(Frankenheimer interview continued...) You started off in live television, how did that experience train you for the big screen? It was everything. It taught me how to work with scripts, how to work with actors, how to block for the camera. It's the same thing. Big screen, little screen. It doesn't make any difference. It's the same job. So I just had a lot of experience doing it. I directed over 152 live and taped television shows, mainly live. And after you've done all that, you've done almost everything there is to do with the camera, at one time or another. You really learn by doing. So you had a lot of freedom with the camera during your days with playhouse 90. Playhouse 90, you must understand, was the pinnacle of everything. There were an awful lot of shows I did before I got to Playhouse 90. Half hours, hour. Playhouse 90 was really the jewel in the crown for CBS. And that I did after I had been directing for two years. The height of your early film career coincided with the end of the days of big studio productions in the early 1960s. How did the change affect you? Well I never knew the old studio system. When I started doing films there was the United Artists, and the United Artists were for all practical purposes was what you would call 'the New Hollywood.' In the sense that they gave you the money and you went and made the picture and then you saw them at the premiere. They gave us total control. How does that compare to the production circumstances when you made Ronin? Very favorably. Frank Mancuso and I were given total control of this picture and there was no studio interference. The studio was very supportive. It reminded me a lot of the old days, working in a completely friendly atmosphere.