not making artistic compromises). B-roll includes Grauman displaying and commenting on several behind-the-scenes photos from his career.
Walter Grauman was interviewed in Los Angeles, CA on April 17, 2009; Stephen Bowie conducted the two-and-a-half-hour interview.
Related To This Video
Featured Content
Video: Part 1 of The Untouchables: "The Noise of Death" (airdate: 1/14/60) as posted on You Tube
Video: Embeddable excerpt from Walter Grauman's Archive of American Television interview (click through to You Tube [by clicking You Tube icon on bottom right of clip] to reveal embed code)
Resources
Links:
DVD: Murder, She Wrote: The Complete First Season
DVD: The Untouchables, Season 1, Volume 1
Book: The Untouchables by Tise Vahimagi
IMDb entry on Walter Grauman
Wikipedia entry on Walter Grauman
YouTube video player - HTML5 compatible.
Highlights
Director Walter Grauman on working with Angela Lansbury on Murder, She Wrote
Clip begins at: 40:11, Duration: 00m 33s
Director Walter Grauman on how Blake Edwards (ironically) advised him not to make artistic compromises on Peter Gunn
Clip begins at: 27:57, Duration: 00m 58s
Director Walter Grauman on a tricky lighting set up done by Russell Metty on Peter Gunn (that worked for the camera, but was hard on the actors due to the intense heat from the lighting)
Clip begins at: 24:35, Duration: 01m 04s
Director Walter Grauman on working with boxer Primo Carnera on Matinee Theater: Frankenstein (airdate: 2/5/57), in which an overzealous and unrehearsed Carnera (playing Frankenstein's monster) threw a stuntman through the scenery
Clip begins at: 35:55, Duration: 03m 28s
Walter Grauman on getting into TV, co- writing, directing, and producing the talent show Lights, Camera, Action
Clip begins at: 09:51, Duration: 01m 26s
Producer-director Walter Grauman on the flubs made by Lights, Camera, Action (1950) emcee Walter Woolf King on live TV
Clip begins at: 11:29, Duration: 01m 19s
Director Walter Grauman on actress Sarah Churchill needing to get bailed out of jail to make her live appearance on Matinee Theater
Clip begins at: 32:39, Duration: 02m 59s
Director Walter Grauman on how a superstition led Sylvia Sidney to forget the final line on live TV for a Matinee Theater show [tentatively identified by Grauman as Death of a Salesman but possibly The Gift and the Giver (airdate: 12/16/57)]
Clip begins at: 39:29, Duration: 01m 23s
Director-producer Walter Grauman on taking the job on The Untouchables, after being so impressed with the script for the episode The Noise of Death
Clip begins at: 01:08, Duration: 01m 11s
Director Walter Grauman on Robert Stack, and a memorable reaction he had to a piece of Grauman's direction filming The Untouchables episode Head of Fire, Feet of Clay
Clip begins at: 13:31, Duration: 01m 39s
Director Walter Grauman on The Fugitive star David Janssen
Clip begins at: 25:24, Duration: 00m 41s
Director Walter Grauman on how star Peter Falk invented the key clue for solving the crime on the Columbo show Murder in Malibu
Clip begins at: 49:35, Duration: 00m 51s
Director Walter Grauman on Barnaby Jones star Buddy Ebsen's likability (comparing him to Angela Lansbury, who he worked with on Murder, She Wrote)
Clip begins at: 02:15, Duration: 00m 58s
Director Walter Grauman on Natalie Wood's fear of deep/dark waters while shooting the TV movie The Memory Of Eva Ryker, one of her last projects
Clip begins at: 04:40, Duration: 02m 58s
Director Walter Grauman on how Angela Lansbury's appeal was the reason for the popularity of Murder, She Wrote
Clip begins at: 01:23, Duration: 00m 51s
Chapters
- Chapter 1
- On his background; on getting hired at Universal Studios; on starting his own popcorn business; on getting his start in TV co-directing/producing the series Lights, Camera, Action; on host Walter Woolf King and "live TV"
Clip begins at: 0:0 - On being sued by Hollywood Screen Test producer Lester Lewis (Grauman misidentifies him as Lester White) for Lights, Camera, Action's similarity in concept; on breaking into directing at NBC and working on Albert McCleery's Cameo Theatre and Matinee Theater
Clip begins at: 17:19 - On several memorable touch-and-go incidents on the 1950s "live" anthology series Matinee Theater
Clip begins at: 32:21 - On the Hollywood Blacklist (hiring former blacklistee Jeff Corey, discovering that "Joel Carpenter" was Arnold Manoff's pseudonym)
Clip begins at: 49:21 - Chapter 2
- On producer Quinn Martin; on directing for The Untouchables, which he took based on his favorable impression of the script for the episode "The Noise of Death"; on Untouchables star Robert Stack; on appeasing the censor in filming a massacre scene in The Untouchables episode "The White Slavers"
Clip begins at: 0:0 - On working out the approach to Lt. Gerard on The Fugitive with producer Quinn Martin; on Fugitive star David Janssen; on the Twilight Zone episode "Miniature"
Clip begins at: 22:49 - On getting hired on Barnaby Jones and working with star Buddy Ebsen; on working on location for The Streets of San Francisco; on working with Angela Lansbury on Murder, She Wrote
Clip begins at: 32:59 - On Peter Falk inventing the key clue for solving the crime on the Colombo show "Murder in Malibu"; on working with Keith Mitchell and Jerry Orbach on Murder, She Wrote
Clip begins at: 49:35 - Chapter 3
- On how Angela Lansbury's appeal was the reason for the popularity of Murder, She Wrote; on Natalie Wood's fear of deep/dark waters while shooting the TV movie The Memory of Eva Ryker, one of her last projects
Clip begins at: 0:0 - On his experiences making the TV movie The Forgotten Man, including an eye-opening session on learning how the Viet Cong operated from military consultants
Clip begins at: 10:00 - On his directoral style, especially in regard to camera movement in his work; on how Blake Edwards advised him on not making artistic compromises on Peter Gunn
Clip begins at: 17:58 - B-roll of Grauman showing several behind-the-scenes photos from his career in TV
Clip begins at: 29:17



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