# Norman Lloyd

Norman Nathan Lloyd (né Perlmutter; November 8, 1914 – May 11, 2021) was an American actor, producer, director, and centenarian with a career in entertainment spanning nearly a century. He worked in every major facet of the industry, including theatre, radio, television, and film, with a career that started in 1923. Lloyd's final film, Trainwreck, was released in 2015, after he turned 100. Lloyd remained the longest-lived male actor from Classic Hollywood until his death in 2021.
In the 1930s, he apprenticed with Eva Le Gallienne's Civic Repertory Theatre and worked with such influential groups as the Federal Theatre Project's Living Newspaper unit, the Mercury Theatre, and the Group Theatre. Lloyd's long professional association with Alfred Hitchcock began with his performance portraying a fifth columnist in the film Saboteur (1942). He also appeared in Spellbound (1945), and was a producer of Hitchcock's anthology television series Alfred Hitchcock Presents. Lloyd directed and produced episodic television throughout the 1950s, 1960s and 1970s. As an actor, he appeared in over 60 films and television shows, with his roles including Bodalink in Charlie Chaplin's Limelight (1952), Mr. Nolan in Dead Poets Society (1989), and Mr. Letterblair in The Age of Innocence (1993). In the 1980s, Lloyd gained a new generation of fans for playing Dr. Daniel Auschlander, one of the starring roles on the medical drama St. Elsewhere.

## Early life and theatre

Lloyd was born Norman Nathan Perlmutter on November 8, 1914, in Jersey City, New Jersey. His family was Jewish and lived in Brooklyn, New York. His father, Max Perlmutter, was an accountant who later became a salesman and proprietor of a furniture store. His mother, Sadie Horowitz Perlmutter, was a bookkeeper and housewife. She had a good voice and a lifelong interest in the theatre, and she took her young son to singing and dancing lessons.$^{:1}$ He had two sisters, Ruth and Janice, who survived her brother by four months. Lloyd became a child performer, appearing at vaudeville benefits and women's clubs, and was a professional by the age of nine.$^{:3}$ Lloyd graduated from high school when he was 15 and began studies at New York University, but left at the end of his sophomore year. "All around me I could see the way the Depression was affecting everyone; for my family, for people in business like my father, it was a terrible time," he wrote. "I just wasn't going to stay in college, paying tuition to get a degree to be a lawyer, when I could see lawyers who had become taxi drivers."$^{:4}$ Lloyd's father died in 1945, at age 55, "broken by the world that he was living in."
In 1932, at age 17, Lloyd auditioned and became the youngest of the apprentices under the direction of May Sarton at Eva Le Gallienne's Civic Repertory Theatre in New York City.$^{:11,235}$ He then joined Sarton's Apprentice Theatre in New Hampshire, continuing his studies with her and her associate, Eleanor Flexner.$^{:15–19}$ The group rehearsed a total of ten modern European plays and performed at The New School for Social Research and in Boston.$^{:16–17,235}$ Members of the Harvard Dramatic Club saw Lloyd on stage and offered him the lead in a play directed by Joseph Losey.$^{:20–21}$ He rejoined Sarton's group, for whom Losey directed a Boston production of Gods of the Lightning. When Sarton was forced to give up her company, Losey suggested that Lloyd audition for a production of André Obey's Noah (1935). It was Lloyd's first Broadway show.$^{:22–26}$
Through Losey, Lloyd became involved in the social theatre of the 1930s, beginning with an acting collective called The Theatre of Action. The group was preparing a production of Michael Blankfort's The Crime (1936),$^{:236}$ directed by Elia Kazan. One of the company members was Peggy Craven, who would later become Lloyd's wife.$^{:28}$
Losey brought Lloyd into the Federal Theatre Project — which Lloyd called "one of the great theaters of all time"— and its Living Newspapers,$^{:31}$ which dramatized contemporary events. They initially prepared Ethiopia, about the Italian invasion, which was deemed too controversial and was terminated. The first completed presentation was Triple-A Plowed Under (1936), followed by Injunction Granted (1936) and Power (1937).$^{:236}$
When Orson Welles and John Houseman left the Federal Theatre Project to form their own independent repertory theatre company, the Mercury Theatre, Lloyd was invited to become a charter member. He played a memorable role in its first stage production, Caesar (1937), Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar — streamlined into an anti-fascist tour-de-force. In a scene that became the fulcrum of the show, Cinna the Poet (Lloyd) dies at the hands not of a mob but of a secret police force. Lloyd called it "an extraordinary scene [that] gripped the audience in a way that the show stopped for about three minutes. The audience stopped it with applause. It showed the audience what fascism was; rather than an intellectual approach, you saw a physical one."
The Mercury prepared The Shoemaker's Holiday to go into repertory with Caesar beginning in January 1938. During the December 25 performance of Caesar — when the sets, lighting, and costumes for Shoemaker were ready but no previews had been held — Welles asked the cast if they cared to present a surprise preview immediately after the show. He invited the audience to stay and watch the set changes, and the curtain rose at 1:15 a.m. Lloyd recalled it as "the wildest triumph imaginable. The show was a smash during its run — but never again did we have a performance like that one."$^{:50–51}$
Lloyd performed on the first of four releases in the Mercury Text Records series, phonographic recordings of Shakespeare plays adapted for educators by Welles and Roger Hill. The Merchant of Venice features Lloyd in the roles of Salanio and Launcelot Gobbo. Released on Columbia Masterworks Records in 1939, the recording was reissued on CD in 1998.
Lloyd played the role of Johnny Appleseed in Everywhere I Roam (1938), a play by Arnold Sundgaard$^{:59}$ that was developed by the Federal Theatre Project and staged on Broadway by Marc Connelly.$^{:266}$ "It was a lovely experience, although the play failed," Lloyd recalled. "For me, it was a success; in those days, before the Tony Awards, the critics' Ten Best Performers list at the end of the year was the greatest recognition. For my performance, I was selected to be on the list by the critics."$^{:59}$

