News Roundup: One Tree Hill, Gossip Girl, 90210 and More

4 05 2010
  • Last night’s One Tree Hill (1.9 million viewers) and Gossip Girl (1.7 million viewers) both had drops in the ratings compared to last week. OTH’s was tiny, though.
  • Zap2it did a nice roundup of the tweets Robert Buckley (Clay, One Tree Hill) sent last night.
  • Zap2it also has a “first look” at two of The CW’s pilots, including Nomads, which stars Michaela McManus (Lindsey, One Tree Hill) but they don’t have photos with her.
  • Blake Lively (Serena, Gossip Girl), Leighton Meester (Blair, Gossip Girl), Jessica Szohr (Vanessa, Gossip Girl), Kristen Bell (Gossip Girl, Gossip Girl), Rachel Bilson (Summer, The O.C.), Penn Badgley (Dan, Gossip Girl), Sebastian Stan (Carter, Gossip Girl) and Joshua Jackson (Pacey, Dawson’s Creek) were among the attendees at last night’s annual MET Costume Gala. There may have been others from the teen dramas but those are the ones I know of.
  • Nicole Fiscella (Isabel, Gossip Girl) will give the commencement speech at the University of Bridgeport.
  • OnTheRedCarpet.com has short, spoilish video interviews with Taylor Momsen (Jenny, Gossip Girl) and Jessica Lowndes (Adrianna, 90210).
  • TVGuideMagazine.com also has a short but spoilish interview with Lowndes.
  • Examiner.com has a spoilish interview with Ryan Eggold (Ryan, 90210).
  • Jessica Walter (Tabitha, 90210) will appear on Make It Or Break It, which Paul Stupin (executive producer, Dawson’s Creek) EPs.
  • Shannen Doherty (Brenda, Beverly Hills 90210) tweeted that she is supposed to be on the Dancing With the Stars season finale.




News Roundup: Gossip Girl, 90210 and One Tree Hill

9 03 2010
  • The Daily Beast has an interesting post about people 30ish and older watching teen dramas.
  • Be sure to check out The CW’s site for all the new video content this week.
  • Last night’s Gossip Girl (1.7 million viewers) dropped quite significantly in the ratings compared to the last episode and dropped to what I’m pretty sure is a series-low. Also noteworthy: A) this is lower than One Tree Hill’s series-low a few weeks ag0 (though OTH usually outperforms GG to begin with), B) this is lower than Life Unexpected’s ratings for last night, and C) the GG and LUX ratings are both significantly lower than the ratings ABCFamily’s The Secret Life of the American Teenager and Make It Or Break It got.
  • Parade.com has an interview with Taylor Momsen (Jenny, Gossip Girl).
  • Hilary Duff (Olivia, Gossip Girl) is writing a book series for young adults.
  • Brittany Snow (Young Lily, Gossip Girl) has been cast in Kindreds, an NBC pilot.
  • Korbi has a video interview with Jessica Stroup (Silver, 90210).
  • The CW Source has a spoiler-filled video interview with Jessica Lowndes (Adrianna, 90210). (Not sure why Zap2it has it and I can’t find it on the Source’s site or YT page.)
  • The CW Source also has a second part to their interview with Michael Steger (Navid, 90210).
  • Starpulse has an article on Steger.
  • The official One Tree Hill Twitter account will be tweeting videos each day as the show films in Utah and continuing until the hiatus ends on April 26.




Exclusive: Michael Lange On Being A Teen Drama Director

24 01 2010

What makes someone a teen drama director? Well, directing four–yes, four!–of them certainly helps! Michael Lange directed 12 episodes of Beverly Hills 90210, 7 episodes of Dawson’s Creek, 13 episodes of The O.C. and 3 episodes of One Tree Hill. Not too shabby, eh?

Lange is currently a producer on Greek and will soon start working on Drop Dead Diva. If you ever wondered what it was like working on more than one of the teen dramas–or on any show for that matter–let Lange give you some, ahem, direction.

TeenDramaWhore: How do you become a director for one of these shows or even any show?

