Viewers who grew up in the 1960s and 1970s will never forget award-winning screen and television actress Barbara Bain (b. 1931) for her roles as Cinnamon Carter in the TV hit series “Mission: Impossible” (1967-1973, with Ms. Bain appearing in the first three seasons), and as Dr. Helena Russell in “Space: 1999” (1975-1977), both series with Martin Landau.

For her role of Cinnamon Carter, Ms. Bain was the first actress to receive three consecutive Emmy Awards for Outstanding Lead Actress in a Drama Series (1967-1969), presented annually by the Academy of Television Arts and Sciences. Other winners that decade include Barbara Stanwyck, Jane Wyatt and Shirley Booth—to give you an idea what it was like in the 1960s.

The TV series “Mission: Impossible” was pretty groundbreaking back then. Created by screenwriter, director, and television producer Bruce Geller (1930-1978), the series brought together a team of secret government agents of the IMF (Impossible Missions Force), assigned to bring down dictators, among others, and was led by Jim Phelps, played by actor Peter Graves from the second season. Each agent had his own set of skills and the regular line-up during the first three seasons consisted of characters Cinnamon Carter, a fashion model and actress (played by Ms. Bain); escape and make-up artist Rollin Hand (role for Martin Landau), electronic genius Barnard Collier (Greg Morris), and weight lifter William Armitrage (Peter Lupus). Over the years, as actors left the series, they were replaced by others. But in truth, after season three, when Ms. Bain and Mr. Landau were no longer part of “Mission: Impossible,” the spark was gone as far as I’m concerned.

The “Mission: Impossible” intro with Lalo Schifrin’s legendary score.

If you take the “Mission: Impossible” film series—six highly successful films starring and produced by Tom Cruise—they focus on the character of Ethan Hunt, an agent of the IMF, while the TV series featured an ensemble cast you identified with each new episode you got to see. Each team member became kind of a screen hero, and they always gave you something to look forward to for the next episode the following week. How thrilling that was.

The series became a hit. With “Space: 1999,” Ms. Bain and Mr. Landau had another hit show in the 1970s. Shot in Great Britain, they lived for about a year and a half in London.

Since then, Ms. Bain has been one of Hollywood’s busiest actresses in film, TV series and TV movies, and was married to Academy Award winning-actor Martin Landau (1928-2017) from 1957 until 1993; they have two children, producer Susan Landau Finch (b. 1960) and actress Juliet Landau (b. 1965).

I had the honor to talk with Ms. Bain recently—we didn’t need to wear a mask during our phone interview since we were practicing social distance. She was in Los Angeles, and I was near Brussels, Belgium, so that’s definitely more than six feet apart. “All things considered, it’s really a difficult time for everybody,” Ms. Bain said on the phone, “it’s very disturbing on all levels. We’re doing whatever we’re supposed to do, staying home, wearing masks, and I’m reading a lot.”

Ms. Bain, have any of your projects been postponed due to Covid-19?

Yes, I was about to direct a wonderful new play at a theater here in Los Angeles, it was cast and we were very excited, but the day before we started rehearsal, we had to cancel it. It was one of those moments. I was full of ideas—‘Oh, let’s try this and that’—and then it was canceled, which it had to be. We’re not doing it in the way they are doing this at this moment, there’s too much I want to do with a large cast. So we’re waiting, but we will do it—some time.

What is the secret of the longevity of your career? You’ve been working in front of the camera for more than sixty years now, and you still are.

Yes, I recently did a four-page monologue directly into the camera, so yes, I’m still working, and I still love it, just like I did when I first embraced it. The whole thing is amazing to me, everything about my life is amazing to me, and I certainly cherish it. I have no complaints whatsoever. Up until COVID-19, I was doing dance classes three times a week. I would suggest to anybody at any time in their life to just keep moving because I think that makes a big difference.

Do you remember maybe a film you saw as a child that gave you the passion to become an actress, or was there any particular actor you looked up to?