## Films

In late summer 1939, Lloyd was invited to Hollywood, to join Welles and other Mercury Theatre members in the first film being prepared for RKO Pictures — Heart of Darkness. Given a six-week guarantee at $500 a week, he took part in a reading for the film,$^{:62–65}$ which was to be presented entirely through a first-person camera. After elaborate pre-production the project never reached production because Welles was unable to trim $50,000 from its budget,$^{:31}$ something RKO insisted upon as its revenue was declining sharply in Europe by autumn 1939.$^{:215–216}$ Welles asked the actors to stay a few more weeks as he put together another film project, but Lloyd was ill-advised by a member of the radio company and impulsively returned to New York. "Those who stayed did Citizen Kane," Lloyd wrote. "I have always regretted it."$^{:65}$
Lloyd later returned to Hollywood to play a Nazi spy in Alfred Hitchcock's Saboteur (1942), beginning a long friendship and professional association with Hitchcock. Three years later he was cast by French director Jean Renoir to portray the malicious, dull-witted character Finley in The Southerner, which was the fourth film of six productions that Renoir directed in the 1940s while living in the United States. After a few more villainous screen roles, Lloyd then worked behind the camera as an assistant on Lewis Milestone's Arch of Triumph (1948). A friend of John Garfield, Lloyd performed with him in the 1951 film noir crime drama He Ran All the Way, Garfield's last film before the Hollywood blacklist ended his film career.

