Category: TV writing

This piece was originally published March 14, 2009. The publication I worked for then let the post lapse into the void. But there were many copies.

Can you believe it’s really over? I can’t either. Before accepting that fact, let’s talk and think and write about the finale way too much. Here goes…

Part 1: The interview with Moore

MR: I think one thing that threw me about the finale was that it was hopeful.

RDM: [laughs] There were a fair number of people that were prepared for the most nihilistic [finale ever].

MR: “You’re going to kill them all, aren’t you!?”

RDM: I know.

MR: It’s the ultimate sucker punch of “Battlestar Galactica” — that it ends on a hopeful note.

RDM: Yeah, it’s true. It’s the final twist. The final twist is — that it’s all OK. 

MR: Talk to me about that whole second Earth thing. That kind of gave me pause me when I saw it.

RDM: It was built into the show when we decided to get to Earth. This was always the plan – the plan was to get to Earth, have it be a cinder, and then go, “God, where now?” And take the audience on this other journey and make them forget about that and not think about it. Because the concept of the show was to search for a place called Earth.

So we wanted to give that to you before you expected it and make it a downer and [have you go,] “Oh shoot, now what?” And now you’re really adrift. [The intention was] to put the audience with the characters, where they were really adrift and not hoping that anything better was going to happen.

And at the very last, at the very end, to then have a moment of hope, to have something to hang on to, and to give them the thing that they had quested for for so long, and to give that to the audience too.

MR: And so it’s as if this Earth is an homage to the other Earth, the first one.

RDM: I thought there was something interesting about that. This isn’t the original Earth. We’re actually [living on] an homage, as you said, to the original Earth. They come here and try to learn a lesson from the original Earth and make this Earth a better story.

MR: So the question is, did they learn their lesson?

RDM: Exactly. And the show could not answer that. It didn’t feel right for the show, like [happens] with so many things, to give a definitive answer to that. Any more than the show said, “This is the answer to terrorism, this is the answer to Iraq, these are the answers to security and freedom.” It gets to a place where you have an opportunity and you have a hope, but you couldn’t definitively say, “It’s going to be OK.”

MR: I went back and watched the closing moments of “Crossroads, Part 2” again, and the final image is of a planet that looks a lot like Earth. How does that fit in to what we see in “Daybreak”? Can you walk me through that?

RDM: That was all specifically thought out. The planet that you see at the end of “Crossroads” is this planet that we stand on. It has the North American continent and the South American [continent], it’s very clear, we wanted it to be visually easy to identify for everybody.

Kara takes them to both Earths, as a matter of fact. She takes them to the original Earth, which, when we showed it in Revelations, we were careful to never quite be able to identify the land masses from orbit. We wanted you to accept it as Earth, and most people assumed it was this Earth, but we didn’t want to flat out mislead you, so we didn’t want to have it look like North America too.

MR: So Kara comes back in “Crossroads,” she says, “I’ve been to Earth”…

RDM: She had been to that Earth. The original Earth.

MR: The crispy Earth.

RDM: She guided the fleet to get there. She takes us to that. That’s part of her experience that she remembers. She remembers traveling there, seeing there, and comes back to the fleet saying, “I know how to get to that place.”

In the finale, she makes an intuitive leap connecting the music as coordinates, enters the into the jump computer and those coordinates take us to the second Earth, this place.

MR: It was a little bit of a fakeout, you have to admit.

RDM: Yeah, we did a head fake. But I don’t think it crosses the line, I don’t think it’s unduly misleading. I think you accept it as you go along. And clearly [we] wanted people to draw the connection that it was going to be this Earth, but we also didn’t put anything in the show that prevented us from doing the finale the way we wanted to.

Continue reading See You On the Other Side: My Battlestar Galactica Post-Finale Interviews and Review

This piece was originally published March 20, 2007. 

AUSTIN, Texas — A dusty field in Texas. A ramshackle house in a cash-strapped part of town. The cramped, battered office of a high school guidance counselor.

They’re all unlikely places for a creative revolution, but there’s no other way to describe what’s happening on the set of “Friday Night Lights,” NBC’s acclaimed series about life in the small town of Dillon, Texas.

Far from the bright lights of Hollywood, in vibrant yet laid-back Austin, the actors, writers and directors of the show have created one of the most realistic, subtle, enthralling dramas on any screen, large or small. And they’ve done it on this first-year show by breaking many of the rules of television.

“When I first came on [the ‘FNL’] set, I thought, it’s interesting — this is what I imagined filmmaking would be, before I saw what filmmaking was,” says executive producer Jason Katims, the show’s head writer and a veteran of beloved cult series such as “Roswell” and “My So-Called Life.”

“What I imagined it would be was, people moving really fast, actors trying this and trying that, everybody being very excited, and it being very creative and it being a place to sort of discover things. That’s what I thought it would be, and this is the first time I actually saw it work that way.”

Indeed, a visit to the set of “Friday Night Lights,” which touches on the fortunes of the Dillon High School Panthers football team but is much more about the lives of the residents of the town, demonstrates that the show’s creative process is like nothing else on television.

There are no fancy lighting setups. Actors are not only allowed but encouraged to improvise their lines. Every single scene is shot in real locations, unlike most TV series, which use prefabricated sets. And with inspiration from what director of photography David Boyd calls “gonzo documentary guys” such as D.A. Pennebaker and David and Albert Maysles, three cameras simultaneously record the action, capturing nuances and moments that many other shows ignore in their forced march to the next plot point.