There wasn’t a film. I was a reader as a child. That was all I did. I was in my room reading all day and pretty much all night. I guess that’s where the actress was born, because wasn’t I every character in every book—because wasn’t I, Anna Karenina, standing in a train station waiting for Count Vronsky? When I was very young, the other big influences in my life were the library and this wonderful museum, the Art Institute of Chicago. Those two places inspired me. If you’d ask me what I was doing at the Art Institute as a little kid—I went there by myself. You could get on a train and go downtown, which I did almost every weekend after I was about eight or nine. And I just sat there—overwhelmed. The building itself was beautiful and cool, and all those gorgeous things, the paintings on the wall… I loved it. I was inspired to reach for something, though I couldn’t articulate it there. Later, when I was at the University of Illinois, I was one of those kids who could finish the work in about ten minutes, and then I didn’t feel like I did anything. So it wasn’t very satisfying to be an A+ student because I didn’t feel like I did anything ever, in grade school, high school, and then even at University. Until I—oddly enough—got out of a P.E. class which I didn’t like. There are these little, tiny moments in life when one’s life changes. I mention it because kids are quite sure of what they’re going to do—that’s okay, they’ll find it. I happened to walk down the hall and find a modern dance class, and I was just absolutely overwhelmed with joy. It was hard, I couldn’t do it easily—I liked that—and I became committed to dance. I went back to Chicago, took classes, and got on a plane to New York to study with [dancer-choreographer] Martha Graham. That was my absolute passion and love until somebody said to me, ‘Come to an acting class.’ And I said, ‘Oh please, I’m not an actress, I am a concert dancer.’ We didn’t even do like Broadway stuff; we were so kind of nose up in the air concert dancer people [laughs]. It was very exciting to think of yourself as so special [laughs]. Anyway, I did wander into an acting class, and there I found my second passion. I stayed in class for about a year and a half with all these fantastic teachers like Lee Strasberg and Lonny Chapman. A year and a half later, I went out for my first audition—actually three in a row—and I got all three parts and never stopped working as an actress. So it’s not that I have a complaint in life [laughs]. The show that brought me here to Los Angeles was a national tour of a Broadway play called “Middle of the Night” and here in a class—again, a class which I firmly believed in, and still do—Bruce Geller, who wrote “Mission: Impossible” was there too. So was Martin Landau. Everything about it was just glorious. It’s like a wonderful tale.

There were several young upcoming and promising actresses in the 1960s. There was you, Stefanie Powers, Susan Saint James, Sally Field, Elizabeth Montgomery, Barbara Feldon, Mary Tyler Moore,… It must have been an exciting and thrilling time?

You know, it was groundbreaking. Bruce wrote this character [Cinnamon Carter] in a way that had not been seen in Hollywood. She had to be sexy and smart—no dumb blonde. Until then, I played a lot of dumb blondes which I really didn’t like, but I had found how. Regarding Cinnamon Carter, I still get letters from women who were girls then and were inspired to embark on careers, and it’s very heartening. When I was a kid, by the way, they told me that I couldn’t certain books; they were called boys books. And I asked, ‘Why not? Why can’t I read them?’ And they told me, ‘They’re adventure books. They are not for you; they’re for boys.’ But I read them. I also said I would read every book in the library, and they said that I couldn’t. They were right, I couldn’t, but I tried [laughs]. I was always a bit of a rebel, I think—not gigantic, but on a certain level. And I find today, with Covid-19, I’m fine alone. I know how to be with myself, I read a lot, and I do what I do. It doesn’t disturb me as such, but I don’t like that I’m being told not to go out. That’s the part I don’t like. But, of course, I stay here as much as possible.

When you appeared in “Mission: Impossible,” a lot of it was shot at Desilu and at Paramount, wasn’t it?

First, it was Desilu, because Lucille Ball wanted to sell some shows. She had a lot of power when her show was on, that was on Monday night, it was the most popular thing in the country. We were all watching the same stuff at the time. She hired Bruce, he wrote “Mission: Impossible” and cast it, and it was a very interesting project. When we got on the air, they were all a little concerned about various elements—and then they weren’t because we hit so big. But Bruce knew what he was doing. He was a very interesting man who died much too young. It was very painful when I heard he had crashed into a mountain flying on a weekend [1978, near Santa Barbara]. That was not a good idea, but he wanted to do it. I stayed close with his family for many years. His wife [Jeanette Marx] died a number of years ago, we spent some time together at the end and talked about good things. His kids live far away; I’ve been in touch with them but don’t see them very much. However, Greg Morris’s daughter Iona is a very fine actress and director. She has directed me in a few plays.