## Post-war career

A marginal victim of the Hollywood blacklist, Lloyd was rescued professionally by Hitchcock, who had previously cast the actor in Saboteur and Spellbound (1945). Hitchcock hired Lloyd as an associate producer and a director on his television series Alfred Hitchcock Presents in 1958. Previously, Lloyd directed the sponsored film A Word to the Wives (1955) with Marsha Hunt and Darren McGavin. He continued directing and producing episodic television throughout the 1960s and 1970s. He took an unusual role in the Night Gallery episode "A Feast of Blood" as the bearer of a cursed brooch, which he inflicts upon a hapless woman, played by Sondra Locke, who had spurned his romantic advances. In FM (1978), Lloyd has a small but pivotal role as the owner of a Los Angeles radio station that is undergoing a mutiny of sorts, due to a battle over advertising. Lloyd's character (Carl Billings) ends up playing the white hat role and keeping the station as is, to the delight of staff and fans.
In the 1980s, Lloyd played Dr. Daniel Auschlander in the television drama St. Elsewhere over its six-season run (1982–88). Originally scheduled for only four episodes, Lloyd became a regular for the rest of the series. In addition to Ed Flanders and William Daniels, St. Elsewhere included a roster of relative unknowns, including Ed Begley, Jr., Denzel Washington, Stephen Furst, Eric Laneuville, David Morse, and Howie Mandel.
Lloyd's first film role in nearly a decade was in Dead Poets Society (1989), playing Mr. Nolan, the authoritarian headmaster of Welton Academy, opposite Robin Williams. Initially, Lloyd was hesitant when asked to audition, because he thought the director and producers could judge whether or not he was right for the part by watching his acting on St. Elsewhere. Director Peter Weir was living in Australia and had not seen St. Elsewhere. Lloyd agreed to audition for him after winning his daily tennis match.
From 1998 to 2001, he played Dr. Isaac Mentnor in the UPN science fiction drama Seven Days. His numerous television guest-star appearances include The Joseph Cotten Show; Murder, She Wrote; The Twilight Zone; Wiseguy; Star Trek: The Next Generation; Wings; The Practice; and Civil Wars.
He played in various radio plays for Peggy Webber's California Artists Radio Theater and Yuri Rasovsky's Hollywood Theater of the Ear. His last film role was in Trainwreck (2015) in which he acted at the age of 99, although he admitted he was slightly put off by the film's raunchy content. He is the subject of the documentary Who Is Norman Lloyd?, which premiered at the Sundance Film Festival on September 1, 2007. In 2010, he guest-starred in an episode of ABC's Modern Family. On December 5, 2010, he presented An Evening with Norman Lloyd at the Colony Theatre in Burbank, California, where he spoke about his career and answered questions from the audience.

## Personal life and death

On June 29, 1936, Lloyd married stage actress Peggy Craven. Together, they had two children: Michael, and actress Josie, who died the year before Lloyd. Lloyd and Craven remained married for 75 years until her death in 2011. Lloyd began practicing his lifelong hobby of tennis at the age of 8. "With the application and time I have devoted to it, I should have been a reigning World Champion", he said in a 2000 interview. His opponents included Charlie Chaplin, Joseph Cotten, and Spencer Tracy. Lloyd continued to play twice a week until July 2015, when he had a fall. He stopped driving in 2014 at Michael's insistence.
Lloyd turned 100 on November 8, 2014. Two of his longtime friends and understudies, Ed Begley Jr. and Howie Mandel (both of whom co-starred with Lloyd on St. Elsewhere), reflected on his centenarian celebration; Begley, Jr. said: "I [have] worked with Norman Lloyd the actor and Norman Lloyd the director, and no one [has] informed me better on the art of storytelling than that talented man. He is a constant inspiration, and my eternal friend"; Mandel added, "I love Norman Lloyd. He is a legend. I have spent hours like a little kid while he regaled us with stories of Hitchcock. He teaches, he entertains. He is a legend."
On October 25, 2017, two weeks before his 103rd birthday, Lloyd attended Game 2 of the 2017 World Series in Los Angeles. Ninety one years earlier, at the age of 11, he attended Game 1 of the 1926 World Series at Yankee Stadium.
Lloyd died in his sleep at his home in the Brentwood neighborhood of Los Angeles, California, on May 11, 2021, at the age of 106.

## Cultural references

In Me and Orson Welles (2008), Richard Linklater's period drama set in the days surrounding the premiere of the Mercury Theatre's production of Caesar, Lloyd is portrayed by Leo Bill.