Michael Lange: Well, I’ve been doing it for 26 years. I’m going onto my 27th year this July. I now have a long track record so I get jobs through my agent and just my reputation. I have pretty big network of people now that I’ve worked with so that’s kind of how I do it. How people get into doing it is a whole different question and is extremely different now than when I was doing it, because of technology. When I got into to directing, everything was on film. This was the early 80s–1983 to be exact. I got a job as a post-production assistant on a show and I made it my business to be in dailies, which is when everyone watched the film from the day before–every single day–and, of course, everyone showed up because it was all on film. So at lunch time, people would assemble in the screening room and everyone would watch the dailies. The same thing with all the editor’s cut, the director’s cut and the producer’s cut. It would all be screened in a screening room and anyone who was interested in having a vote on anything had to be there. That’s exactly how I got my first opportunity. We were watching a cut and it was missing a few pretty crucial pieces of footage and the producer said, “Oh my god. How are we going to fix this?” and I literally raised my hand and said “I know how to fix it,” which, of course, I didn’t know, and he said, “Okay, go.” And everything in those days was much more casual so I was able to book a facility for the next day and book talent and book a little production company to shoot it. None of that could happen today because everything is all purchase orders because of all the insurance stuff. Everything is much more regulated today. Anyway, I did my thing and everyone thought it was great and that was the beginning of my directing career.

Today, it’s more about relationships. For example, I am fairly influential in who gets to direct Greek. However, I have four colleagues–four other exec. producers on the show–all of whom want to see the footage, propose directors, take a look at their resumes, possibly meet them and then the network also gets involved. Whereas when I did it, one guy gave me a shot. No network. No other producers had to okay it. Just that one person. So now we have a big committee and also because the budgets are much tighter now than they were then, we don’t have a lot of room for missteps. So a lot of times we reject people who don’t have that much experience, even if they’re very talented. If they don’t have that much experience, we can’t really afford to take a chance in case they’re going to mess up, ‘cause then it affects everything. If someone goes seriously over-schedule, then it affects almost the rest of the season. You have to try and catch up for those extra costs. Like last year, I had an intern who was a very impressive guy, very smart, very personable and we actually wanted to give him a shot to direct an episode. Unfortunately it didn’t work out because a couple of people kind of balked at his lack of experience. So it’s tough today.

Sometimes a cameraman on a show–like our cameraman, if we go a 4th season, he’s sort of guaranteed to be able to direct an episode. Sometimes the actors on shows will make it part of their deal to direct an episode and then hope to continue directing. But for someone brand-new breaking in, it’s really, really hard now. One of the ways I suggest they can show people their work is if they make a short film. But, again, it has to be really good because they’re competing against people like me who have a lot of film on their resume and a lot of experience. It’s tough. It’s really tough. Tougher than I can ever remember it being to get in. I mean, it’s never been an easy thing to do, obviously, because there’s  a lot of people vying for not that many jobs but today even more so. It’s kind of a killer. We’ve done 64 episodes of Greek and I’ve produced on 54 of them and I think pretty much every one we have had directors that have quite a bit of experience. I don’t think we’ve given a shot to anyone that is brand-new. I think they have a better chance, in a way, on the bigger shows because they have a little bit more of a budget and therefore more room for missteps.

TDW: When you’re hired to be a director for an already established show, what are you responsible for?

Lange: Well, for example, next week the show I’m starting on is the finale of Make It Or Break It [Ed. note: Make It Or Break It is executive produced by Paul Stupin, who was the executive producer on Dawson’s Creek]. I’m not really familiar with that show. I’ve seen a couple of episodes. So what I’ll do is I’ll probably spend the first day of prep immersing myself in the show–reading as many scripts as I can and watching as many of the previous episodes of the show as they can show me. I obviously read the script I’m about to direct but I usually try to do all the other stuff first so that when I read the script, I’ll have some kind of context of what’s going on. Then once I familiarize myself with the show and the script, I try to meet the [director of photography] and maybe talk with him a bit about the style of the show that they like. I’ll try to interact a little bit with the actors and a little bit with the writer. The director does casting of any guest star roles and then also if there are any locations in the show that are not the normal ones that they shoot, you’re shown the [options] by the location manager and you figure out which ones are going to work best and that kind of stuff. They’ll run the schedule by the director to see if they’re comfortable with the amount of work each day. Then if there are any script suggestions that the director has, things that he or she doesn’t think work, obviously you’re able to weigh in on that also. It’s a little bit political and you have to sort of pick your battles a little bit. If there’s something in the script that really seriously bothers me, then I’ll usually ask around before I go to talk to the producer about it. I’ll sort of check out if that’s normally how the scenes go or maybe there’s something I don’t realize. Then if everything checks out, I’ll go and talk to the producer.

