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Frank StantonFrank Stanton
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there. And that studio was closed effectively for the duration of the war, although there were some courses in emergency situations, that is, training courses for the fire and the police and things of that kind. But there was no real activity.


Could you talk a little bit about Peter [C.] Goldmark in his role at CBS? In terms of the development of color technology.


Well, Peter came into the company about the same time, I believe, that I did, which would have been the mid-thirties, and was brought in by Paul Kesten, who was looking at where we were going to go in television. Peter, I think his first title was that he was Director of Engineering for television. Peter was given -- I don't know what his -- The reason I'm hesitating is that I don't remember, if I ever knew, I don't remember what Peter's marching orders were. But he certainly was responsible for the technical side of television. He came out of an English group, I believe the Marconi group in England, but I'm not sure. He originally came out of Hungary and then Vienna and then London and then New York. And Kesten was the one who brought him in.

I wasn't close to Peter's work in the period up to the war. It was immediately after the war that I got to know Peter. And during the war years, of course, he was working on classified military things having to do with radar and -- I forgot what else he was working on. Whether he was doing anything on television on that time or not, I don't know. If he was, it was in his head more than in the laboratory. And I can't fix the date when Peter told me that he first got the idea about color. But that's all set out, for anyone who wants to know about it, in Peter's own book.

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