Andy Danyo was a radio producer all along—but maybe she knew that. She produced the first two interviews ever heard on our show, simple Q&A’s. The real test of a radio producer is in the arts interviews, particularly in music interviews, and in field recording—particularly documentaries. Those interviews turn the producer into an artist. Once I’ve done my interview, I have performed my particular art. Then I give that interview up to a producer who edits—eliminating questions and/ or answers that didn’t work, were incomplete, or interrupted the flow of the story. When appropriate, a producer will add archival audio, a movie clip, or music, and then write an introduction to each segment. In this way, the producers perform their art. I never tell them how to produce it—and I feel very strongly about this. I want my producers to feel total freedom to make whatever they want of my interviews. I respect their talents, and I trust them to use their judgment and do their very best with the material I’ve given them. They have never disappointed me.
I asked Andy to arrange a trip to Los Angeles so that I could interview Norman Corwin. Completely lost to the current generation, Corwin was the dramatic producer-director-writer of 1930s and 1940s radio, able to attract the biggest Broadway and Hollywood stars to his shows. Orson Welles was an early radio legend, but he gladly gave himself up to be directed by Corwin. Andy arranged that interview and