When you worked at Paramount, did you ever meet Adolph Zukor [1873-1976, co-founder of Paramount]?

No, I don’t think so. He was probably still there on the lot. I got to meet a lot of other people. As I said, first it was Desilu, then Paramount bought Desilu, and then Gulf and Western bought Paramount, so there were all these changes going on all the time. But we were just working, day and night, long hours, and very excited about every script. Bruce was such a really very demanding producer that we didn’t have any questions when we got the next script the night before we were going to start. We were all in the make-up room, ‘What will we be doing next time?’ We were all excited. Only once did I have a question about something that didn’t make sense. So I went upstairs, walked in the door where Bruce and the writers were, and I said, ‘I have a question about so and so.’ Before I finished the sentence, Bruce said, ‘That’s from the old script; we don’t have that anymore.’ What care was being taken with every single script. The feeling of being in such good hands was just amazing.

Winning your three consecutive Emmy Awards was also quite an achievement, wasn’t it?

Yes, astonishing! I believe it has been a record for quite some time [Tyne Daly also won three consecutive Emmys in the same category for playing Mary Beth Lacey in “Cagney & Lacey,” 1983-1985]. I remember the day after the first Emmy, I was on location in the desert with my face down in the dirt, and when they were setting up the camera, I heard someone say, ‘You just got an award for acting, so pay attention. Just act.’ [Laughs.] There I was with my face down in the dirt. ‘Okay, that makes sense.’ [Laughs.]

I always thought that “Mission: Impossible,” “The Fugitive” [1963-1967] with David Janssen, and “Mannix” [1967-1975] starring Mike Connors, are to this day still some of the best TV series ever made. Would you agree with that?

I would absolutely agree with that. They were meticulously made. Bruce also did “Mannix.” There has been some remarkable television work through the years. It’s an extraordinary medium. In terms of the drama and the comedies, we are struggling to find our way to use the current technology because of the pandemic. I think most of it needs a lot more finesse. It’s hard to talk to somebody in a different location in a scene that’s supposed to have some meaning. Many of my colleagues are still doing this because they need to and want to—as do I—except as I watch it, it just needs to develop a little more, and it will. I mean, my whole career was based on the fact that I came here at the beginning of television when the studios were panicking because they thought it was going to kill the movies. Instead, they found out it was a way to make money which was perfect for me because I was here. We came here with a play, but we didn’t get back to New York because we were working here in Los Angeles. A year went by, and we were still working all the time which was very unusual, and we went where the work is, which is here. For us Easterners, Los Angeles was a strange place, it didn’t rain for a year and a half—where’s the rain? Because I grew up in Chicago! It was a very strange place, there was one museum and many odd things about it to get used to, but pretty soon we did and it became home. And it’s quite a nice home, to say the least.

Could you elaborate on leaving “Mission: Impossible” after three very successful seasons?

It was very difficult. It was a lawsuit by Paramount. They sued me for breach for no real reason because there were a lot of facts that were distorted. They put a lot of bad stuff in the press. And once they put it in, it’s very hard to answer to it because it’s been read. So I was a little over a year in litigation in which they stopped me from working; it was incredibly painful. Martin wasn’t in any way legally involved, he didn’t have to go back. He decided not to because of the changes—Bruce was fired, he was the heart and soul of the show, but new people were taking it over. They did something pretty ugly and sued me, and that was the night of the third Emmy. I was there in front of the world—I no longer had a job, I couldn’t work and I got a third Emmy that night. It was hard, but I guess you find a way to do it, and that’s what I did. But, as I said, it was very difficult. It was all a giant, very ugly, unnecessary misunderstanding that involved the two of us—we had different agents, we were totally seperate career wise, but they figured that if he wasn’t going to do it…—they just made an assumption, after all, they never asked me. They just forced me into a legal position. We finally told the story a year later in a TV Guide article, but you know, a year later… We never asked for money; it was never about money. It was hard, but you move on.

