"All over the world people are embracing democracy and market economics. But if you enjoy the level of military and economic strength we have and the level of political influence, people are going to resent you."

"I have done everything I could as President to try to organize the permanent Government, the people who will be here when I am gone, and the Congress to deal with the long-term threat of biological, chemical, and small scale nuclear war, as well as the increasing sophistication of traditional weapons."

"But yes, there will be problems. Yes, there could be terrible incidences. But I would say to the American people, they should, on balance, be hopeful."

"We've got plenty of talented people. We just need to be imagining the future, thinking about all the problems as well as all the opportunities, and then prepare. Society always has problems; there are always misfortunes. But basically, I believe the future is quite promising and far more exciting than any period in history. I wish I were going to live to be 150; I'd love to see what happens."

"I think the most important thing is for me to be a useful citizen of this country and of this world, because I've had opportunities here only my other living predecessors have had. And I think that for me to be able to continue the work I've done in racial and religious and ethnic reconciliation and trying to convince people that we can grow the global economy and still preserve the environment and trying to empower the poor and the dispossessed, in trying to spread the universal impact of education and use technology to benefit ordinary people, these kinds of things--I think I should continue to do this work and trying--I want to get young people into public service. I want them to believe this is noble and important work."

"So I think, in a word, I have to be a good citizen now. That's the most important thing I can do when I leave office is to use the maximum--to the maximum extent I can, the knowledge that I have, the experience that I've gained to be a really good citizen."

"I look around this office, and I see a desk over there that President Kennedy sat at. And I remember the story he said about the Presidency, and one of the great things about the Presidency was he could walk to work."

"Prosperity. Economic prosperity and growth has been a hallmark of this Presidency. How long can it last, and will it be a part of our future, our near future?"

"Some worry--and Seattle might be an indication that we're looking at the possibility of a great gap between a two-tier system, between the haves and the have-nots of the world, those who get it with technology and those that don't."

"Do you hear around the world now, as I'm sure you've heard from heads of state and others, this kind of unilateralist--America in the future is too strong, too dominant, and the fear of a backlash against us."

"The potential of science to do harm is alarming."

"What's interesting about a conversation about the future with you is that because of this office and your curiosity, you see and know more than almost anyone. I mean, you are aware because you talk to the scientists; you talk to people responsible."

"It's the old notion about if the tree falls in the forest and nobody hears it, did the tree fall? Can you--are there things that we don't know about that alarm you? This sense of science and where it's at and what's coming down the pike that gives you great pause?"

"One would think that making a film is an ; you're building this—it's not, it's . The best metaphor I know of is we make in [] and it takes forty gallons of sap to make one gallon of maple syrup. And that's what the process is."

"It’s been a tradition for more than half a century that the major party candidates for president sit down with 60 Minutes in October. In 1968, it was Richard Nixon and Hubert Humphrey. This year, Vice President Kamala Harris and former President Donald Trump accepted invitations."

"The 60 Minutes program looked like a news story, but it was effectively a drug ad"

"Words, rather than pictures, are what 60 Minutes is all about."

"The story of 60 Minutes is also any self-respecting capitalist's vision of the American Dream."

"Started in 1968 by CBS, 60 Minutes is probably television's most well-known news magazine—or even one of its most successful shows in general."

"Mr. Speaker, I rise today to share with you and our colleagues and to commend the CBS 60 Minutes program that was aired last week on Sunday, January 17 of this year. As it was narrated by CBS reporter Scott Pelley, the television program was called, American Samoa--Football Island."

"There is no disputing the fact that the CBS 60 Minutes program is the finest news magazine show in the history of television broadcasting."

"Don Hewitt, the creator and executive producer of 60 Minutes, loves to tell the story about how, when the show first went on the air, Bill Paley, the founder of CBS,told him, 'Make us proud!' 'Now,' Hewitt says, 'they tell us: Make us money!'"

"Wikileaks has published the video and transcript of an investigative report into 'est' (Erhard Seminars Training) guru and Landmark Education Forum godfather Werner Erhard by CBS News, originally broadcast on the program 60 Minutes on March 3, 1991."

"60 Minutes is the most successful television series of all time, measured by almost any standard, not the least being cash flow. One year, in fact, the profit generated by 60 Minutes was said to have been all the money made in prime time by the CBS Television Network. It has been honored for dozens of awards for outstanding television journalism."

"60 Minutes is famous for their extremely tight close-up shots, particularly those which come in tight while someone else is speaking."

"In the newsmagazine field, CBS's venerable 60 Minutes is the most-watched news broadcast. For twenty consecutive seasons ... it has been in the top ten rankings."

"Whatever the formula, 60 Minutes is a relatively low-cost, spectacularly revenue-producing success. In in 1991-1992 season, the one-hour show was listed as the one that was the least expensive to produce."

"60 Minutes has been one of the premier programs produced by CBS, which counts the profits from this show to be significantly in excess of $1 billion."

