| 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 / ... (76 episodes, 1965-1971) | |
| Alvy Moore | ... | Hank Kimball (71 episodes, 1965-1971) |
Series Directed by | |||
| Richard L. Bare | (166 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 | (14 episodes, 1967-1971) | |
| Al Schwartz | (3 episodes, 1965-1967) | |
| Elon Packard | (3 episodes, 1966) | |
| John L. Greene | (3 episodes, 1969) | |
| Elroy Schwartz | (2 episodes, 1966-1967) | |
| Sam Locke | (2 episodes, 1967) | |
| Joel Rapp | (2 episodes, 1967) | |
| Larry Scott Anderson | (2 episodes, 1969-1970) | |
Series Produced by | |||
| Paul Henning | .... | executive producer (76 episodes, 1965-1971) | |
| Jay Sommers | .... | producer (75 episodes, 1965-1971) | |
| Guy Scarpitta | .... | associate producer (52 episodes, 1965-1971) | |
Series Original Music by | |||
| Vic Mizzy | (54 episodes, 1965-1971) | ||
Series Cinematography by | |||
| Bob Gough | (51 episodes, 1965-1971) | ||
Series Film Editing by | |||
| Robert Seiter | (19 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 | (49 episodes, 1965-1971) | ||
Series Set Decoration by | |||
| Dorcy Howard | (49 episodes, 1965-1971) | ||
Series Costume Design by | |||
| Jean Louis | (22 episodes, 1965-1967) | ||
Series Makeup Department | |||
| Gene Hibbs | .... | makeup artist (49 episodes, 1965-1971) | |
| Peggy Shannon | .... | hair stylist (49 episodes, 1965-1971) | |
Series Production Management | |||
| George King | .... | production supervisor (49 episodes, 1965-1970) | |
Series Second Unit Director or Assistant Director | |||
| Tom Andre | .... | assistant director (51 episodes, 1965-1971) | |
Series Art Department | |||
| Jerry Fuller | .... | property master (53 episodes, 1965-1971) | |
Series Sound Department | |||
| Bernard F. Pincus | .... | sound editor (49 episodes, 1965-1971) | |
| Larry Gannon | .... | sound mixer (32 episodes, 1965-1966) | |
| C.J. 'Mickey' Emerson | .... | sound mixer (31 episodes, 1970-1971) | |
| Stanley Cooley | .... | sound mixer (8 episodes, 1967-1969) | |
| Lodge Cunningham | .... | sound mixer (2 episodes, 1970-1971) | |
Series Special Effects by | |||
| Robert Cole | .... | special effects (49 episodes, 1965-1971) | |
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 (24 episodes, 1966-1971) | |
| Gary R. Wostak | .... | chief electrician (14 episodes, 1967-1971) | |
| Larry Gilhooly | .... | chief electrician (3 episodes, 1967) | |
Series Casting Department | |||
| Bill Tinsman | .... | casting (39 episodes, 1965-1968) | |
| Mercedes Manzanares | .... | casting (26 episodes, 1965-1967) | |
| Edward F. Rhine | .... | casting (4 episodes, 1967-1968) | |
| Caro Jones | .... | casting (4 episodes, 1969-1971) | |
Series Costume and Wardrobe Department | |||
| Gwen Fitzer | .... | costume supervisor (39 episodes, 1965-1968) | |
| Bob Spencer | .... | costume supervisor (32 episodes, 1965-1966) | |
| W.T. Zacha | .... | costume supervisor (15 episodes, 1967-1970) | |
| Shirley Brewton | .... | costume supervisor (10 episodes, 1969-1971) | |
| Nolan Miller | .... | wardrobe consultant: Eva Gabor (6 episodes, 1970) | |
| Jean Louis | .... | gowns: Miss Gabor / gowns: Eva Gabor (5 episodes, 1965-1968) | |
| Robert Lawson | .... | costume supervisor (2 episodes, 1970-1971) | |
Series Editorial Department | |||
| Robert Freedman | .... | post-production coordinator (42 episodes, 1965-1971) | |
| Michael Brown | .... | film editor (3 episodes, 1967-1969) | |
| Rusty Tinsley | .... | post-production coordinator (3 episodes, 1970) | |
Series Music Department | |||
| Vic Mizzy | .... | conductor (163 episodes, 1965-1971) | |
| Tommy Tedesco | .... | musician: lead guitar (163 episodes, 1965-1971) | |
| Jimmy Bond | .... | musician: bass (162 episodes, 1965-1971) | |
| Billy Calkins | .... | musician: woodwinds (162 episodes, 1965-1971) | |
| Frank Capp | .... | musician: percussion (162 episodes, 1965-1971) | |
| Gene Garf | .... | musician: organ (162 episodes, 1965-1971) | |
| Tommy Morgan | .... | musician: harmonica (162 episodes, 1965-1971) | |
| Bill Pitman | .... | musician: bass guitar (162 episodes, 1965-1971) | |
| Lou Singer | .... | musician: mallet (162 episodes, 1965-1971) | |
| Dave Kahn | .... | music supervisor (49 episodes, 1965-1971) | |
Series Transportation Department | |||
| Chris Haynes | .... | driver (2 episodes, 1969) | |
Series Other crew | |||
| Frank Inn | .... | animal trainer / animal furnisher (45 episodes, 1965-1970) | |
| Stuart Lippman | .... | script supervisor (36 episodes, 1965-1967) | |
| Jack Bannon | .... | dialogue coach (32 episodes, 1965-1966) | |
| Dick Chevillat | .... | story consultant (20 episodes, 1967-1971) | |
| Robert Busch | .... | dialogue coach (9 episodes, 1970-1971) | |
| Phil Gordon | .... | dialogue coach (8 episodes, 1967-1969) | |
| Emilie Ehrlich | .... | script supervisor (8 episodes, 1970-1971) | |
| Ulla Bourne | .... | script supervisor (2 episodes, 1968) | |
| Ted Langwell | .... | production coordinator (2 episodes, 1970-1971) | |
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Many in my generation (too young to be a boomer and too old to be an "X"er) think this is one of the funniest shows ever. It doesn't have any deeper meanings or ramifications or redeeming social importance. It's funny, and for the sake of being funny. This show proves that humor rises from character. Too often a show gets by on a series of insults, or double entendres, or one-liners. "Green Acres" had characters who were rich and diverse, who might be funny by what they say, or by the fact that they're saying it, or just because they show up at a certain moment. "Hooterville" could, I suppose, be construed as a Kafkaesque construct where even the woman who doesn't want to live there understands what's going on there, and only the man who wants to live there can't comprehend what's going on, or understand what the pig is saying. But why bother with such interpretation? This show is funny, well-written, and performed by fine actors. Shot on a sound-stage, "Green Acres" nevertheless opens out where most shows seem claustrophobic -- there are fields, roads, houses, barns, cows, jeeps, tractors, and all the great outdoors. I'm a country boy myself, and I appreciate that, unlike most shows written by high-handed cityfolk that show country folk as either ignorant bumpkins whose foolishness is the basis of laughs, or makes them more sagely inscrutable than smugly-superior urbanites, "Green Acres" gives the people of Hooterville thier own mindset that is neither better nor worse, just different. And the show itself is different from anything else on television until the arrival of "Newhart" which, for all its humor, nevertheless remained stagey and claustrophobic. "Green Acres" is funny. Enjoy it.