June 8, 1969. Ms. Bain accepting her third Emmy at the 21st Emmy Awards: “As the girl who used to be on “Mission: Impossible,” this is a bittersweet moment.”

It certainly didn’t keep you from working all the time. You’ve always been able to make the transition from film to TV series and TV movies for so many decades. You make it look very easy, don’t you?

I was very well-trained. You know, theater is where I began. I just found every single role was like a puzzle—‘Ooh, what’s this. Okay, there’s something in here. Let’s try to find out what it is.’ The excitement of finding a new role, something different or something new, is very inspiring. That has always been the reason to keep doing this. I also do that with the students when I teach, I try to help them find that ongoing interest in what they’re doing, so they’re not doing the same stuff all the time. When I was at The Actors Studio—we have a West Coast branch where I would go to every once in a while, depending on how busy I was working—I often tried something I had never done before. And fail, and learn from it. When you see somebody do something, ‘Ah, I never thought of that. That’s a good idea.’ That kind of stimulus from colleagues has been part of my whole creative life. And we need that because we only work intermittently, and when you work, you got to deliver. So in between, what do you do? [Laughs.]

That’s very interesting advice to give to young students.

It’s not exactly advice; you’re more leading them in those directions. Strasberg was great when he’d say, ‘Okay, we’ve seen you do that before. I don’t want to see that again. If you get up there next time, you’d better do something else, or I’m not going to talk to you.’ He was rather tough, but that was good because it made you pay attention. Casting people will cast you over and over for the same thing if you let them do that all the time. So you have to help yourself. If you play a cop, is he happy with his job, or is he about to get fired? Does he have a headache, or did his wife just leave him… It’s never a cop, it’s a particular cop. If you help yourself with that, it will be more fun to do, and it will be something different. Those kinds of questions will help you to paint the picture. That’s what I know [laughs].

When you do your first take, is that usually the right one for you?

Well, it can be close; it depends. I can work very fast. A couple of years ago, I had a glorious experience when I worked with a woman director, Rosemary Rodriguez. We did a picture called “Silver Skies” [2016]; I was cast very late, I don’t know if I was replacing somebody—it didn’t matter at that point. So on Friday, I read it, and on Saturday, I had a conversation with her. There was a rape scene in it, and I wasn’t going to do it unless she could tell me how she was going to shoot it. On Sunday, we wardrobed it, and on Monday, we started shooting. On top of it all, she told me I was going to play her mother. Oh boy. She knew the person, I didn’t really know, right? So a lot is going in, I learned eight pages, and she was doing it without a break. Ooh, okay. So I got there, we started shooting it and did it in one take. I was very pleased with myself because I got a lot of stuff in, and I got all the words out. She came up to me and started to tell me something. I got kind of defensive because I thought it was pretty good, you know. My elbows were going toward her like I was poking her away—not exactly, but that was the feeling. But what she said was gold. I said, ‘Okay, I can take that into all this.’ From that moment on, I was so happy working with her because I knew I was in good hands. That was a moment, right there on the set, where the director was very useful. Sometimes they’re not that useful, their concerns are whether or not the cars in the next scene are going to show up, or they’re running late, or they’re very bedeviled by the producers who are clocking every minute—so it’s hard, a director’s job is a hard job. But Rosemary Rodriguez was a wonderful female director.

“Silver Skies” (2016), written and directed by Rosemary Rodriguez, starring George Hamilton, Barbara Bain, Valerie Perrine and Mariette Hartley

Was it easy for you to combine your work as a busy actress with raising a family?

Well, we were the superwomen of the sixties, we thought we could do absolutely everything, and we almost did [laughs]. We were women who wanted to work; other women had to work to support their families. That’s a very different situation: we were stepping out of our traditional roles. Now women have to work two or three jobs to feed their families, it’s very painful to see that. I also managed to start a literacy program at the Screen Actors Guild, because I have always been involved with literacy with kids. It was a program called “Book Pals” where actors all over the country—because they have branches all over the country—would read to kids in their school rooms. That went on for many years, and finally, it became an online program called “Storyline Online.” This program allows kids all over the world to have an actor read them a story, and they can pick an actor—there are many different actors. They can pick one [readers include Oprah Winfrey, Chris Pine, Kristen Bell, Rita Moreno, Viola Davis, Kevin Costner, and Lily Tomlin]. That’s a project that I am incredibly proud of. I’m so happy that I was able to get it done.