I remember once doing a David E. Kelley show. I did Ally McBeal and he was notorious for not liking anyone to comment on the scripts and there was something that really bothered me in one scene so I told the producer that I needed to go talk to him and they pretty much recommended against it. But my attitude as a director is if you’re doing it as a safe job, that’s not really what the job is. You really need to sort of put it on the line. So I decided to go in and talk to him about it and actually, luckily, he agreed with me so he made the change. But had he not agreed with me, I don’t know. But that’s a risk you take. You have to take those, I think.

TDW: So do you find it’s a balance between your vision and what the show has done thus far?

Lange: Yes, definitely. Television is a medium where each week the audience wants a version of the same show. Not literally the same story but they want the characters to be consistent, they want the show to look consistent. It’s their show. They’ve adopted it into their lives and I don’t think they want it to be different. So part of the responsibility of each director coming in is to sort of observe what the show is and basically do that. You’re sort of shepherding the show through that’s week episode and, at the end of it, it shouldn’t really look significantly different than all the other episodes. What a director can bring to a show is enthusiasm. A little bit of a different point of view is great as long as it fits what they like. Like on Drop Dead Diva, one of the things they liked about my episodes-which is why they offered me this producing position on the show–is that they felt I really got the tone of the show more than some of the other directors they had last season. So that’s something also; you try to pick up the tone of the show and basically do that. I always try to encourage a lightness on the set because I think people do their best work when they’re having a good time. That’s another thing that’s influenced by the director: the tone of the set. We’ve had some directors on Greek who are more serious and the tone of the set becomes more serious. It has some advantages but on Greek we’ve ended up leaning towards directors who are not that more serious. Well, serious about the work but not serious about how you got there.

TDW: I cover 6 shows on my site and you’ve directed 4 of them. I thought, if I was ever to interview a director for the site, it’s gotta be one that worked on as many of them as you did.

Lange: Oh my god. That’s wild.

TDW: I thought we could go chronologically and see what you remember from each of your experiences. Looking at the ones you did for Beverly Hills 90210, you directed some pretty huge episodes there. The season 4 finale [Episode 4.31-32, Mr. Walsh Goes To Washington], the season 5 premiere [Episode 5.01, What I Did On My Summer Vacation And Other Stories], the season 6 premiere [Episode 6.01, Home Is Where The Tart Is], the season 6 finale [Episode 6.31-32, You Say It’s Your Birthday], the season 9 finale [Episode 9.26, That‘s The Guy]. Those are huge benchmarks in the series. What do you remember about those? Is it different being called in for a premiere and a finale?

Lange: I had a great time doing the finales and the premieres. It is a little bit different. The finales usually–well, I think the 9 wasn’t but the other two finales were 2-hour episodes. So for the [one-hour], that show was shot in 7 days and for the two-hour, we ended up getting 14 days. And usually there was one sort of giant set piece sequence. I think in the season 4 finale, it was the carnival, right?

TDW: Yes. Season 4 you have the Greek carnival.

Lange: It was a huge amount of fun. And basically, because it’s 14 days you have more latitude in how everything is scheduled and you have more production value. I got a crane a couple of those days and everything is sort of bigger and better. So they were a huge amount of fun to direct and usually the stories are pretty epic in those finales. The same thing with the premieres, though those were 1-hour. But because it’s a premiere, you have more time to prepare. And there’s a little bit of a badge of courage thing. As a director, it’s a little more prestigious to do premieres and finales. At least in those days, on that show. Usually also there’s more publicity about them so pretty much every day on those episodes, there was someone, you know, doing interviews or behind-the-scenes stuff.

