Fernando Lamas - Television Work

Television Work

  • Lux Video Theatre (1954)
  • Jane Wyman Presents (1958)
  • Climax! (1958)
  • Zane Grey Theatre]' (1960)
  • Shirley Temple's Storybook (1960)
  • Burke's Law (1965)
  • The Virginian (1965)
  • Laredo (1966)
  • Combat! (1966)
  • The Girl from U.N.C.L.E. (1966)
  • Valley of Mystery (1967)
  • Run For Your Life - Ramon De Vega (1965-1968)
  • The Red Skelton Show - Harry Sneak (ep. A Spy Is a Peeping Tom on Salary) (1971)
  • Hondo - Rodrigo (ep. Hondo and the Comancheros) (1967)
  • The High Chaparral - El Caudillo (ep. The Firing Wall) (1967)
  • Tarzan - Velasquez (ep. Jungle Ransom) (1968)
  • Then Came Bronson - Miguel Cordova (ep. Where Will the Trumpetts Be?) (1969)
  • The Lonely Profession - Dominic Savarona (1969)
  • It Takes a Thief - (1968), (1969), (1970)
  • Mission Impossible - (1968), (1970)
  • The Name of the Game -
  • Dan August -
  • Alias Smith and Jones -
  • Bearcats -
  • The Mod Squad -
  • Night Gallery -
  • McCloud -
  • Murder on Flight 502 (1975)
  • Bronk -
  • Switch -
  • Charlie's Angels - Jericho
  • Police Woman - Carlos Rubenez
  • The Love Boat
  • How the West Was Won - Fierro
  • House Calls -Doctor Langston (ep. Defeat of Clay) (1980)
  • The Dream Merchants - Conrad Stillman (1980)

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Famous quotes containing the words television and/or work:

    “They [parents] can help the children work out schedules for homework, play, and television that minimize the conflicts involved in what to do first. They can offer moral support and encouragement to persist, to try again, to struggle for understanding and mastery. And they can share a child’s pleasure in mastery and accomplishment. But they must not do the job for the children.”
    —Dorothy H. Cohen (20th century)

    “All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act. This becomes even more obvious when posterity gives its final verdict and sometimes rehabilitates forgotten artists.”
    —Marcel Duchamp (1887–1968)