That may be one of your proudest achievements so far because it’s all yours?

Yes. These kids are so hungry for stories. I was just floating when I saw how well it worked. Those kids were inspiring to be with; every reader told me the same all across the country. ‘I was so happy I was at this school this afternoon.’ Actors are one of the largest populations, at least here in Los Angeles, who can still read because they have to [laughs]—lawyers and actors!—they have to to get a role, and they’re out of work a lot, so they’re available, and they all love an audience. So it all worked out. But I’m looking forward to seeing what happens next, getting back to work in a proper way if possible, and hopefully, this Covid-19 situation doesn’t keep killing people. It’s terrifying.

Phone interview
August 14, 2020

Storyline Online: “The Kissing Hand,” written by Audrey Penn, and read by Barbara Bain. The program of the SAG-AFTRA Foundation receives over 100 million views annually from children all over the world.

FILMS

DON’T GO NEAR THE WATER (1979) DIR – PROD Lawrence David Foldes SCR Lawrence David Foldes, Linwood Chase (story by Linwood Chase) CAM William De Diego ED Dan Perry MUS Chris Ledesma CAST Aldo Ray, Meeno Peluce, Tammy Taylor, Barbara Monker [Barbara Bain] (Patty / Tra / Griffith’s Wife / Petranella),  Robert Gribbon, Linnea Quigley

TRUST ME (1989) DIR Robert Houston PROD Tony Brewster SCR Robert Houston, Gary Rigdon CAM Tom Jewett ED Barry Zetlin MUS Dan Wool CAST Adam Ant, David Packer, Talia Balsam, William De Acutis, Barbara Bain (Mary Casal), Joyce Van Patten, Brooke Davida

SKINHEADS (1989) DIR – PROD Greydon Clark SCR Greydon Clark, David Reskin CAM Nicholas Josef von Sternberg ED Travis Clark MUS Dan Slider CAST Chuck Connors, Barbara Bain (Martha), Jason Culp, Brian Brophy, Liz Sagal, Bill Kohne, Lynna Hopwood, Gene Mitchell, Frank Noon

THE SPIRIT OF ‘76 (1990) DIR Lucas Reiner PROD  SCR Lucas Reiner (story by Roman Coppola, Lucas Reiner) CAM Stephen Lighthill ED Glen Scantlebury MUS David Nichtern CAST David Cassidy, Olivia d’Abo, Geoff Hoyle, Leif Garrett, Jeff McDonald, Steve McDonald, Barbara Bain (Hipster), Julie Brown, Tommy Chong, Iron Eyes Cody, Carl Reiner, Rob Reiner, Moon [Unit] Zappa, Lucas Reiner, Sofia Coppola

ANIMALS WITH THE TOLLKEEPER (1998) DIR – SCR Michael Di Jiacomo PROD Gabrielle Tana, Rainer Mockert, Richard Dooley CAM Alik Sakharov ED David Leonard MUS Robert Cimino CAST Tim Roth, Mili Avital, Rod Steiger, Mickey Rooney, John Torturro, Jacques Herlin, Lothaire Bluteau, Barbara Bain (The Mother), Christopher Fennell

GIDEON (1996) DIR Claudia Hoover PROD Jack Gilardi Jr., Christopher Lambert, Brad Mirman, Paul Pompian SCR Brad Mirman CAM João Fernandes ED Thomas Meshelski MUS Anthony Marinelli CAST Christopher Lambert, Charlton Heston, Carroll O’Connor, Shirley Jones, Mike Connors, Barbara Bain (Sarah), Shelley Winters, Crystal Bernard, Harvey Korman

PANIC (2000) DIR – SCR Henry Bromell PROD Matt Cooper, Andrew Lazar, Lori Miller CAM Jeffrey Jur ED Brent White, Lynzee Klingman, Cindy Mollo MUS Brian Tyler CAST William H. Macy, Neve Campbell, Tracey Ullman, Donald Sutherland, Barbara Bain (Deidre), David Dorfman, Tina Lifford

