I seems appropriate that I post my first entry just in time the San Diego Comic-Con. I chatted with John 'JG' Roshell earlier this week. We talked about Comic-Con, 9thWonders.com, and the online graphic novels. Here is part one of the interview.
9th Wonders: First of all, thank you for taking time out of your crazy schedule to chat with me.
JG: Absolutely! Thanks for asking. It's funny, in comics, the letterer/designer is way, way down the interview food chain list, but this Heroes thing has suddenly made a whole different realm of people interested in what I do.
9th Wonders: You mentioned you're a letterer/designer. What's your official job title, and where do you work?
JG: I started working at Comicraft before it was Comicraft -- just Richard Starkings and I lettering in his apartment -- in 1992, right out of college. I now work from home in Santa Barbara, CA. We're too small of a company to have any "official" titles, but I've become known as "The Secret Weapon" because I kind of do everything -- lettering, logos, websites, book collections and (my favorite) font creation.
9th Wonders: So you're a jack of all trades. Your title could be "jack"!
JG: john "jack" "jg" roshell.
9th Wonders: I think "Secret Weapon" sounds much cooler. It's obvious you have an amazingly fun work environment
JG: well, it's really just me & the dog most of the time, but I've had a great working relationship with Richard -- we really feed off each other's creativity, but we're not so close in proximity that we get sick of each other. Plus, my job is always evolving -- we started out as a pure comic lettering studio, which I got burned out on pretty quick. Somehow we managed to convince people we could also design logos and book trades, so I started doing a ton of that. I designed pretty much all of Marvel's books in the mid to late 90s.
9th Wonders: Have you met a lot of comic book artists?
JG: Yeah, in terms of having worked with them, definitely. But it's funny "working" with people in comics -- you can e-mail and talk to people daily on the phone for years without ever meeting in person.
Comic-con is usually the one opportunity we have to meet in person, face to face.
9th Wonders: Have you been attending those every year? and when was your first one?
JG: I went the first year I started working for Richard -- it was the summer of '93. I think I've only missed one since then.
9th Wonders: I imagine then you were at last year's Comic-Con when Heroes premiered its pilot episode. Did you see it then?
JG: No, I didn't -- I rarely get out from behind our booth to see any of the seminars. I'd seen it on DVD before that, though. In fact, that's still the only episode I've seen...
9th Wonders: The DVD is being released on August 28. You can catch up before the start of the next season, September 24! Will you be involved at all in Heroes stuff at Comic-Con or will you be manning your booth the whole time?
JG: Nobody's asked, at least not yet! I plan to be at the Comicraft booth (#2106 -- on the red carpet across from DC) pretty much full time. So if the Heroes booth gets too crazy, stop by, say hi, and check out our sci-fi comic book "Elephantmen". We've also got a couple of art prints by Tim Sale, and he will be signing there as well.
Movie watchers have been familiar with Ali Larter for nearly ten years. She made her movie debut in Varsity Blues which led her into memorable roles in Legally Blonde and the first two Final Destination fans. To the legions of Kevin Smith fans, she was seen as a fast-food-eating jewel thief in Jay and Silent Bob Strike Back. Ali recently completed work on the movie sequel Resident Evil 3 playing Claire Redfield, a new addition to the film series who appeared in one of the earlier video game installments.
Now she makes her TV series debut in Heroes, where she plays a single mother named Niki Sanders who must deal with the hardships in her life, all while being haunted by the face in the mirror.
If the pilot episode is any indication, this first journey into television is a great one, as Niki is one of the most fascinating characters in the ensemble. Ali was kind enough to provide 9thwonders.com with an interview, which you can read here.
How did you become involved with the Heroes project?
TV was something that I wasn't initially attracted to, because of the schedule and that it pretty much demands that you live in Los Angeles for a set amount of months of the year. When I moved back here [to Los Angeles] this January, I was ready to base myself here for a little while, and I thought it was a good time to entertain the possibility. I always thought that, especially now, TV has some of the best writers working, and amazing roles that you can play. So this pilot season, I just started reading. Some of the things I thought were interesting, but I didn't feel like, if we were lucky enough to go for many years, that it would be able to hold my interest for that long, and then Heroes came around. It was the first pilot that I actually auditioned for.
When I read the script, I just thought it was amazing. I think that Tim must have locked this little bit of genius somewhere in him, and once it was able to come out, he just ran with it. I think that he created such an extraordinary world. I think that Niki is such a complicated and interesting character, so it was like "This is the one, I'm gonna go in and play ball," and I did the auditioning process like every other blonde in Hollywood. I went in, worked with Dave Semel and the producers. Then they brought me in for studio, then they brought me in for network, which is one of the hardest things I've ever been asked to do as an actor, to be honest.
Do you feel that Niki might be one of the more difficult roles in the series to play because of the hardships that she has to go through?
You know what? I don't look at any of the other characters and compare myself to them. The reason I love playing her is because she is so conflicted. I just think that she's a great multi-faceted dramatic character, and it's within an ensemble of equally conflicted characters. So I can't imagine any of the roles being more difficult than any of the other ones. I just think everyone's so thrilled at the depth and the potential of each of the characters.
Do you think Niki's "ability" may stem from a personal fear that she has of herself?
I think that the gift that she has and the sources of all of her anxieties are more complex than we actually know yet, and I think that's an interesting question. If we look into ourselves, are we scared of our own light? I think that's a human question that we can all relate to. But what's happening with her and the powers, and what they've hinted at so far, I think, is leading us into the question of the duality that can live in everybody. I'm really excited to see where they're going to take her. Where I hope that she's going and what I think would be interesting to explore as an actor is the social conscience, someone who can live without a social conscience versus someone who has to live in the confines of present day society.
Does Niki think that she's crazy?
As I've been working all along is, if I don't understand it, and I was in these situations, I would absolutely think that my world is crumbling around me, and I don't know if her mind is trying to protect her from things ... I personally would believe that I was going to crazy, but I would snap myself out of it. She doesn't have the luxury in life to indulge in those things.
Is there anyone in your life that inspired your performance in playing a single mother?
There wasn't anybody that inspired it. One of the reasons I was excited to play this mother is that she treats her son like an equal. She doesn't have everything perfectly in order in life, and she sometimes goes left when she should go right, but she is so driven by her love with her son. I think that their relationship is so interesting, because she doesn't have the luxury of going out on dates or having a romantic relationship, so for her, she's up watching Letterman with her son, or going to the movies with him, and she spends all of her time with him. I think that they really have an amazing chemistry and an extraordinary bond. So, there wasn't someone that inspired that, but I have a lot of friends and people in my life that were raised by single mothers, and the bond that they have, is so incredible.
Did your personal interaction with the young actor who played Micah inspire your performance or chemistry on-screen?