## Selected theatre credits
### As actor

| Date | Title | Role | Theatre | Notes |
| October 26, 1932 – 1933 | Liliom | Stretcher bearer (uncredited) | Civic Repertory Theatre, New York City | Directed by Eva Le Gallienne$^{:11,235}$ |
| December 12, 1932 – 1933 | Alice in Wonderland | 5 of Clubs (as Mr. Lloyd) | Civic Repertory Theatre, New York City | Directed by Eva Le Gallienne$^{:235}$ |
| 1933 | A Secret Life, The Children's Tragedy, Naked, Fear, The Armored Train, The Call of Life, The Sowers | Various | The New School for Social Research, New York City | Apprentice Theatre, executive director May Sarton$^{:235}$ |
| 1934 | A Bride for the Unicorn | Jay | Harvard Dramatic Club | Directed by Joseph Losey$^{:235}$ |
| 1935 | Dr. Knock | Knock | Peabody Playhouse, Boston | Associated Actors (May Sarton)$^{:21–22,235}$ |
| 1935 | Gallery Gods | | Peabody Playhouse, Boston | Associated Actors (May Sarton)$^{:21–22,235}$ |
| 1935 | Gods of the Lightning | Macready | Peabody Playhouse, Boston | Associated Actors (May Sarton); directed by Joseph Losey$^{:21–22,235}$ |
| February 3 – March 1935 | Noah | Japhet | Longacre Theatre, New York City | Broadway debut$^{:236}$ |
| 1935 | School for Wives | | Peterborough Players, Peterborough, New Hampshire | Summer stock$^{:21–22,235}$ |
| 1936 | The Crime | | Civic Repertory Theatre, New York City | Two nights, presented The Theatre Union; directed by Elia Kazan$^{:30,236}$ |
| March 14–May 2, 1936 | Triple-A Plowed Under | Leads in vaudeville sketches | Biltmore Theatre, New York City | Living Newspaper, Federal Theatre Project; directed by Joseph Losey$^{:33,236}$$^{:390}$ |
| July 24–October 20, 1936 | Injunction Granted | Clown | Biltmore Theatre, New York City | Living Newspaper, Federal Theatre Project; directed by Joseph Losey$^{:34,236}$$^{:390}$ |
| February 22–July 10, 1937 | Power | Angus J. Buttoncooper, the Consumer | Ritz Theatre, New York City | Living Newspaper, Federal Theatre Project; directed by Brett Warren$^{:37,236}$$^{:390}$ |
| November 11, 1937 – May 28, 1938 | Caesar | Cinna the Poet | Mercury Theatre and National Theatre, New York City | Debut of the Mercury Theatre; directed by Orson Welles$^{:339}$ |
| January 1 – April 28, 1938 | The Shoemaker's Holiday | Roger, commonly called Hodge | Mercury Theatre and National Theatre, New York City | In repertory with Caesar; directed by Orson Welles$^{:341}$ |
| December 29, 1938 – January 1939 | Everywhere I Roam | Johnny Appleseed | National Theatre, New York City | Directed by Marc Connelly Lloyd named to the critics' Ten Best Performers list$^{:59}$ |
| April 1939 | Quiet City | David | Belasco Theatre, New York City | Three Sunday nights; directed by Elia Kazan for The Group Theatre$^{:59–60,237}$ |
| April 12 – May 11, 1940 | Medicine Show | | New Yorker Theatre, New York City | Commercially produced Living Newspaper on health in the U.S.$^{:65–66,237}$ |
| 1940 | Pigeons and People | | Dock Street Theatre, Charleston, South Carolina | $^{:237}$ |
| February 5–22, 1941 | Liberty Jones | | Shubert Theatre, New York City | $^{:66,237}$ |
| September 3–27, 1941 | Village Green | | Henry Miller Theatre, New York City | $^{:66,237}$ |
| February 4–13, 1943 | Ask My Friend Sandy | Sandy | Biltmore Theatre, New York City | $^{:237}$ |
| December 25, 1950 – February 3, 1951 | King Lear | Fool | National Theatre, New York City | Directed by John Houseman$^{:239}$ |
| 1954 | Madame Will You Walk | Dockweil | Phoenix Theatre, New York City | $^{:240}$ |
| 1955 | Don Juan in Hell | Devil | La Jolla Playhouse, San Diego, California | $^{:240}$ |
| 1956 | Measure for Measure | Lucio | American Shakespeare Festival, Stratford, Connecticut Phoenix Theatre, New York City | Directed by John Houseman and Jack Landau$^{:240}$ |
| 1974 | Major Barbara | Undershaft | Mark Taper Forum, Los Angeles, California | $^{:244}$ |
| July 1–12, 1992 | The Will and Bart Show | Will | Williamstown Theatre Festival, Williamstown, Massachusetts | Written by Jim Lehrer$^{:233–234}$ |
| December 5, 2010 | An Evening with Norman Lloyd | Himself | Colony Theatre, Burbank, California | |