TDW: Does that translate to more pressure for you?

Lange: Well, I’m sure there is more pressure but you have to sort of train yourself as a director to not really notice the pressure too much. I’m sure it comes out somewhere in my body; I’m just not sure where. In a way, on the finale, which were, as I said, were 2-hours, it felt like to me there was less pressure in terms of time because you were able to have a little bit more time for everything. And was the Queen Mary–

TDW: That was the season 6 finale.

Lange: Yes, that was also a huge amount of fun.

TDW: I would imagine that it must be somewhat difficult to shoot on a cruise ship.

Lange: Actually, it wasn’t. It was completely a joyous experience. There were a number of scenes that were in the lobby of the ship and as soon as I got to the lobby, I said to the producer that there’s no way we’re going to shoot in this lobby because the actual lobby of the Queen Mary is extremely small. So I said we needed to build one on the stage. So that whole lobby was a set. So what you try to do is minimize the degree of difficulty that will hurt the actual shooting of the scenes but there’s a point at which, obviously, if it’s too easy, that’s not good either. It’s a bit of a judgment call. The lobby I just said we can’t do that. Then everything else–shooting on the deck, the ballroom scene with the Goo Goo Dolls–that was actually on the boat. That was great. The crew on that show, they had been doing it for a number of years and it was an excellent group of people. They knew the show well. A lot of making those sequences go well is just in the planning. When to shoot what and how to do it. That stuff. So it actually went really well on the Queen Mary.

In fact, I have one little personal anecdote, which is amusing about that one. The Queen Mary is in Long Beach, California, and I live in the Hollywood Hills. It’s like a 45-minute drive from my house to the Queen Mary. So I thought to myself that these were going to be some killer days and I decided to stay on the boat. We shot there for six days and it was actually a Wednesday, Thursday, Friday and then a Monday, Tuesday, Wednesday. So Wednesday night I stayed on the boat, Thursday night I stayed on the boat, and then the following week, Monday and Tuesday I stayed on the boat. And I thought that way I’ll eliminate an hour-and-a-half of driving in my day. The first day, I believe, was the day we did the Goo Goo Dolls sequence. They did 3 songs. We had a lot of scenes in the big ballroom and almost the entire cast was in the scenes. I thought, well, that’s going to easily be a 14-hour day. Well, we ended up finishing it in about 11 hours and every day there was actually shorter than I imagined it to be. But I still ended up staying on the boat, which was great. We actually pretended we were on a cruise. There were a number of us that were staying aboard and we would go up to the bar and have some cocktails and appetizers. It was just completely a fantastic experience.

TDW: Wow. It sounds like a lot of fun.

Lange: It was a huge amount of fun, I must say. I always enjoyed doing that show because it was so well-produced that it was–I’m not going to say easy, because easy is the wrong word. But relative to other shows that I directed, it was just all pleasurable. There really wasn’t that much pressure and the cast was fantastic. The producer was a great guy and everything about it was really great.

TDW: In season 9 you had another big one, You Say Goodbye, I Say Hello [9.07]. It wasn’t a finale or a premiere but it was big in the history of the show because it was the last episode with Tiffani Amber Thiessen [Valerie] and it was the return episode for Luke Perry [Dylan]. Were there high expectations with that?

Lange: Everyone was looking at the dailies more closely but that was a show where there was not a lot of presence on the set of the network or the writers. I remember a couple of times, actually more early on in my experience on 90210, where I didn’t do enough shots for them and I’d have to go back and pick up some more shots but pretty much by season 9, it was a pretty smoothly-run machine. The biggest job, honestly, by that time was just to get some enthusiasm out of the cast. Because they had been doing it for so long, they were sort of not always as energetic as they should’ve been. So I would often have to cheerlead them into getting a little more energy into the scenes.

TDW: With that episode, one of the things viewers who are fans of both Valerie and Dylan complain about is that there weren’t scenes with them together. Valerie leaves and a few minutes later, Dylan shows up. Was it just built into the script that way? Did it occur to anyone that there was an opportunity for another reunion here?