Absolutely. He is such a little genius, that one. He's a musical prodigy. I mean, I say that he's a musical prodigy, and he'll say "No, Ali, I work really, really, really hard. I work a lot of hours." He's so sweet. And he is a hard worker. He does have an amazing head on his shoulders. He listens, he's so prescient; and he also has an incredible mother and an amazing relationship with her. I think that why he is so right for this role, is because of that. He has such an incredible relationship with his mom Whitney.
And the way that she treats to him and she talks to him - - she never talks down to him, and I think that that's the similar way that the relationship is written on the show.
Do you know if there are any plans to see Micah's father?
Yes. Absolutely. In the future, you will be seeing his father.
Where would you like to see your character go through the course of the series, if it were all up to you?
Into infinity with a smile and a smirk. Laughing at life. Where would I like to see her go? I think that one of the things that's so interesting to me is how complicated she is, and not understanding what's happening to her. I've read up to the fourth episode, and it still is not defined what her true power will be. They've told me where it's going, but I love the fact that she's trying to figure it out. So I look at this first season, and I think so much of that will be figuring out what's happening to her, trusting herself, and then wondering whether this is going to draw her into more of a place of good or evil. I don't know. I think I'm just drawn to someone who lives in contrast, and I think that's where she is going.
Do you feel that not knowing where your character is going helps your performance?
You know what, it is so hard. I mean, this is my first experience with this. I come from the film world, where you have a script and you can build your arc... you've got a beginning, a middle, and an end. With this, I've had to take an extraordinary leap of faith. When I originally signed on to the show, I had some long conversations with Tim about that, and he just has made me feel so safe in this world that he's creating, and I think that he is so smart. I think that with this kind of journey, you just have to move forward and put your trust in the team that's surrounding you, and I feel like with this show, we have the best of the best.
One of my personal favorite movie roles of yours was in Jay and Silent Bob Strike Back. Are you still in contact with [director] Kevin Smith, and is he aware that you will soon be playing a "super heroine" in a way?
Yes. I've seen him a couple of times. You know, once you get into the Kevin Smith "family," you're in forever. Him and his wife Jen, I love so much. We've talked about it a little bit, and he's just so excited to see the show, and see where it's going. I've asked him for pointers on Comic-Con, and that whole world, but I think he's such a genius, and I absolutely loved working with him.
You've amassed a sizable fan base from your work in film. Do you think Heroes will appeal to fans of your previous work?
Absolutely. You know, it's funny, I was talking to a friend last night, and I was going, "You know, I don't know if at the beginning of your career, you ever plan or know which way you're going to go." In the beginning, when you start working, you audition and you get the movies that you get, and that kind of path is out of your hands, in a way. And as I worked more and more, I think that I've fallen to working sometimes in the sci-fi genre, or the Kevin Smith kind of movies, because the women are strong, and I'm so drawn to strong female characters, and whatever it is within that world, women are allowed to be that, and I think that's why I'm so drawn to it.
Your biography says that you have traveled the world -- what do you think of the global reach of a show like Heroes?
One of the things that I loved about the show is how many different cultures it represents, and one thing that unites all these characters, is this question within themselves, of whether they can be more. I think that's a universal question. I think it's the desire and the question within yourselves that is "Are you special?" And I also think -- when Tim was speaking to us yesterday, he said the most amazing thing -- he's like, the world is getting more and more complicated. And he thinks that people are looking for hope. And I don't mean for this to sound dramatic or anything like that, but I think that through entertainment, it does give you a kind of hope, in a way, to deal with all these things.
We all are kind of comic book archetypes, in a way, too, and it's representing hope, and myths, and even the hero journey. So I think that that's very much a universal theme, and I think it will do great all over. I don't know what they're doing with selling to other places, but I really think the show is so special, and it's going to reach as far as it can get to.
Did you read any comics at all when you were younger?
I didn't read comic books. I think as close as I got is watching Jem. [laughs]
If you could have any super power, what would you want it to be and why?
I would actually love to fly. I think that that would be probably the most exhilarating feeling, and as close as you can get to true freedom.
Is there any particular character you'd like to see Niki interacting with?
You know, they are bringing me together with one of the characters. That's, I think, going to be a pretty interesting, dynamic relationship.
I don't know if it's so much my character to get involved with, but separate from me, I absolutely love Hiro's character. I think that he is the heart and soul of this show. I think that the way he responds to all that's happening to him, with joy, and laughter, and excitement, is so fun to watch, and for me, he's my favorite.
Would you see his approach to things as being the opposite of the way Niki is?
Possibly. You could say that's kind of a foil for her. But she doesn't know what her power is yet, so you can't really compare it yet. We'll see once she gets to the point where she has to acknowledge what truly is happening to her. But she doesn't know yet. And we won't know for episodes and episodes in. She just does believe that she's going crazy, but while this is happening to her, she's just trying to go about with her day to day life, which is paying the bills, taking care of her son, and holding her life together. So she doesn't have time to indulge in all these things.
Do you still plan on doing movies in addition to doing the series?
I hope so. The show is definitely my first priority at this point. I'm just so excited to go along on this journey. I'm excited to get the scripts every week, and read them, and to really be able to grow with the character. It's a totally new experience for me, and I'm just excited to be on for the ride.
Before he was a Wizard Top Ten comic book writer, and before joining the talented group of creative people behind Heroes, Jeph Loeb wrote several hit movies in the 1980s. A script for a Flash feature film that never surfaced led him to a choice meeting with Jeanette Kahn, then the publisher of DC Comics, who proposed to Loeb that he should write a comic book for DC. That comic book was Challengers of the Unknown.
Challengers, with artist Tim Sale, propelled Loeb into the comicsphere, and he, with Sale, continued their collaboration with the Legends of the Dark Knight Halloween Special. The popularity of the Halloween Special led to some award-winning mini-series and other team-ups between Loeb and Sale included the popular Superman For All Seasons, Catwoman: When In Rome, Spider-Man: Blue, Daredevil: Yellow, and Hulk: Gray.
Traveling between Marvel and DC throughout his career faster than Hiro bounces between continents, Loeb's comic book career included runs on Cable, X-Force, Captain America, X-Man, and Superman, and then finally, Loeb was the writer of a popular Batman story arc drawn by superstar artist Jim Lee and the best-selling Superman/Batman comic book series.
Loeb's runs on Superman/Batman and Supergirl recently ended as he has signed an exclusive contract with Marvel Comics, where, among other things, he will soon be bringing us The Ultimates 3 and 4 and a special Heroes Reborn/Onslaught anniversary event. A very big, top-secret comic book project from Marvel is said to be on the horizon.
In between all of this writing in the world of four-color, Loeb continued to have his hand in screenwriting and production, including a 1994 TV-movie called Model By Day which, if anything, gave us our first chance to see Famke Janssen as a superheroine. He was also a supervising producer and writer for a children's series titled Seven Little Monsters. In 2002, Loeb joined the staff of The WB's Smallville where he wrote some of the show's most memorable episodes, giving us Clark Kent's first exposure to red Kryptonite, his first leap of a tall building in a single bound, and an episode that sadly became the final acting appearance of Christopher Reeve. Loeb was also one of the architects and executive producers of the sadly aborted Buffy the Vampire Slayer animated series, working directly with creator and friend Joss Whedon.