BEL AIR (2000) DIR Christopher Coppola PROD Nicolas Cage, Alain Silver, Mark Ean SCR Nick Johnson CAM Richard Cantu ED Nate Bashor, Dan Perrett, Travis Spangler MUS Jim Fox CAST Barbara Bain (Agnes), Marc Coppola, Esteban Powell, Jennifer Rubin, Lou Rawls, Elizabeth Seton, Charles Fleischer

AMERICAN GUN (2002) DIR – SCR Alan Jacobs PROD Brent Morris CAM Phil Parmet ED Paul Millspaugh MUS Anthony Marinelli CAST James Coburn, Virginia Madsen, Barbara Bain (Anne Tillman), Alexandra Holden, Ryan Locke, Jesse Pennington, Niesha Trout

HAUNTED ECHOES (2008) DIR Harry Bromley Davenport PROD Mike Snyder SCR Rachel Calender CAM David Scott Ikegami CAST Sean Young, David Starzyk, M. Emmet Walsh, Barbara Bain (Lenore Gitchell), Felix Williamson, Juliet Landau, Kevin McCorkle, Ed Brigadier

FORGET ME NOT (2009) DIR Tyler Oliver PROD – SCR Tyler Oliver, Jamieson Stern CAM Eric Leach ED Radu Ion MUS Elia Cmiral CAST Carly Schroeder, Cody Linley, Brie Gabrielle, Jillian Murray, Zachary Abel, Sean Wing, Barbara Bain (Sister Dolores)

POLITICAL DISASTERS (2009) DIR – SCR Zach Horton PROD Zach Horton, Daniel Martinico CAM Andrew Grant-Christensen ED Rima Mercury CAST Tim DeKay, Barbara Bain (Elizabeth), Paulie Rojas Redding, Michael Bryan French, Laura Cerón, Josie DiVincenzo

NOTHING SPECIAL (2010) DIR – SCR Angela Garcia Combs PROD Angela Garcia Combs, Sascha Schneider, Richard Wilson CAM Morgan Susser ED Jill D’Agnenica MUS Laura Karpman CAST Karen Black, Julia Garcia Combs, Barbara Bain (Catherine), David Hardie, Carlos de Antonis, Marianne J. Murphy, Mary Jo DuPrey

SILVER SKIES (2016) DIR – SCR Rosemary Rodriguez PROD Rosemary Rodriguez, Enrico Natale CAM Nancy Schreiber ED Francis Zuccarello CAST George Hamilton, Jack McGee, Barbara Bain (Eve), Jack Betts, Valerie Perrine, Alex Rocco, Mariette Hartley, Howard Hesseman, Dick Van Patten

ON THE ROCKS (2021) DIR – SCR Sofia Coppola PROD Mark Levinson CAM Philippe Le Sourd ED Sarah Flack CAST Rashida Jones, Jenny Slate, Bill Murray, Jessica Henwick, Marlon Wayans, Barbara Bain (Gran), Nadia Dajani, Jules Willcox

TV MOVIES

MURDER ONCE REMOVED (1971) DIR Charles D. Dubin PROD Bob Markell TELEPLAY Irving Gaynor Neiman CAM Robert C. Moreno ED John McSweeney Jr. MUS Robert Drasnin CAST John Forsythe, Richard Kiley, Reta Shaw, Wendell Burton, Joseph Campanella, Barbara Bain (Lisa Manning)

GOODNIGHT, MY LOVE (1972) DIR – TELEPLAY Peter Hyams PROD Ward Sylvester CAM Earl Rath ED James Mitchell MUS Harry Betts CAST Richard Boone, Michael Dunn, Barbara Bain (Susan Lakely), Victor Buono, Gianni Russo, John Quade, Walter Burke, Lou Wagner

A SUMMER WITHOUT BOYS (1973) DIR Jeannot Szwarc PROD Ron Roth TELEPLAY Rita Lakin CAM Mario Tosi ED Jim Benson MUS Andrew Belling CAST Barbara Bain (Ellen Hailey), Michael Moriarty, Kay Lenz, Mildred Dunnock, Debralee Scott, Bruno Kirby, Ric Carrott

