Maybe in all of us there is a feeling of having been wrongly accused in some way. Perhaps that’s why it translates so easily into different languages. The theme of The Fugitive has universality. I was amazed to discover how many people in other countries enjoy the show. I recently returned from my first trip to Europe. It is amazing, but The Fugitive became a sort of morality play for a lot of people. I considered it merely realistic dramatic entertainment. “When it first went into production,” he related to the Santa Maria Times of Santa Maria, California in 1967, “I didn’t think of it as having any social significance. In its day, The Fugitive may not have been a ratings juggernaut, but it was nonetheless a show that connected with the audience in a big way - something of a surprise to David. In the same interview he was asked about the biggest difference between Richard Diamond and himself: “The only radical difference is that if someone pointed a loaded gun in my direction, I’d run. It’s a task trying to keep a show moving for 24 minutes, but I think we’re doing it.” We have had 15 different directors working on this and that versatility keeps the show fresh. I believe the audience likes authenticity and they get this from Diamond. I think the series will continue for a good while. I’m satisfied with my work, but when Diamond no longer entertains the audience, which I hope will never happen, I’d like to move on to motion pictures or the stage. You don’t know how good it feels to be known as a person who can pay his bills. Every inch of the way has been a struggle for me. Mostly success, but failure always seemed to rear its ugly head.
In 1958, in the midst of shooting the show, David mused to the Los Angeles Times, “You know, my life has been an odd mixture of success and failure.
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