After Smallville, Jeph moved on to become a supervising producer on the popular genre hit Lost, working with creator Damon Lindelof and crew to expand and explore the mysteries of that show's second season. After a meeting with Heroes creator Tim Kring, Loeb knew immediately that he wanted to be involved with this new project. The interview follows.
How did you first become involved with the Heroes project?
I've known Tim Kring for far too long than either of us will admit. We actually have worked together before... I think the less that is said about that the better... (I had a wonderful time, Kring is HUGELY talented... and let's keep it that way, shall we?!)
So, when he set off on this adventure to write the first modern day take on comic book mythology he thought for some reason I'd have an opinion about it. (Laughs) I was over at Lost at the time and Damon 'The Real Deal" Lindelof had been talking to Tim as well.
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Kring and I spent some time on the phone together and then decided we needed a much longer session. We met over at the Empath Magic Tree House where I'm lucky enough to have a writing studio with Geoff Johns, Allan Heinberg and a major comic book guy to be named later. We started talking and walking together at like 3 in the afternoon and when it got to be about 8 PM at night, we had walked so far into the next town that it was HOURS before we got back. But, during that time, Tim got to just let it all out of him... he had the story completely worked out and he really just needed a sounding board. Oh, and the fact that he didn't know who Magneto was or that there was even a guy who had "magnetic powers" was kind of a tip that he was doing this totally on instinct. That's one of the things that is so magical about Heroes. You'd think that Kring is a total geek, when he's not a comic book guy at all. Which shows to go ya what we've always known about comics -- that it's CHARACTER that drives the narrative mixed with the cool of the visuals. Kring just got it. BAM.
He also wanted to get some visuals for the script and I introduced to him to Tim Sale. So, Tim S. was on this project even before I was!
What was your initial reaction upon reading the Heroes pilot script?
Well, what amazed me at first was how faithful Kring had been to his pitch to me. So many of the tiny details he had talked about in the abstract were now part of this woven tapestry of madness. That, and it was smart. Really smart.
And when you saw the pilot?
It surprised me. I found it very powerful. In a weird way, almost TOO powerful. It just grabbed me and wouldn't let go.It's very inspiring. One of the things that Kring spends a great deal of time thinking about is the state of the world. He's very active politically and very CONNECTED to the human condition. He would talk about how for so many people RIGHT NOW is a very scary time. He wanted to create something that gave people HOPE. That maybe, just maybe, mankind was going to save itself from itself. I was IN before the first scene, but when it was done, Tim K. casually asked what I thought. My answer was that I could start Monday morning. That was pretty much it!
One of your most popular comic book projects in recent years was the Superman/Batman series for DC, where you redefined the relationship between those characters and the way they interact with one another. Is there a particular "duo" from Heroes that you enjoy writing the most?
Most...? uh... no. They all have their moments that make me smile. I have a particular fondness for Niki and Micah... but that's the Dad in me. I like that they all have their own rhythm. Their own... music.
Is it easier to write for characters that are completely fresh rather than keeping to a set mythos as Smallville is?
Different muscles, same task. It's still storytelling. I liked that we were referencing the Superman mythos in Smallville, but those stories had to still be as unique as they could be on their own. They weren't comic book stories.
And on Heroes it's not about the powers or the villain of the week. These are people whose lives have been turned inside-out because of... AH! You nearly tricked me into giving away one of the big secrets in the show... Sneaky, Craig, verrrry sneaky...
If you could have any superpower, what would you want it to be and why?
I'd bend time like HIRO and go back to be with my son. 'Nuff said.
Of the characters of Heroes, which character do you feel has the most interesting or appealing power?
Again, there's no "most" for me. I understand Niki because I've written about the duality of human nature in almost all my films and comics. But, Nathan's flying, Matt's telepathy, Claire's indestructo -- c'mon -- how great is that?!
A lot of comparisons have been made between Heroes and Lost. Are they fair?
They are both high profile, big cast, cliffhanger driven serials. Fair isn't the way I look at it (jeez, Craig, I'm just busting you left and right!). If we're going to be compared to something, I'd rather be compared to Lost -- the #1 show on television that is smart, funny and extremely well produced than most of the stuff out there. But, other than that, the only island we deal with is Manhattan island and while I do believe there's a hatch at 1700 Broadway... what was the question again?
Is there a particular character that you'd really like to explore more into the background of? If so, why?
All of them. We're just beginning. There are hundreds of stories to be told and each comes with its own set of complications. The more we tell those stories, the more we learn about how many other stories there are. It's just fantastic.
Can you talk about the writing process a little?
This is very unique show. We are ALL involved in every bit of the script. We have a stake in each of the characters and work very hard to make sure that no one has a cooler story than the other. It so exciting watching it come together and we haven't even started rolling film yet!
Have you and the other writers been "let on" to the truth about some of the secrets behind the characters' origins?
We're not only "let on," Tim Kring is the kind of show runner and creator who invites us to add to the secrets. And that we have!
Is it true that you are the show's resident comic book genius/guru?
I wish! Unfortunately between Jesse Alexander, Aron Coleite, Joe Pokaski, Michael Green -- and guys like Harrison Wilcox and Oliver Grigsby working in the writing office, I'm just another geek with a lame excuse on Weds to sneak out of the office to buy new comics!
Did you interact with series creator Tim Kring at all years ago when he wrote the screenplay for the movie Teen Wolf Too, based on characters that you created?
ARGHHH! I thought we were going to leave that alone! Oh, well, I'm glad we at least cleared up my statement in Question 2... I was worried that people might think Kring and I had worked together in porn. I mean... er... that didn't come out right at ALL!
What is it about the Heroes project that excites you the most?
The storytelling with such a superb cast. It all lines up so wonderfully.
Can you talk a little about the process of creating an episode of a show like this?
Well, Craig, it's pretty simple. Jesse Alexander has the power to go into the future and he watches the show and takes a lot of notes. A LOT of notes. We're going to be a big hit, by the way. In Sweden we're going to be the Number One selling DVD of all time. Bigger than Titantic. Ah, the future! It seems like yesterday... Other than what happens on the show, however, Jesse won't tell us nothing. No stock tips. No sports scores. Just THE SHOW. My new best pal and he won't even tell ME! @#$%! The only problem is that when Jesse gets back, he's so exhausted that someone has to read his thoughts. That's when Natalie Chaidez, one of our other Co-Executive Producers, works her mojo. She roots around in his mind and plucks out the scenes we need. I'd like to reveal all the powers that staff has -- the super speed, the multiplexing, the heat vision -- but all of that's classified. The other day Adam Armus and Kay Foster were pulling the moon out of orbit and the funniest thing happened! Damn you, Craig! I probably have said too much...