Lange: I think it was just built into the script. But there was not much that happened by accident in those scripts. They were pretty well thought through. I’m sure they had good reasons for doing it.

TDW: A little over a year after your last 90210 episode, you direct your first episode of Dawson’s Creek. You directed huge episodes there, too. There’s two I want to talk about but the first one is early in season 5, where Mitch [John Wesley Shipp] dies at the end [Episode 5.03, Capeside Revisited]. There was distinct choice there not to see the car crash. You sense something is about to go wrong and then there’s like a bright white light and you sort of hear it. I was just wondering about that decision.

Lange: Very honestly, a lot of it is budgetary. We discussed it at length. I remember that pretty vividly. It starts with budget. It was shot in Wilmington, North Carolina and the budget of the show was not huge because it was The WB. The budgets were a little bit lower. It would’ve been a big deal to actually crash the car. But we could’ve made an issue of it and figured out other ways to save money on the episode. Like if I had felt it was important enough, I probably could’ve probably convinced the producer to readjust the budget and have the car crash. That’s the kind of the stuff a director can have an influence on, even only as freelancer. But I actually felt that given the emotional punch of that sequence that, in a way, it would be better to leave it to the imagination of the audience rather than vividly show it. And also, the type of show it was, I felt it would better to do it more in a representational way rather than actually show the crash.

TDW: With crash you think physical impact but by not showing it, it also had an impact–an emotional one.

Lange: Right. We talked about it quite a lot and ultimately decided it was a win-win for everybody. A win for the budget and also for the emotional punch of the scene. We all ended up feeling it would be a much more powerful scene without the crash because then the audience would just sort of feel the loss as opposed to getting all caught up in, “Oh my god, wasn’t that an amazing crash?” I think ultimately it almost felt more real by not seeing it. Once you see the crash, you’re gonna think “Oh, it was a stunt guy,” “Oh, wasn’t that amazing?” “Oh, look at all the fire” or whatever we did for the crash. This way it was all about the heart of what was happening.

TDW: The next episode I wanted to discuss was the last one you did, Joey Potter and the Capeside Redemption [6.22]. Though it was the episode before the series finale, it was almost like a series finale itself. Dawson [James Van Der Beek] and Pacey [Joshua Jackson] make up. Jen [Michelle Williams] and Jack [Kerr Smith] move to New York. Joey [Katie Holmes] finally goes to Paris. It’s just a tremendous episode in terms of quality and significance.

Lange: I was literally just talking about this the other day, just from the technical aspects of the bit where Joey goes to Paris. We had at one point talked about recreating it in Wilmington and I kept saying that would be bogus. There’s nothing in Wilmington that looks like Paris. So we actually ended up having a small–you know, sometimes, you just have to sort of say things as a director that are just going to sound insane. And I just said, “Let’s do this. If we can get a shot in that mall, at the of which is the Eiffel Town and the other side is a museum. I’d love to have a shot that starts on the museum, pans around and ends up on the Eiffel Tower in the background and I will figure  a way to get Katie into that shot with a green screen.” They look at you like you’re crazy and then you call the visual effects guys and they say, “Yeah, I guess we can do that” and you just figure it out. So we ended up shooting the Katie part of it with her standing on a picnic table in the harbor in Wilmington and we just dolly-ed around her and stuck it into the green screen. It was pretty cool. And then we ended up doing a day in Montreal, where we took her up to Montreal, which does look a lot like Paris. So we shot for a day up there and that really sort of put her there, which was kind of cool.

TDW: It’s just such an amazing capstone to the series. If that was the series finale, that would’ve been perfectly okay. Anyway, later that year you moved onto The O.C. and with The O.C. you managed to direct an episode in every season.

Lange: I did!

TDW: But the first one you did [Episode 1.08, The Rescue] was kind of a big one because it was kind of like a season premiere. The first seven episodes of the series had aired all in a row, beginning in August, and then the show was on hiatus for a month and you had the responsibility of presenting the next episode where the network knew a whole bunch of new people would be tuning in. Was that like doing a season premiere?