### As director

| Date | Title | Theatre | Notes |
| 1951 | The Cocktail Party | La Jolla Playhouse, San Diego, California | $^{:239}$ |
| 1952 | The Lady's Not for Burning | La Jolla Playhouse, San Diego, California | $^{:239}$ |
| 1953 | I Am a Camera, You Never Can Tell, Dial M for Murder, The Postman Always Rings Twice | La Jolla Playhouse, San Diego, California | $^{:239}$ |
| 1954 | Madame Will You Walk | Phoenix Theatre, New York City | Co-director with Hume Cronyn$^{:240}$ |
| March 11 – April 1954 | The Golden Apple | Phoenix Theatre, New York City | Best Musical, New York Drama Critics Circle$^{:163,239}$ |
| 1954 | The Winslow Boy, Anniversary Waltz, Sabrina Fair, The Seven Year Itch, The Vacant Lot | La Jolla Playhouse, San Diego, California | $^{:240}$ |
| 1955 | The Rainmaker, Native Uprising, Billy Budd, The Time of the Cuckoo | La Jolla Playhouse, San Diego, California | $^{:240}$ |
| 1956 | The Taming of the Shrew | American Shakespeare Festival, Stratford, Connecticut Phoenix Theatre, New York City | $^{:240}$ |
| 1973 | Carola | | TV movie |

## Select radio credits

| Date | Title | Role | Notes |
| October 24, 1937 | Columbia Workshop | Private Schnook | "I've Got the Tune", radio opera by Marc Blitzstein$^{:51–52}$ |
| July 13, 1940 | The Listener's Playhouse | | "No Program Tonight, or The Director's Dilemma" |
| June 1, 1941 | Columbia Workshop | | "26 by Corwin: Appointment" |
| July 5, 1943 | Cavalcade of America | | "Listen to the People" |
| July 12, 1943 | Cavalcade of America | | "Soldier of the Cloth" |
| July 19, 1943 | Cavalcade of America | | "The Schoolhouse at the Front" |
| August 2, 1943 | Cavalcade of America | Narrator | "Nine Men Against the Arctic" |
| August 9, 1943 | Cavalcade of America | | "Shortcut to Tokyo" |
| August 16, 1943 | Cavalcade of America | | "The Major and the Mules" |
| August 23, 1943 | Cavalcade of America | | "The Weapon That Saves Lives" |
| September 23, 1943 | Words at War | | "They Shall Not Have Me"$^{:726}$ |
| December 13, 1943 | Cavalcade of America | | "Check Your Heart at Home" |
| December 27, 1943 | Cavalcade of America | | "U-Boat Prisoner" |
| January 3, 1944 | Cavalcade of America | | "Bullseye for Sammy" |
| February 7, 1944 | Cavalcade of America | | "Prologue to Glory" |
| February 21, 1944 | Cavalcade of America | | "The Purple Heart Comes to Free Meadows" |
| February 22, 1944 | Words at War | | "Assignment USA"; repeated April 4, 1944 |
| March 21, 1944 | Words at War | | "Der Fuehrer" |
| April 26, 1944 | Arthur Hopkins Presents | | "Redemption" |
| May 24, 1945 | Suspense | | "My Own Murderer" |
| July 17, 1945 | Columbia Presents Corwin | Clerk | "The Undecided Molecule", verse story by Norman Corwin$^{:167}$ |

## Selected film and television credits
### As actor
#### Film

| Year | Title | Role | Notes |
| 1942 | Saboteur | Frank Fry | |
| 1945 | The Southerner | Finley | |
| 1945 | The Unseen | Jasper Goodwin | |
| 1945 | Spellbound | Mr. Garmes | |
| 1945 | A Walk in the Sun | Archimbeau | |
| 1945 | Within These Walls | Pete Moran | |
| 1946 | A Letter for Evie | DeWitt Pyncheon | |
| 1946 | Young Widow | Sammy | |
| 1946 | The Green Years | Adam Leckie | |
| 1947 | The Beginning or the End | Dr. Troyanski | |
| 1948 | No Minor Vices | Dr. Sturdevant | |
| 1949 | Scene of the Crime | Sleeper | |
| 1949 | The Black Book | Jean-Lambert Tallien | $^{:238}$ |
| 1949 | Calamity Jane and Sam Bass | Jim Murphy | |
| 1950 | Buccaneer's Girl | Patout | |
| 1950 | The Flame and the Arrow | Apollo, the troubadour | |
| 1951 | Flame of Stamboul | Louis Baracca | $^{:239}$ |
| 1951 | M | Sutro | |
| 1951 | He Ran All the Way | Al Molin | |
| 1952 | The Light Touch | Anton | |
| 1952 | Limelight | Bodalink | |
| 1977 | Audrey Rose | Dr. Steven Lipscomb | |
| 1978 | The Dark Secret of Harvest Home | Amrys Penrose | |
| 1978 | FM | Carl Billings | |
| 1979 | Beggarman, Thief | Roland Fielding | |
| 1980 | The Nude Bomb | Carruthers | |
| 1981 | Jaws of Satan | The Monsignore | |
| 1989 | Dead Poets Society | Headmaster Gale Nolan | |
| 1991 | Journey of Honor | Father Vasco | |
| 1993 | The Age of Innocence | Mr. Letterblair | |
| 2000 | The Adventures of Rocky and Bullwinkle | Wossamotta U. President | |
| 2003 | Charlie: The Life and Art of Charles Chaplin | Himself | Documentary |
| 2005 | In Her Shoes | The Professor | |
| 2007 | Who Is Norman Lloyd? | Himself | Documentary |
| 2014 | Magician: The Astonishing Life and Work of Orson Welles | Himself | Documentary |
| 2014 | A Place for Heroes | Older Robert | |
| 2015 | Trainwreck | Norman | Final acting role |
| 2015 | Marsha Hunt's Sweet Adversity | Himself | Documentary |
| 2018 | The Great Buster: A Celebration | Himself | Documentary |
| 2019 | Propaganda: The Art of Selling Lies | Himself | Documentary |
| 2021 | Broadway: Beyond the Golden Age | Himself | Documentary (Posthumous release) |
| 2022 | Romantic Mysticism: The Music of Billy Goldenberg | Himself | Documentary (Posthumous release) |