But according to Jesse, everyone who comes to the 9thWonders site will learn more about the show than any other website. Only here will you be able to "chat" with the writing staff and the directors and even Bryan "WONDERFALLS" Fuller -- who, as we all know is actually the World's Greatest Super Villain -- he's so smart he makes Lex Luthor and Brainiac sound like doorknobs...
Is there any possibility of a Heroes tie-in comic book series?
With this crew, we can practically guarantee it! And not just in comics, but on the 'net as well.
For those who are familiar with your comic book work, why do you think will Heroes appeal to them?
Oddly enough, I think it's important that we get out the word that you DON'T have to know about comics -- and in particular MY comic book work -- to enjoy the show. Quite the contrary. Heroes works on both levels and that's very much on purpose. We're telling the best stories we can -- hopefully the best stories in one hour television -- and that's very satisfying. But, yeah I'm not an idiot despite what Jesse will tell you -- if you love my comic book work, you'll love Heroes. But, at the same time, if you HATE my comic book work -- AND I KNOW WHO YOU ARE! -- you'll love Heroes. If you DON'T know my comic book you'll love Heroes. I think that just about covers it!
Who were some of your favorite comic book heroes growing up?
When I was really young, Superman and Batman. And as I got older, it was all about The Fantastic Four. I have to admit that until now I hadn't really thought about it, but the FF is TOTALLY about character and that makes it very close in thinking to what we are doing on Heroes.
So we're all over the world with many different characters. How are these people going to come together?
Verrrry carefully! (laughs) C'mon Craig, you know I can't tell you that! WATCH THE SHOW AND TALK ABOUT IT!
Is there anything else that you would like to add?
Just that "TALK ABOUT IT" is my new slogan. I just love the idea that HEROES is that show that everyone will be talking about. And those of you who have found this website or are lucky enough to have seen the pilot at the San Diego Comic Convention already know... it's the greatest thing ever -- SO TALK ABOUT IT!
Greg Beeman directed and produced many of the most memorable episodes of Smallville in the past five years, including some big season premieres and finales and the "Rosetta" episode guest starring Christopher Reeve. Very well known and liked by the actors who work with him, Beeman is not only a talented director, but an entertaining coworker with a keen sense of humor.
Last season, Beeman took a trip to Miami to film the pilot episode for an Aquaman TV series for The CW that was not picked up by the network. Though Beeman's adventures with a second super-powered hero didn't work out, he soon found himself face-to-face with a new challenge involving several super-powered Heroes—and he is now signed with the show as one of its primary directors and co-executive producers.
Beeman's interview with 9thWonders. com follows below.
For the people out there who may not have heard of Greg Beeman, can you give us a brief bio of who you are and what you've done before?
I've been kicking around for a long time. I grew up loving comic books, and still havea couple thousandcomics from the 60's and 70's, including complete editions of Silver Surfer, Conan, and two sets of the first few New X-Men, starting with the famous Giant-Size X-Men #1, which I bought two copies of on the newsstand for 50 cents...
I made a student film in 1984 called The Big Garage which I adapted from a short story by T. Corgahessan Boyle. It won some national awards and launched me into directing professionally. I worked on a number of music videos in the early 80's and a couple of Disney Sunday Night movies for kids. Then I directed the feature film License to Drive—which I guess is considered either a classic of the 80's or a classic example of what was wrong with the 80's, depending on your point of view. I made a couple of other feature films and eventually my career path led to television.
The kid movies I'd done probably helped me get family TV shows like The Wonder Years and Eerie Indiana...I started kicking around directing episodes and soon realized that, to have the kind of creative control a director has in features, in television you have to become a producer. Television has always been a writer's medium - but beginning with shows like X-Files, the position of director-producer was beginning to come into being. I set my sights on becoming that guy because I knew I wanted to be more involved in creating the look and tone of a show and be more involved from the ground up with stories and casting and stuff like that. It also was becoming clear to me that an aspect of having creative control was to understand the money. I was seeing that studios and producers had an enormous amount of influence,because they could use money as an excuse either to allow or not allow some creative decision to happen. Previously, like a lot of artist-types, I had washed my hands of all the money stuff, but now I was seeing that it was a tool to get a vision on screen just like the camera was. My first producer-director job was on the Don Johnson show Nash Bridges.
At that time I was also directing a lot of family movies for the Disney Channel and I began to produce those as well. I won the Director's Guild Award for a Disney Channel Movie called Miracle in Lane 2, which was one of Frankie Muniz's first jobs, and was nominated for another DGA award for Ring of Endless Light,which was one of Mischa Barton and Jared Padelecki's first jobs. I was really proud of those films because I felt they were well made, and visual, but also they were stories that were spiritually uplifting. I was getting to a nice place in my career where I didn't have to take a job unless I believed in it. All of which led to Smallville.
A lot of your fans know you as one of the primary directors of The WB's Smallville. Can you talk about that experience, and what made you decide it was time to move on?
Smallville was just the right show for me at the right time. I came on to direct Episode 3 and I never left until Episode 100, which is the last one I was really deeply involved with. I feel like I was looking for them and they were looking for me. I loved the material and the pilot and it spoke to everything I believed in. I saw the mythic and spiritual aspects in Smallville; it had darkness, romance, action. I believed in it. In the very beginning, they had started with a great pilot, but then weren't sure how to make it week-to-week. It was lacking a cohesive design or visual style. I was able to bring to it what I believe has become a signature look. The strong use of color, the romantic lighting, the graceful moving camera, the big close-ups, etc. etc. And I really had the chance to work intimately with the young actors and help them develop their craft and their characters. Without a doubt, Smallville has been the most creatively satisfying job I've ever had.
Because I was up in Vancouver and all the writers and other producers were in L. A., there were certain frustrations but also a lot of freedom. I had a pretty free hand at least as far as the production of the show went, and I oversaw all aspects of it.
As far a why I left? Two reasons. First,my family. My wife and kids live in L. A. and Smallville films in Vancouver. My family moved up for half of Season 1 and Season 2, but a variety of factors caused them to move back to L. A. So for two years I was commuting home every weekend on a three-hour flight, plus international customs. That was too hard on me physically and emotionally.
I was ready to leave after Season 4 for those reasons, but the creators and the studio really wanted me to stay. So, in Season 5 we worked out a new arrangement where I was in L. A. most of thetime and was more involved in developing the stories and scripts and was overseeing production more remotely. That was a great and new experience for me—but still I was having wanderlust. As I said, I've never been prouder of anything, but I'm the type that enjoys the act of building something 'once it's built, the maintenance is less interesting.
Smallville was a challenging show to build, and don't get me wrong, it's still a challenging show to write and get on the air every week. But for myself, I felt like I'd made every creative statement I had to make and it was time to move on. I wasn't really looking for a new job. In fact I was planning to take six months or so off—that was until I saw the Heroes pilot.
Heroes was so good. And I knew Tim Kring's work and work ethic and integrity as a writer, and I knew I had to get involved.
Is it easier working with characters that are completely fresh rather than keeping to a set mythos as Smallville is?