It took a little time to settle into its groove — even NBC entertainment president Kevin Reilly says he got a little tired of the show’s “jiggly camera” style, which has been toned down since the pilot.

But over the past six months, as it has unfurled surprising, deeply human stories about an injured quarterback suing his coach; a high school boy’s attempt to care for his sick grandmother; and one couple’s attempt to raise a spirited, smart daughter while dealing with the pressures of modern life, “Friday Night Lights” has quickly become appointment television for a growing number of critics and fans.

One of several fan sites devoted to campaigning for a second “FNL” season, fightforlights.com, has collected dozens of the show’s critical raves, and a recent Tribune column on the show prompted an outpouring of more than 100 positive emails and message-board comments from readers.

“Everything about the show just feels so natural and real, which is a rarity on TV. It’s not about quippy one-liners or bombastic arguments,” one commenter wrote. “All of the characters are flawed, some more than others. But all of it is beautiful to watch.”

Though the “FNL” audience has hovered around 7 million viewers, well below NBC’s expectations, its viewers are positively rabid about the show, as Reilly well knows.

“I just got an e-mail today forwarded to me from one of the heads of one of the major advertising agencies — and I literally get a version of this every day — saying this is the best television show in years, or the best television show on the air,” Reilly says.

“Everything’s real, and all the relationships [make you] feel like you know these people,” says Scott Porter, who plays former Panther quarterback Jason Street, the character who was paralyzed in the show’s first episode. “I think that’s why people who watch the show have such a strong connection to it.”

But if fans travel to Austin to find the show’s fancy soundstages, they’ll be out of luck. There is a bare-bones production office on the outskirts of the city, but there is no soundstage, there are no sets.

All scenes are shot in houses, businesses and stores in and around Austin, which is where you’ll find the gritty high school that doubles as the home of the Dillon Panthers, the tiny house that quarterback Matt Saracen (Evanston’s Zach Gilford) shares with his grandma, and the fast-food joint that doubles as one of the show’s hangouts, the Alamo Freeze.

On the farthest outskirts of Austin on a recent February evening, klieg lights and cranes carrying a rainmaking machine were poised like towering robots over that day’s set, which recently had been home to a herd of cows, judging by what was underfoot. In the March 28 episode, which was filming that night, circumstances force the residents of Dillon to build an improvised football field for an important Panthers game.

On the sidelines, Tim and Billy Riggins —actors Taylor Kitsch and Derek Phillips — tossed perfect spirals at each other during breaks in the filming. Extras wandered around in Dillon Panther shirts and waved pennants during the big plays, which were filmed until the wee hours. As the night wore on and this “Mud Bowl” episode lived up to its name, the actors playing the Panther team members and coaches were soaked by the rain and covered in mud. Nobody minded.

Addressing the show’s critical acclaim and glowing press notices, Kyle Chandler, who plays Coach Eric Taylor, said in an interview the next day, “I don’t think anyone’s going, ‘Oh, well, now I’m going to get this new car.’ I think all the actors on this show love the process more than anything we’ll get out of it in the long run. I love this process. It’s an actor’s dream.”

Shooting in real locations in Texas has given the show an authentic feel that it would never have had in Los Angeles, says Chandler, who was raised in a small town in Georgia.

“When you live in this town, you are from Texas. You’re experiencing and feeling it,” Chandler said. “Austin is a great place. It’s not hard to get ideas for your character when you just go to breakfast across the street.”

But there’s far more to the show than a palpable sense of place. The show’s actors and directors have unprecedented freedom to change lines, alter scenes and improvise moments that feel true to the moment and to their characters. And the show’s writers, who’ve come up with some of the most nuanced, compelling story lines on television (most of which don’t have a thing to do with football, despite the show’s origins as H.G. Bissinger’s non-fiction account of a real Texas high school football team), are fine with those improvised alterations.

“Truthfully, 95 percent of the time, the actors are only lifting up what we originally envisioned as writers,” says Katims. “Every once in a while, you’ll be like, ‘I wanted that line because I wanted that transition.’ But you work it out.”

But on most shows, changing one line – heck, one word — of dialogue can lead to tense negotiations between actors, director and writers.

“Normally you’ve got a writer sitting there, watching every single word,” says Jesse Plemons, who plays Landry Clarke.

In the tiny high school guidance counselor’s office that serves as the office of Dillon High School counselor Tami Taylor (Connie Britton), the quest to convey the emotional truth of a scene and not just recite each word as scripted was demonstrated again and again.

In the scene being shot that night, for a different upcoming episode, Landry is struggling to tell Taylor, a Dillon guidance counselor, about a friend who has been physically attacked. Taylor’s comforting words change slightly with each take. And the words Landry is struggling for come out differently every time; he doesn’t want to reveal the friend’s name, and at one point, Taylor thinks he may have been the one who was assaulted. The words keep changing, but the emotional impact only grows as Britton and Plemons mine the difficult emotions at the heart of this moment.

“We try to definitely hit all the points in a scene, but we’re allowed to change the lines around to kind of fit us and fit our characters,” says Plemons.

Continue reading A 2007 Friday Night Lights Set Visit: Witnessing the How the Magic Was Made