#### Television

| Year | Title | Role | Notes |
| 1956 | The United States Steel Hour | Francis Oberon | Episode: "We Must Kill Toni" |
| 1956 | Kraft Television Theatre | Andrew J. Fogarty1 | Episode: "Paper Foxhole" |
| 1956 | Kraft Television Theatre | | Episode: "The Plunge" |
| 1957 | Alfred Hitchcock Presents | Lieutenant Orsatti | Season 2 Episode 16: "Nightmare in 4D" |
| 1957 | General Electric Theater | Johnny | Episode: "The Earring" |
| 1957 | The Joseph Cotten Show: On Trial | Duke of Buckingham | Episode: "The Trial of Colonel Blood" |
| 1958 | Alfred Hitchcock Presents | Charles Brailing | Season 4 Episode 6: "Design for Loving" |
| 1959 | Alcoa Presents: One Step Beyond | Harold Stern | Episode: "Delusion" |
| 1960 | Alfred Hitchcock Presents | Narrator | Season 5 Episode 20: "The Day of the Bullet" |
| 1960 | Alfred Hitchcock Presents | The Little Man | Season 5 Episode 25: "The Little Man Who Was There"$^{:241}$ |
| 1960 | New Comedy Showcase | Hotel manager | Season 1 Episode 6: "Slezak and Son" |
| 1961 | Alfred Hitchcock Presents | Leo Thorby | Season 7 Episode 3: "Maria" |
| 1970 | The Most Deadly Game | Norman | Episode: "Nightbirds" |
| 1972 | O'Hara, U.S. Treasury | | Episode: "Operation Mr. Felix" |
| 1972 | Night Gallery | Henry Mallory | Episode: "A Feast of Blood" |
| 1972 | The Scarecrow | Dickon | Television film |
| 1973 | Gondola | Lewis | Television film |
| 1975 | Kojak | Harry Fein | Episode: "Night of the Piraeus" |
| 1976 | The New Deal for Artists | Himself | Television documentary |
| 1982 | Quincy M.E. | Cornelius Sumner | Episode: "Stolen Tears" |
| 1982–1988 | St. Elsewhere | Dr. Daniel Auschlander | 132 episodes |
| 1985 | The Paper Chase | Professor | Episode: "Laura's Struggle" |
| 1986–1993 | Murder, She Wrote | Edward St. Cloud / Philip Arkham / Lloyd Marcus | 3 episodes |
| 1986 | The Twilight Zone | Merlin | Episode: "The Last Defender of Camelot" |
| 1989 | Wiseguy | General Leland Masters | 4 episodes |
| 1989 | Amityville: The Evil Escapes | Father Manfred | Television film |
| 1992 | Civil Wars | Gordon Wimsatt | Episode: "Oceans White with Phone" |
| 1992 | Home Fires | Dr. Marcus | 6 episodes |
| 1993 | Star Trek: The Next Generation | Professor Galen | Episode: "The Chase" |
| 1995 | The Omen | Aaron | Television film |
| 1996 | Wings | Lyle Bartlett | Episode: "Bye George" |
| 1997–2003 | The Practice | D. A. Asher Silverman | 3 episodes |
| 1998–2001 | Seven Days | Dr. Isaac Mentnor | 49 episodes |
| 2000 | Fail Safe | Defense Secretary Swenson | Television film |
| 2001 | The Song of the Lark | Madison Bowers | Television film |
| 2010 | Modern Family | Donald | Episode: "Manny Get Your Gun" |
| 2017 | Home & Family | Himself | Episode: Lauren Ash/William Daniels & Bonnie Bartlett, uncredited |