No. It's harder. Right now I'm scared. I don't know what compelled me to take a job where I'd be nervous again, just as I was at the beginning of Smallville. When a pilot is fantastic—as Smallville was, as Heroes is—there's an obligation. We've got to do a great job, to respect the original material. And that's a scary thing. To live up to those expectations. To exceed them.
Is it different shooting a show in the Los Angeles area vs. shooting something up in Vancouver?
Not really. Shooting is shooting. In some ways the process of making a film or a TV show is always the same...The basic structure of the crew and how you schedule and how you get through a day is similar. At the same time, no one project is ever exactly like another.
How long has it been since you've shot a movie or TV show in Los Angeles?
Six years.
How difficult is it to create locations that look like completely different parts of the world?
Well, one of the reasons the film business originally came to Los Angeles is because the weather is generally good, and because there are so many different looks. Film making is problem solving. Making our locations to look like different parts of the world will be an exciting challenge, but certainly an achievable one.
How did you first become involved with the Heroes project?
I saw the pilot. I thought it was genius. I found out there might be a position available similar to the one I had on Smallville. I knew Tim Kring personally, from way back, and I had been a fan of his writing—especially the Crossing Jordan pilot, which was one of the best pilots I'd ever read. So I persistently bugged my agent to get me a meeting. I met with Tim, Dennis Hammer and Allan Arkush—the producing team from Crossing Jordan. I tried the best I could to convince them my Smallville experience would be valuable here and that I could be a contributing member of the team and basically, I got the job.
What was your initial reaction upon seeing the finished pilot?
I thought it was great. Brilliant writing. A deep concept with spiritual themes that spoke to me personally. I think Tim designed a pilot that speaks very personally to a vast number of people. I expect my experience will be similar to many in the audience. I am just lucky enough to get to work on it.
Can you tell us a bit about your role in the production of Heroes?
Since as of today, we haven't shot a frame of film, I can only answer what I hope and am trying for my role to be: To take these brilliant scripts and get to work on the business of shooting them. And I mean this in the sense of 'How can we get all this work done 'how do we schedule it?'as well as 'How do we make it look?' and 'How do we guide the performances?'
I have theories right now of how the show should look, how we should film it. The pilot is a strong guide, but we as a group have new ideas that are additive. We're lucky to have so many talented people involved in creating the direction for the show. Tim Kring, executive producer Dennis Hammer, director/executive producer Allan Arkush, the writers... All of us are putting our heads together to find out how to tell these stories week to week.
Based on my experience with Smallville, my job will then hopefully evolve to guiding the directors into our distinctive Heroes storytelling and shooting style. Working with the cast on the evolution of their characters over the long term.
And it's funny, I seem to always take on one other role as well. I guess it's part of my personality, but I tend to evolve into a kind of coach/cheerleader. I like to pump everybody up, encourage them to strive higher. I think it's important.
What is it about Heroes that appealed to you and made you want to become involved?
The combination of mythos, great writing, an exciting cast, and the opportunity to do the kind of visually designed work I love. And of course, there's the action and visual effects...
Basically, there's enough in the stew to keep me interested for a long time. I believe in this material.
If you could have any superpower, what would you want it to be and why?
I have an eight-year-old son, so, over the years I've had a lot of super-battles.
The ability to shoot power beams out of the palms of your hands, combined with the ability to go into 'Matrix-bullet-time' to avoid any knives, bullets or palm-blast energy rays coming your way seems especially valuable.
Of the characters of Heroes, which character do you feel has the most interesting or appealing power?
Hayden Panettiere's regenerating power is the most visually cool. And Greg Grunberg's mind reading power seems interesting...would you really want to know what everyone is thinking? Could be helpful when buying a car but troubling at Thanksgiving dinner with all your relatives.
Is there a particular character that fascinated you that you'd like to know more about?
Sylar, the bad guy. What's up with that evil *#@!?
Have you ever worked with any of the cast or crew from Heroes before?
Jeph Loeb, obviously who wrote Smallville for three years. Tim Kring wrote an episode of the show Providence that I directed seven years ago, and as I said, we went to college together and have known each other socially a bit...I've hired a handful of people on the crew I've worked with before...that's it.
[If you've had time to work with any of them] What is it like to work with this cast?
As of this moment, I've met them all and we've had some preliminary discussions about their characters and the future directions of the show.... They are all cool, great people and they are all VERY pumped up about this series.
I love actors and respect that very difficult craft more than anything. I can't wait to get started working with them. The director/actor collaboration is one of the most creatively exciting things there is. It's going to be great.
At what point in the process do you come in to the creation of individual episodes of Heroes?
As early as I can...Usually after the story is 'broken' (figured out and roughly outlined) but before it's written I'll start throwing in my two cents. Though I'm not always sure the writers want my input at that time.
As a director, do you have any input to a show's story lines?
A little. Not a lot. That's a thing that has to evolve from the writers trusting you and your story instincts. By the end of Smallville, I was literally developing the episodes with the writers' room from the ground up...But it took several years to get to that position. On a first year show like this there is plenty of other stuff to do. And the writers have a really clear and very well developed sense of where they are going.
Do you think Heroes will appeal to the people who were fans of your work on Smallville?
Actually I do. Although the story is different, Heroes is much more realistic, less fantastic/romantic 'but the themes are very similar and the epic nature is very similar to Smallville. All I can go by is what I think and feel...and they both appeal to me!
Last season you directed the Aquaman pilot for the CW, which never made it to the air. In it there were some pretty intense water sequences. Could we ever see anything of that scale on Heroes?
Maybe, not as much or as long or as often...Tim wants the show to be very realistic, so that everyone feels they can not just relate to the characters but can see themselves in the characters...
That doesn't, so much, go with typhoon super-battles with evil mermaids.
What is your favorite part of the Heroes concept?
The exploration of human beings evolving 'of humanity going to the next level of evolution and the 'how? why? why now?' questions that stirs up.
Who was your favorite super-hero growing up?
Spidey. He rules.
Is there anything else I am leaving out?
No. Let's keep talking. I'll know a lot more after we've actually finished a couple of episodes.
DAMON LINDELOF - Okay, Tim -- Brace yourself for everyone and their mother to start asking you "Do you know where you're going with this?" and the ever-loved follow-up "Does HEROES have an ending?"
Two parts...
a. Do you know the ending?
b. But more importantly... does HEROES need an ending?
TIM KRING - "Do you know where you're going?" and "Do you know the ending?" are two very different questions. I know where we're going in great detail for the first half of one season. We have a real sense of where we want these stories to be by the end of season one. We have a broad sense of where we'll go in season two. I have some ideas about farther down the road, but I'm pretty superstitious about that.
As to needing an ending — Unlike LOST, we have not set up a central dilemma that has to be solved, therefore concluding a larger quest. There is no island to get off of on HEROES. Instead, it's a show about characters dealing with extraordinary things happening to them. That is the central premise. So my sense is that if one can assume that dealing with their extraordinary abilities is something that these characters will always face, then their stories can bend and morph and evolve forever.
