| Photos (see all 48 | slideshow) |
| Eddie Albert | ... | Oliver Wendell Douglas (170 episodes, 1965-1971) | |
| Eva Gabor | ... | Lisa Douglas (170 episodes, 1965-1971) | |
| Tom Lester | ... | Eb Dawson (148 episodes, 1965-1971) | |
| Frank Cady | ... | Sam Drucker (141 episodes, 1965-1971) | |
| Pat Buttram | ... | Eustace Charleton Haney / ... (75 episodes, 1965-1971) | |
| Alvy Moore | ... | Hank Kimball (70 episodes, 1965-1971) |
Series Directed by | |||
| Richard L. Bare | (167 episodes, 1965-1971) | ||
| Ralph Levy | (2 episodes, 1965) | ||
Series Writing credits | ||
| Dick Chevillat | (160 episodes, 1965-1971) | |
| Jay Sommers | (160 episodes, 1965-1971) | |
| Dan Beaumont | (5 episodes, 1967-1971) | |
| Al Schwartz | (3 episodes, 1965-1967) | |
| Elon Packard | (3 episodes, 1966) | |
| Elroy Schwartz | (2 episodes, 1966-1967) | |
| Sam Locke | (2 episodes, 1967) | |
| Joel Rapp | (2 episodes, 1967) | |
Series Produced by | |||
| Paul Henning | .... | executive producer (75 episodes, 1965-1970) | |
| Jay Sommers | .... | producer (74 episodes, 1965-1970) | |
| Guy Scarpitta | .... | associate producer (49 episodes, 1965-1970) | |
Series Original Music by | |||
| Vic Mizzy | (51 episodes, 1965-1970) | ||
Series Cinematography by | |||
| Bob Gough | (48 episodes, 1965-1970) | ||
Series Film Editing by | |||
| Robert Seiter | (17 episodes, 1965-1970) | ||
| James Ballas | (14 episodes, 1965-1966) | ||
| Michael Brown | (8 episodes, 1967-1970) | ||
| Robert M. Leeds | (2 episodes, 1966) | ||
Series Casting by | |||
| Caro Jones | (6 episodes, 1970) | ||
Series Art Direction by | |||
| Walter McKeegan | (46 episodes, 1965-1970) | ||
Series Set Decoration by | |||
| Dorcy Howard | (46 episodes, 1965-1970) | ||
Series Costume Design by | |||
| Jean Louis | (22 episodes, 1965-1967) | ||
Series Makeup Department | |||
| Gene Hibbs | .... | makeup artist (46 episodes, 1965-1970) | |
| Peggy Shannon | .... | hair stylist / makeup artist (46 episodes, 1965-1970) | |
Series Production Management | |||
| George King | .... | production supervisor (47 episodes, 1965-1970) | |
Series Second Unit Director or Assistant Director | |||
| Tom Andre | .... | assistant director (48 episodes, 1965-1970) | |
Series Art Department | |||
| Jerry Fuller | .... | property master (50 episodes, 1965-1970) | |
Series Sound Department | |||
| Bernard F. Pincus | .... | sound editor (46 episodes, 1965-1970) | |
| Larry Gannon | .... | sound mixer (32 episodes, 1965-1966) | |
| C.J. 'Mickey' Emerson | .... | sound mixer (32 episodes, 1970-1971) | |
| Stanley Cooley | .... | sound mixer (6 episodes, 1967-1969) | |
Series Special Effects by | |||
| Robert Cole | .... | special effects (46 episodes, 1965-1970) | |
Series Visual Effects by | |||
| Bill Hansard | .... | background projection (7 episodes, 1965-1966) | |
Series Camera and Electrical Department | |||
| Ralph Owen | .... | chief electrician (32 episodes, 1965-1966) | |
| Ted Hamilton | .... | key grip (24 episodes, 1965-1966) | |
| James Wilson | .... | key grip (21 episodes, 1966-1970) | |
| Gary R. Wostak | .... | chief electrician (11 episodes, 1967-1970) | |
| Larry Gilhooly | .... | chief electrician (3 episodes, 1967) | |
Series Casting Department | |||
| Bill Tinsman | .... | casting (37 episodes, 1965-1968) | |
| Mercedes Manzanares | .... | casting (26 episodes, 1965-1967) | |
| Caro Jones | .... | casting (3 episodes, 1969-1970) | |
| Edward F. Rhine | .... | casting (2 episodes, 1967-1968) | |
Series Costume and Wardrobe Department | |||
| Gwen Fitzer | .... | costume supervisor (37 episodes, 1965-1968) | |
| Bob Spencer | .... | costume supervisor (32 episodes, 1965-1966) | |
| W.T. Zacha | .... | costume supervisor (13 episodes, 1967-1970) | |
| Shirley Brewton | .... | costume supervisor (9 episodes, 1969-1970) | |
| Nolan Miller | .... | wardrobe consultant: Eva Gabor (6 episodes, 1970) | |
| Jean Louis | .... | gowns: Miss Gabor / gowns: Eva Gabor (5 episodes, 1965-1968) | |
Series Editorial Department | |||
| Robert Freedman | .... | post-production coordinator (39 episodes, 1965-1970) | |
| Michael Brown | .... | film editor (3 episodes, 1967-1969) | |
| Rusty Tinsley | .... | post-production coordinator (3 episodes, 1970) | |
Series Music Department | |||
| Vic Mizzy | .... | conductor (166 episodes, 1965-1971) | |
| Tommy Tedesco | .... | musician: lead guitar (166 episodes, 1965-1971) | |
| Jimmy Bond | .... | musician: bass (165 episodes, 1965-1971) | |
| Billy Calkins | .... | musician: woodwinds (165 episodes, 1965-1971) | |
| Frank Capp | .... | musician: percussion (165 episodes, 1965-1971) | |
| Gene Garf | .... | musician: organ (165 episodes, 1965-1971) | |
| Tommy Morgan | .... | musician: harmonica (165 episodes, 1965-1971) | |
| Bill Pitman | .... | musician: bass guitar (165 episodes, 1965-1971) | |
| Lou Singer | .... | musician: mallet (165 episodes, 1965-1971) | |
| Dave Kahn | .... | music supervisor (46 episodes, 1965-1970) | |
Series Transportation Department | |||
| Chris Haynes | .... | driver (2 episodes, 1969) | |
Series Other crew | |||
| Frank Inn | .... | animal trainer / animal furnisher (43 episodes, 1965-1970) | |
| Stuart Lippman | .... | script supervisor (36 episodes, 1965-1967) | |
| Jack Bannon | .... | dialogue coach (32 episodes, 1965-1966) | |
| Dick Chevillat | .... | story consultant (17 episodes, 1967-1970) | |
| Robert Busch | .... | dialogue coach (8 episodes, 1970) | |
| Emilie Ehrlich | .... | script supervisor (7 episodes, 1970) | |
| Phil Gordon | .... | dialogue coach (6 episodes, 1967-1969) | |
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I always thought that if Salvador Dali wanted to do a TV sitcom, he'd come up with something like "Green Acres".
This show was a lot of fun, and thank God it never took itself seriously. It was also one of the first to really break the "fourth wall", making self-referential remarks, such as the characters pointing to the credits as they rolled, or having the characters refer to background music being played--I don't think any sitcom had ever done that before! Anyway, Eddie Albert did a great job as perennial straight man to the lunacy around him, with everyone else in on the strangeness. I watched this show as a kid and never really appreciated Oliver's predicament, but now, as a middle-aged man, I know exactly how he feels.
Forty years after its heyday, the show holds up very well. Give it a look.