JOURNEY THROUGH THE BLACK SUN (1976) DIR Ray Austin, Lee H. Katzin PROD Sylvia Anderson TELEPLAY David Weir, Anthony Terpiloff (created by Sylvia Anderson, Gerry Anderson) CAM Frank Watts ED Mike Campbell, Alan Killick MUS Barry Gray CAST Martin Landau, Barbara Bain (Dr. Helena Russell), Barry Morse, Clifton Jones, Zienia Merton, Nick Tate, Prentis Hancock

ALIEN ATTACK (1976) DIR Charles Crichton, Lee H. Katzin, Bill Lenny PROD Gerry Anderson TELEPLAY Christopher Penfold, George Bellak (created by Sylvia Anderson, Gerry Anderson) CAM Frank Watts ED Alan Killick MUS Barry Gray CAST Martin Landau, Barbara Bain (Dr. Helena Russell), Roy Dotrice, Anthony Valentine, Isla Blair, Clifton Jones, Zienia Merton, Nick Tate, Prentis Hancock

DESTINATION MOONBASE-ALPHA (1978) DIR Tom Clegg PROD Lew Grade, Fred Freiberger TELEPLAY Terence Feely (created by Sylvia Anderson, Gerry Anderson) ED Alan Killick MUS Derek Wadsworth CAST Martin Landau, Barbara Bain (Dr. Helena Russell), Nick Tate, Tony Anholt, Zienia Merton, Jeffery Kissoon, Barry Morse

THE HARLEM GLOBETROTTERS ON GILLIGAN’S ISLAND (1981) DIR Peter Baldwin PROD Hap Weyman, Lloyd J. Schwartz TELEPLAY Gordon Mitchell, David P. Harmon, Al Schwartz, Elroy Schwartz, Sherwood Schwartz CAM Keith C. Smith ED Albert J.J. Zúñiga, Beryl Gelfond MUS Gerald Fried CAST Bob Denver, Alan Hale Jr., Jim Backus, Martin Landau, Scatman Crothers, Barbara Bain (Dr. Olga Schmetner), Natalie Schafer, Harlem Globetrotters

COSMIC PRINCESS (1982) DIR Charles Crichton, Peter Medak PROD Fred Freiberger TELEPLAY Johnny Byrne, Charles Woodgrove [Fred Freiberger] (created by Sylvia Anderson, Gerry Anderson) ED Mike Campbell MUS Barry Gray, Derek Wadsworth CAST Martin Landau, Barbara Bain (Dr. Helena Russell), Catherine Schell, Tony Anholt, Nick Tate, Zienia Merton, Brian Blessed

ICEBERGS: THE SECRET LIFE OF A REFRIGERATOR (1998) DIR – TELEPLAY Nicola Hart PROD Chrisann Verges CAST Barbara Bain (Audrey), Joely Fisher, Marcus Ashley, Kathleen York

TRACEY ULLMAN IN THE TRAILER TALES (2003) DIR Tracey Ullman PROD Stephanie Cone [Stephanie Laing] TELEPLAY Tracey Ullman, George McGrath, Stephen Nathan, Marc Flanagan CAM Lucas Bielan ED Tammis Chandler, Edward Ornelas CAST Tracey Ullman, Debbie Reynolds, Paul Dooley, Barbara Bain (Judy Utermeyer), Glenn Shadix, M. Emmet Walsh, Lynne Marie Stewart, Steven Held

TRAPPED! (2006) DIR Roy Spinetti [Roy Piano] PROD Sylvia Hess TELEPLAY Peter Sullivan, Jason Preston CAM Mark Melville ED John Blizek MUS Chris Anderson CAST Alexandra Paul, Nicholas Turturro, Tatiana Maslany, Michelle Wolf, Barbara Bain (Elizabeth Kramer), Dennis Christopher, Mark Gibbon, Mike Dopud

IN THE MIX (2009) DIR Valerie Weiss PROD Jessica Kill, Jory Weitz TELEPLAY Kari Nicole, Jonquil Goode, Roger Wolfson (created by Kari Nicole) CAM Jamie Urman ED Gino Roy CAST Kari Nicole, Stephanie Faracy, Miranda Kent, Samantha Lemole, J.P. Gillian, Barbara Bain (Ms. Cump), Robert Adamson