DL- How does it feel to be leaving the relative safety of a self-contained crime drama (Jordan finds body, Jordan solves murder) to enter the fun world of serialization... in which many of the questions you pose will not be answered for many, many episodes? You had always wanted to take Jordan more in this direction, but were forced to abandon it by the network powers that be... is it sweet that the same network is now embracing stories with much longer arcs?
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TK- It's very exciting to challenge myself in a new way after being confined by a "closed-ended" type of storytelling. Having had a long career though, I've gotten used to trying to reinvent myself over and over again. The strange thing is that I find myself coming full circle sometimes. When I first started writing TV movies, I was known as the "horror" guy, then the "thriller" guy, then the "teen comedy" guy, etc. But in reality, having just written a new episode of HEROES, the muscles used in facing a blank page are remarkably similar no matter what genre you're in. I still struggle over crafting a scene one line at a time. And I still look for truth and reality in every emotion. Where it is really a different animal is in the writers' room — the breaking of the stories. It has to be much more diligently planned out because every beat of the story has a domino effect. Pulling one thread can really make the whole house of cards come crashing down.
It is certainly "interesting" (read "sweet") that the network is now embracing the very type of storytelling that was off limits less than two years ago.
DL- I sent you the trade compilation of J. Michael Stracynzki's "Rising Stars," a now fully complete story about a group of kids all from the same town who develop supernatural abilities (and are thusly labeled "Specials")... my question: Why didn't you read it? (and "no time" is not an acceptable answer, pal!)
TK- I'm intrigued by this question because obviously something I've done with HEROES proves to you that I didn't read it. The problem is, since I didn't read it, I don't know what that is. Did I miss something I should have stolen? Did I steal something and don't know it? I fear the latter from the tone of your question. But the truth is I didn't read it for a couple reasons.
First and foremost, because this show deals in the arena of the super hero and comic book world, I didn't want to be tempted or discouraged by other ideas out there. Very early on in the process, I went to see my friend Jeph Loeb for just this reason. I told him I was not well versed in this world and wanted him to steer me away from anything that was derivative or just out and out stealing. Unfortunately EVERYTHING I pitched to him had not only been done once, but many times in many ways. I literally went home that night convinced that I couldn't touch this subject without reinventing the wheel at best, and outright plagiarism at worst.
I finally decided, maybe foolishly so, not to read anything. In this way, at least my conscience is clear. And I have surrounded myself here with enough comic book folks who can tell me what to veer away from.
And there is actually another reason that I didn't read it. A more personal one. I have some form (never diagnosed) of dyslexia or reading problem that makes it nearly impossible for me to read anything that is not laid out neatly and logically on the page. I get extremely confused by the dialogue bubbles. My eye never knows whether to go left or right or up or down. I get easily frustrated and give up very quickly whenever I've tried to read comics.
DL- People are already mentioning our two shows in the same breath -- but other than large ensemble casts (which even shows like Desperate and Grey's employ) and a leaning towards the "unexplained," I don't really see many similarities... that is to say, in my humble opinion, HEROES is wildly original and not at all derivative of LOST. Does it piss you off to be described as "Lost-like," or is this something you embrace?
TK- I have gotten this question many times already and the simple answer is that I fully embrace the comparisons and look at it only as a positive. I can certainly see why people are asking it. They know very little about HEROES yet and at first blush you can make the comparison for the reasons you laid out. Hopefully, they will do this less and less as they get to know the show and see it for its differences. However, that being said, the shows are linked in many ways. The truth is there is no way that HEROES could have been made without LOST having paved the way for a large, serialized saga. It not only prepared the audience for this kind of storytelling, but the networks as well.
So it would be disingenuous of me to try to distance myself from LOST for those reasons and others. Not the least of which is our relationship. After all, the first person I called when I came up this idea, was you. It wasn't just that I've always loved your story sense and the way you think, but I clearly was picking your brain about your experience on how to undertake this "type" of show, given what you've learned on your steep learning curve on LOST. So, like it or not, buddy boy, you and I can't distance ourselves too much from each other. After all, that moment at the end of the pilot that everyone loves (and I always take credit for) was YOUR IDEA!
DL- Do you feel a need to start familiarizing yourself with the superhero genre... or do you feel the less you know the more "grounded" your show will be? And since when is grounded a good thing?
TK- To continue this thought from earlier — I am a little afraid of knowing too much. I guess my fear is that I could get too invested in the "powers" and lose sight of what attracted me to these characters. I feel that HEROES is, at it's core, a character based saga. I'm much more fascinated by the personal struggles that these abilities present to the characters. I want to know more about who these people are. Much more than I know right now. What are their fears and ambitions. Twenty two episodes a year of a television show gives you the opportunity to invest in the details of your characters. I really want HEROES to feel real — like this could happen to any one of us. So I guess the answer is yes, I do feel less I know, the more grounded it will be. Is grounded better? Ask me after the first season.
DL- Normally, a show like yours would be instantly labeled as "Cult"... How will you attempt to make HEROES more mainstream (assuming that you even want to) so that a network audience can follow a complex multi-character drama every week? Be aware... If you have in fact figured out the answer to the above question, I reserve the right to steal any valuable information I see fit to.
TK- I am very concerned that it not be seen only as a "Cult" show. My fear is that it could be labeled as such and discourage a huge segment of the mainstream audience.
I think if a person is watching it for just the genre "Cult" aspect, they will be disappointed. It just won't lean hard enough in that area for them. This is a much bigger idea than that. The Texas Cheerleader. The LAPD Cop. The single mom trying to raise her son. These characters and stories are so diverse; my hope is that everyone can find something that they like. I certainly don't shy away from the idea of "mainstream".
You may have first noticed Jesse Alexander's name in the executive producer credits for ABC's popular spy drama Alias. Now, this Santa Barbara native who got his start making Super-8 movies with his Star Wars figures has graduated from the depths of SD-6 and APO and has moved into the world of Heroes.
A self-admitted "fan boy from way back," Alexander took the film school route before ending up in Los Angeles, where he struggled to sell his spec scripts. This journey landed him at Dark Horse Entertainment, where he did his first professional writing job creating a new opening sequence for Barb Wire starring Pamela Anderson.
Alexander then wrote a ton of features, several of which didn't get made (such as Flash Gordon and a modern day Jason and the Argonauts) and some that did (like Eight Legged Freaks). Eventually Jesse Alexander's childhood buddy - a fellow by the name of JJ Abrams - asked for his assistance on a pilot he was writing for a show about a co-ed by day, spy by night hero named Sydney Bristow. This adventure lasted for five years. JJ also enlisted Alexander's help with a crazy idea about a bunch of people who plane crash on an island -- a show you all know as Lost.
Now, Jesse Alexander moves his creative talent and experience in working on mythology-based hour-long dramas to Heroes. He's been kind enough to provide 9thWonders.com with one of our first interviews, which you can read below. Enjoy!