### As director, producer

| Year | Title | Notes |
| 1948 | Arch of Triumph | Associate to the Director$^{:238}$ |
| 1949 | The Red Pony | Assistant to the Producer$^{:239}$ |
| 1952 | Chevron Theatre (TV series) | Director, "That's My Pop", "Annual Honeymoon", "The Bacular Clock", "Mungahra", "The Survey Man", "Meet the Little Woman", "The Reluctant Burglar", "One Thing Leads to Another"$^{:239}$ |
| 1952 | Gruen Playhouse (TV series) | Director, "Dream Man", "A Boy with a Gun", "Bird of Prey", "For Life"$^{:239}$ |
| 1952 | Omnibus (TV series) | Director, "Mr. Lincoln", five half-hour films$^{:239}$ |
| 1954–55 | A Word to the Wives, The Right Touch, Room for Improvement | Director, industrial films$^{:240}$ |
| 1957–58 | Suspicion (TV series) | Associate Producer$^{:241}$ |
| 1957–62 | Alfred Hitchcock Presents (TV series) | Associate Producer$^{:240}$ |
| 1958 | Alfred Hitchcock Presents (TV series) | Director, "$2,000,000 Defense", "Six People, No Music", "Safety for the Witness"$^{:241}$ |
| 1959 | Alfred Hitchcock Presents (TV series) | Director, "Your Witness", "Human Interest Story", "No Pain", "Anniversary Gift". "Special Delivery", "Man from the South", "Say of the Bullet"$^{:241}$ |
| 1960 | Alfred Hitchcock Presents (TV series) | Director, "Hooked", "Very Moral Theft", "Contest for Aaron Gold", "O Youth! O Beauty!"$^{:241}$ |
| 1961 | Alfred Hitchcock Presents (TV series) | Director, "Incident in a Small Jail", "I Spy", "You Can't Be a Little Girl All Your Life", "Strange Miracle", "The Faith of Aaron Menefree"$^{:241}$ |
| 1962–63 | Alfred Hitchcock Hour (TV series) | Producer$^{:242}$ |
| 1962 | Alfred Hitchcock Hour (TV series) | Director, "Final Vow"$^{:241}$ |
| 1962 | Alcoa Premiere (TV series) | Director, "The Jail"$^{:241}$ |
| 1963–65 | Alfred Hitchcock Hour (TV series) | Executive Producer$^{:242}$ |
| 1964 | Alfred Hitchcock Hour (TV series) | Director, "The Jar", "The Lifework of Juan Diaz"$^{:242}$ |
| 1968 | Journey to the Unknown (TV series) | Executive Producer$^{:242}$ |
| 1968 | The Smugglers (TV) | Director, Producer$^{:239}$ |
| 1968 | Companions in Nightmare (TV) | Director, Producer$^{:239}$ |
| 1971 | Columbo (TV series) | Director, "Lady in Waiting" |
| 1972 | Carola (TV) | Director, Producer$^{:242}$ |
| 1972–76 | Hollywood Television Theatre (TV series) | Executive Producer Director, "Nourish the Beast", "Knuckle", "Ascent of Mount Fuji", "The Fatal Weakness", Philemon, "Actor", "The Carpenters", "Awake and Sing"$^{:208,242–243}$ |
| 1980–82 | Tales of the Unexpected (TV series) | Producer, American episodes Director, "Youth from Vienna", "Wet Saturday"$^{:244}$ |

## Accolades

| Year | Award | Category | Work | Result |
| 1970 | Primetime Emmy Awards | Outstanding Dramatic Series | The Name of the Game | Nominated |
| 1974 | Primetime Emmy Awards | Outstanding Special - Comedy or Drama | Steambath | Nominated |
| 1985 | Venice Film Festival | Venice TV Prize - Special Mention | Alfred Hitchcock Presents | Won |
| 2020 | Los Angeles Film Critics Association Awards | Legacy of Cinema | Limelight | Won |