"In 1991, 60 Minutes ran a damning profile of charismatic EST founder Werner Erhard (born Jack Rosenberg). A onetime student of Scientology, Erhard was accused of sexual and physical abuse by his family, though some of those claims were later recanted. That same year, Erhard sold out to Landmark Education, which continues to attract millions of followers from all over the world. Landmark is now run by Erhard's brother and sister."

"One of the best things about being at 60 Minutes is the amount of time devoted to a single story."

"All across America, thousands of est graduates, Forum participants, Erhard employees, and other faithful acolytes — not to mention countless others who may have remembered only vaguely the man with the strange-sounding name of Werner Erhard - — watched as '60 Minutes' correspondent Ed Bradley related a dark story of Erhard's past."

"By the time of the '60 Minutes' broadcast, Werner Erhard had already decided that the United States no longer provided a very hospitable place in which to live."

"When Les and I spoke, he looked me in the eye and convinced me that he was sincere in what he was saying about wanting me to stay with CBS for many years on 60 Minutes. I trusted him as a man of his word."

"After an hour of 60 Minutes, Erhard was as dead as Audi. One might have thought that Werner Erhard, the company, was beyond saving. Not true. The name was destroyed, but not the company."

"60 Minutes is still the most successful news program in television history, continuing to earn high ratings, journalistic awards, and an enormous fortune for CBS."

"The media today are controlled by the big corporations. It's all about ratings and money. Believe it or not, I think the downfall of our press today was the show 60 Minutes. Up until it came along, news was expected to lose money, in order to bring the people fair reporting and the truth. But when 60 Minutes became the top-rated program on television, the light went on. The corporate honchos said, "Wait a minute, you mean if we entertain with the news, we can make money?" It was the realization that, if packaged the correct way, the news could make you big bucks. No longer was it a matter of scooping somebody else on a story, but whether 20/20's ratings this week were better than Dateline's. I'm not knocking 60 Minutes. It was tremendously well done and hugely successful, but in the long run it could end up being a detriment to society."

"I mean to work for 60 Minutes, and be able to go any place in the world, do any story, have enough time on the air, et cetera, there is simply no job in journalism like it. At the beginning, it was a dream. Even now, at the age of 84, I work with people who are half my age or less, and it is the draw of the story. If there is a good story going, why not be there?"

"You might find this hard to believe, but I got virtually no feedback the whole time we were making the show! In the ensuing years, since we stopped making it, I've met hundreds of fans, from little kids to grown-ups who watched it as kids when the show was originally on. But I was so busy with the making of it that I just didn't have much of life outside of the show. I was very rarely in situations where I'd meet fans. It was staggering when I finally did start to hear all that stuff, because I just didn't have an outside picture of it all."

"I worked really closely with [series composer and Devo founder] Mark Mothersbaugh on the music for every episode, but the theme was a little different. It's essentially in two parts: there's the actual theme and the music that leads up to the theme. You know, that Martin Denny-esque lounge music as you watch the beaver gnaw on the wood, and everything sort of winds around as you eventually end up at the playhouse's door. Mark, the director of our first season Stephen R. Johnson and I talked a lot about the feeling that bit of music was supposed to evoke — the words "dream-like" and "hypnotic" were used a lot. I wanted kids to feel like they were being drawn into this world."

"The magic screen was originally about the size of a double-door entrance…it was gigantic! [Laughs] I think the door was a different color, too. But yeah, I was involved in every minute detail."

"I was involved in pretty much every aspect of it. I'd hired the design team and came up with conception of stuff overall. I mean, someone designed and built Chairy, obviously, but it was my idea."

"But if you're a kid and you understand a joke that may have been quote-unquote risqué or an innuendo that might have made it in to a Playhouse episode, then you learned it from your parents or the schoolyard. I didn't teach them that."

"I've never agreed with people when they've said that last part, actually. When we were doing the midnight show back in the early Eighties, we'd do a kid's matinee show as well. I never felt like anything was changed, really. It was a bit slicker. It was made for Saturday-morning TV. But it wasn't like the character changed. Everything was like a toilet joke, but it wasn't like we gave the censors a lot to worry about. When you're writing a show for six-year-olds, you know, pee-pee and poo-poo…that's your bread and butter."

"I'd had the stage show originally, so I was much more interested in doing something closer to that, something live-action. So when they suggested doing a cartoon, I said "I'm not really interested in that; let's do a real kid's show." I was a big Howdy-Doody freak growing up — I was actually on one show when I was a kid, in the audience — and was more interested in doing something like that. Howdy-Doody, Captain Kangaroo, a lot of the local kids shows that were on a long time ago — those were the influences."

"What I think a lot of people didn't realize was, this wasn't a goof on kids' shows. I felt like it was a mission and this was what I was supposed to do; I considered it important work. I always sort of thought that this would have a positive effect on kids. And they picked up on that, I think. [Pause] I've spent a lot of time rewatching these episodes during the restoration process for this set, and I'm still really proud of what we all did."

"Caroline Dhavernas — Vera Keller"

"Ashley Zukerman — 2nd Lt. Robert "Mac" MacKenzie"

"Claire van der Boom — Stella"

"Brandon Keener — Charles Dunworthy"

"Mauricio Merino, Jr. — Handyboy"