Most people know you for the excellent work you did for Alias. How long were you involved with that show, and what was the experience like?
JJ and I met in college and have been friends ever since. We always help each other on our projects and we'd been chatting about the Alias pilot he was writing. He asked if I wanted to get into TV and would come on to the show -- and I jumped at the chance. See -- in TV, the writer is king. The train of creating content for episodes has left the station and is careening down the tracks, and you gotta lay more track ASAP or the train is gonna crash. Does that make any sense? Anyway -- Alias was always a train wreck in the best way possible. At the time -- nobody else was doing serialized shows, certainly not on a major network. And the production value we tried to get on the screen was also unheard of. Alias was a blast -- there is a lot that makes me cringe, but much more that makes me cheer. The stories, and scope, and 100+ episodes of that show will live on DVD forever. And the idea that I can share them with my two sons -- is pretty great.
Is it true you were also involved with the creation of Lost?
I did help out with Lost. When Lloyd Braun first pitched the idea of plane crash survivors on an island -- it was played totally straight. Real world. Scripted Survivor essentially. And the massive chunks of time passed in the pilot -- so they were quite settled into their island circumstance immediately. JJ has other ideas, he brought myself, Jeff Pinkner, and Bryan Burke into the fold to brainstorm about what the show could be -- we all had similar thoughts, and then Damon "the genius" Lindelof came aboard and made our crazy ideas into something brilliant. So I helped get the concept of the series off the ground, break some early stories, and around episode 7 or so -- went over on a regular basis to break stories in the room and get episodes written. One of my lines on the show was reprinted in Entertainment Weekly, I'm both proud and embarrassed by it -- Shannon is giving Boone a hard time about lack of food he's providing -- and Boone teases her about being a functioning Bulimic since the 7th grade and assumes she would've been happy to drop a size or two. Launching Lost and getting through that first year was one of the greatest things I've ever been a part of. Damon is a genius -- working daily with someone like that is always inspiring. And of course -- Javier Grillo Marxuach was there as well season one and he rules. Read Super Skrull! Read Middle Man! Worship Javier!
What was your initial reaction upon reading the Heroes script?
I fell in love with Heroes immediately. Tim's writing painted a picture of a world that was familiar, but also a world where incredible things were possible. The pantheon of characters he created felt fresh, emotional, and exciting. I had tried and failed to do super hero shows of my own. They all sucked. Mainly because I was so wrapped in the conventions of the genre. I'm a lifelong comic book fan. Seriously -- Wednesday is church day for me. Tim on the other hand -- had never read a comic book in his life. He was unfettered by the trappings of the genre -- he could see a real world of super heroes in a way I never could. I was blown away. I carried the script around in my bag wherever I went. Just wanting to be close to it. Hoping some of the brilliance would infect me by osmosis. When I had a meeting at Universal Television about their slate -- I was all about Heroes.
What is it about Heroes that appealed to you and made you want to become involved?
Having done serialized, genre-y shows before -- on networks. I'm quite familiar with all the ways they can go wrong. Tim Kring based Heroes all around CHARACTER. It's not about people waiting do be told answers to a mystery. Or discovering how convoluted their world, and family relationships truly are. Heroes is all about ordinary people dealing with something extraordinary that has happened to them -- and figuring out how to deal with it. We're not stuck in an endless cycle of plot reveals. We're telling thrilling character stories where our people are actually making the plot. We will never run out of stories for this show. Not to say that the show won't change -- certainly as more people develop abilities, and more people learn of these abilities -- the world our Heroes live in will get ever more complex, and rich.
How did you feel when you watched the series pilot?
The scope of the pilot is feature-esque. I still haven't figured out how they managed to do Madras, India. New York City. And that massive Texas train crash -- so effectively. And they never let the scope, or the effects, over-shadow the true strength of the show -- Tim's characters. The character scenes were all allowed room to breathe. It will always be a challenge to live up to the promise of quality made by the pilot.
If you could have any superpower, what would you want it to be and why?
I'm a flyer. Even learned how to fly planes. I want to soar, zoom, dive, roll, and zip through the ether.
Of the characters of Heroes, which character do you feel has the most interesting or appealing power?
Peter is fascinating. I can't reveal too much about him yet. But his place in the world. His unique ability. And how it transforms him. And how he transforms the world around him. That's gonna be fun as hell to write. And to watch!
Which do you most identify with on a character level?
Good question! I'd have to say Suresh. This man's quest for answers about his father's death. And pursuit of his father's research. Resonate for me. I'm always interested in learning new things -- learning about people, and trying to think outside the box. But what if people really could fly? That's a neat way to approach the world. And Suresh -- doesn't have powers. He's always going to be a bit of an outsider. Not one of the anointed, or chosen, but the one who is tasked with understanding the Heroes, and helping them as best he can.
Is there a particular character that you'd really like to explore more into the background of? If so, why?
There is a side to Niki that were exposing, that has an amazing backstory. Fun adventures that we will be revealing through the show, and through the online comic book that we've got planned. Nathan too has some secrets in his past that will inform how viewers think about him.
Can you talk about the writing process?
Our process at Heroes is very team oriented. Many shows have one writer cranking out an episode in solitude. From my experiences on serialized shows -- I know that rarely works. And even when it does -- you get very behind in getting the work done. And when you get behind -- and the deadlines hammer you -- story suffers. Our team of writers -- or LEAGUE OF HEROIC SCRIBBLERS -- as I like to call them -- finds strength in numbers. We all get together in the room, come up with story, and the scenes for every episode -- and then we ALL write scenes for that episode. I might write the Isaac story, Bryan Fuller might do Claire, Michael Green would do Matt, Natalie Chaidez would do Niki, Armus and Foster would do Hiro, Aron Coleite on Peter, and Joe Pokaski would write Suresh, and so on -- this enables us to get the scripts written in 3 days instead of 3 weeks. And it means all of us know exactly what's going on in every episode. There is always one writer who has their name on the script who is in charge of bringing all the scenes together, and shepherding the script through production. But every writer on the show has written bits of the episode. It's a much more honest approach to the way TV is written, and is the only way to write a serialized show like Alias, Lost, or Heroes. We're all loving the process. Loving the work. And loving each other. But not in a sexual harassment way!
You have a history of writing some of the most duplicitous characters in television, with folks like Arvin Sloane and Irina Derevko. Will we be seeing "gray" characters of that sort in Heroes?
Gray. And duplicity. It all comes down to point of view. If an audience understands where a villain is coming from, why they are making the choices they do -- it grounds that character in a relatable way. Certainly even villains have friends, have things they care about, people they love. It's important to never think of someone as a straight-up villain, but to imagine those characters as the hero of their own show. Their story is just as valid as the story the protagonist is pursuing -- it just might involve the significant death of innocent people via nuclear holocaust, rage virus, gunshot -- whatever. The character of "Horn Rimmed Glasses" on our show will very much be such a person. We will see him working against our characters, yet we will also see how much he cares about his daughter -- Claire. The choices HRG will be forced to make this year -- will be some of the most water cooler moments of Heroes.
Can you say anything about working with Greg Grunberg again after a few years of working together on Alias?
Greg is one of my closest friends. Greg and JJ are buddies since kindergarten. I was lucky enough to join their tribe in the mid-eighties. Greg is one the most genuine, loyal, funny human beings that has ever walked the earth. And it comes through in his acting. Audiences connect with Greg because they know he's the genuine article. His character is desperately important in our Heroes universe -- Greg is the every man who dreams of being great. We will see how his ability complicates his life, and forces him into situations that are truly frightening. The choices Matt makes on our show -- should feel like the choices the audience would make. There aren't many actors who can pull of something like that -- Greg Grunberg is one of them. OH! They've been re-running a show Greg did with Jason Bateman. It's on Bravo I think -- called The Jake Effect. I suggest everyone TIVO the show to get a taste of Greg as funny leading man.
What can you say about the other cast members of the show?
Our cast is phenomenal. All of them are incredibly easy on the eyes. And yet bring a warmth of personality, depth of spirit, and smarts -- that prevents us all from hating them because they are so damn beautiful. I've been lucky enough to spend time with Adrian, and Milo -- they are taking the brothers thing very seriously. They have a great rapport and respect of the craft. They are also a hell of a lot of fun. Adrian always has a story to tell -- that guy lives a life that the rest of us can only dream of. And Milo is super cool -- he's very down to earth -- I was surprised by how smart he is to be honest -- you look at him and go "Oh, I get it." But you don't. This guy has profound emotional depth. I can't think of anyone else playing Peter -- Milo is him. We're so blessed to have all these people -- we will try to get them to check in at 9th Wonders as much as they can.
Can you talk a little about the process of creating an episode of a show like this?
It all comes down to the script. What characters are we using in a story. Where are we taking them. And how many are we using in each episode. Heroes is pushing the envelope as far as what has been done with an ensemble cast on TV. Budget. Time. All those things are an element -- but at it's core, writing is always about -- What do we want to see? What are the scenes that have to be in the show? What are the stories we know the audience will love? What questions do we need to answer in this episode? It all starts with questions and ideas. The actual production of an episode is like going to war -- I'm sure Greg Beeman will be giving much insight into that whole process. My job is coming up with the ideas, sitting on my butt in a room, with my pals. The production team has the Herculean task of actually bringing all our crazy ideas to life!
Do you think Heroes will appeal to a fan base much like the type of fan bases the shows you've worked on before have enjoyed?
I think Heroes will certainly appeal to fans of Alias, and Lost. But also has the chance to reach people who have a hard time connecting with genre concepts. It's very easy for me to buy the idea of people with super-powers, time travel, privately funded armies, and so on -- but some people find it difficult. That's why we are trying to be vigilant in the idea that Heroes is taking place in the same world you live in. The only buy in our world is the people with abilities -- we're not also selling aliens, subterranean HQ's built by robots, or.. okay I'll stop. I love all that stuff. But Heroes is all about our characters.
What is your favorite part of the Heroes concept?
I love the idea that this could happen to me. The only thing special about the people getting powers on Heroes, is that they are getting powers. If it can happen to them -- it could happen to me. Or to YOU!
Did you know Tim Kring or any of the writers before joining the team?
I didn't know any of the team personally. But I had a connection to Tim through Damon Lindelof. Tim had mentored Damon at Crossing Jordan -- and then I worked with Damon at Lost. So knowing how cool Damon is -- I knew Tim had to be the greatest. And he is. Smart. Personable. Creative as hell. And then there is... LOEB! Jeph Loeb has been one of my favorite writers for years. He kept me reading comics when I should've been doing other things. The idea that I get to work with a guy like that, one of my personal heroes, and get paid for it -- come on! The greatest! Jeph and I have become close friends -- and I'm hoping everyone will get to know him through his postings on the site. And his convention appearance. I tell my son that I get to work with a SUPERHERO every day -- Jeph's super power is telling the best stories ever!
Did you read comic books as a kid?
Scarlet Witch will always be my first crush. The Claremont X-Men will always be the best comic books ever written. Neal Adams will always be the best Batman artist ever. Miller's Daredevil, Elektra, Bullseye arc kicks ass. Comic books are one of my reasons for living. Nothing transports me like a comic book. I still buy tons of books every week, usually following writers. Millar's WANTED. Bendis still rocks, even though he might be spread a bit thin. Come on! I had to say it. Brubaker is killer. I love Slott's stuff. I'm a huge fan of Dan Brereton, an amazing painter/writer who created The Nocturnals, and a book called Giantkiller. We've been lucky enough to lure Tim Sale into the world of Heroes. I just read Paul Dini's new BATMAN [in Detective Comics] -- loved it -- recommend it to all. And I'm so amped that Brubaker is taking us back to the world of the Shi-Ar and the Starjammers in his X-Men title. It's a great time to be a comic book fan! And now that I work with Jeph Loeb -- I can see that he really isn't as good as I thought. KIDDING!
Alias was known for taking place in many exotic locations without even leaving Los Angeles. Heroes, too, looks like it is taking place in many parts of the world. How difficult is it to make the locations look authentic, and whose responsibility is it to make that happen?
It's all about production design, and great matte work. Those techniques working together. One of the areas where TV can deliver great effects, that rival features, is compositing. Shooting a practical location in LA, and then matting in the background of some foreign land. We nailed it on Alias (most of the time). And Lost does it on a weekly basis in ways that nobody will ever notice. That said -- we are trying to make sure the world of Heroes is as real as it can be. We will only use effects when necessary. We don't want anybody to stop watching because they didn't like an effects shot. It happens.
Who was your favorite super-hero growing up?
BATMAN. He's just a man. And he's rich. And all these outrageous chicks want to sleep with him: CATWOMAN, TALIA -- come on! The cave. The car. The villains. The city. Batman wins against all comers. My dream -- schedule permitting -- is to write a Batman comic one day. That would be the pinnacle of my career. You never know. Could happen.
So where is this all going?
You'll have to tune in to find out. But I can say that Heroes won't let you down. You'll get amazing characters. Super cool plot. We'll never leave you hanging for too long, waiting for the next reveal. We are always going to be pushing the envelope of story telling. That was Tim Kring's mandate from day one. Ten pounds of story in a five pound bag. And we're going to be listening -- if you don't like stuff you see -- let us know on the site. We'll be reading 9th wonders and all the other fansites to see how the community is responding to our stories. Fan involvement is a key factor on shows like this. Not only do your comments have the power to influence the way we tell stories, but also to keep shows on the air! So we want to engage our audience in conversation. And every once in a while -- let us know if there is something you like. You can hate all you want. But if you start your flame post with a compliment -- we'll probably read the rest of it and take it more seriously, and you'll have a better shot at making a difference.
Is there anything else I am leaving out?
I think that covers it. Man, I wrote a lot. Oy. Thanks for asking such great questions, Craig! And thanks for supporting Heroes!