Lange: Yes. It definitely was. There were a lot of eyes on that one. A lot of people on the set. It was a big episode for them, as you said, because it was effectively a premiere. And also there was pretty big cliff-hanger with Marissa [Mischa Barton] in Mexico. So in my episode, she was in the hospital for pretty much the entire episode. The big pressure in that one is that in a premiere, everyone wants it to be pretty splashy and yet I was sort of saddled with having Mischa Barton in the hospital in one room for most of the episode. It was a collaborative effort but you have to sort of figure out ways to keep it interesting visually so it doesn’t feel like she’s in the room the whole time. That was sort of the big pressure and challenge of that episode.

TDW: With The O.C., now you have your second teen drama that’s set in California but with different looks. Both are depictions of rich lifestyles in California but have different feels.

Lange: A lot of it is 90210 was started in…

TDW: 1990.

Lange: So The O.C. was like 10 years later, right?

TDW: Thirteen. 1990 to 2003.

Lange: So a lot of it is just because the times have changed and technology. A lot of the look of television has to do with what we think people are expecting to see, based on movies and stuff. The audience for television now is pretty sophisticated visually. So if you look at old television shows, although the content may be great, visually a lot of them are pretty crappy because I think in those days the audiences weren’t as sophisticated visually as they are now and not as demanding. So we’re always trying to keep up with that to some degree. And then 90210, because it was Spelling and they were very, very conscious of the budget there and it was a pretty inexpensive show to make, the look of that show they didn’t care so much. But The O.C., you know, [executive producer] McG was sort of one of the influences of the show and [creator, executive producer] Josh Schwartz was a brand-new young guy. They were wanting to appeal to a much more visually hip audience. It was the first show where the whole kind of concept of wish fulfillment was talked about. I remember in my first meeting with Josh, he said “Basically, what we want to do on this show is we want to create a show where the audience wants to go there and be in the show or be in that fictional community. Every scene needs be ‘I want to do that, I want to be there.’” So that’s all wrapped up in how it looks. The set design, everything about it, was much more thought through than on 90210.

TDW: Speaking of sophisticated direction, in one of those episodes, you directed George Lucas [Episode 2.23, The O.Sea].

Lange: I did! That was cool. That was actually the second time I had ever met him. The first time, coincidentally, was on 90210. We shot a scene at the airport in L.A. and it turns out it was George Lucas’ daughter’s 16th birthday and all she wanted–she was a huge fan of the show–for her birthday was to visit the set of 90210. So that was the day that worked out for them to visit. I knew in advance that was he coming so whatever the time was, this giant limousine pulls up at LAX with his daughter, who I can’t even remember, and him. So we met there, which was funny, so then the episode where Seth [Adam Brody] ends up having dinner with him, it was really cool that I was able to direct those scenes. It was fun. He’s an interesting guy. Obviously kind of a genius. But he’s completely interested in technology. That’s his big thing. He’s not a great actor.

TDW: No. It was very much him just reading the lines.

Lange: Right, exactly. At one point, I think in the second scene, I can’t remember specifically what the line was–it was something like “What?! You’re doing what?!”–and he just couldn’t do it. So finally I said, “George, it needs to be more Jewish.” And he actually said, “Oh, you should’ve gotten the other guy for that then,” meaning Steven Spielberg. But I said, “I’m not sure what you mean, George, because there’s a lot of Jewish directors in this business.” And he said, “No, I mean Spielberg” and I had to say, “No, I knew you meant that.” He didn’t have a great sense of humor, I must say.

TDW: I just remember being surprised that he even did the show at all.

Lange: I was surprised too, but I think, again, he had a daughter–not the same one that was at 90210 but his younger daughter–who was a huge fan of the show. So she came and it was like a visit from the Queen. All the cast was sort of commanded to be there and the daughter got to meet all of them and have pictures. It was quite the event.

TDW: Two other episodes that stand out to me for the drama in them is in season 3. There’s a sequence where you have Ryan [Benjamin McKenzie] and Marissa on the beach and they’re having sex for the first time but the sequence is inter-cut with Jimmy [Tate Donovan], Marissa’s father, getting the crap beat out of him [Episode 3.03, The End of Innocence]. And the scenes just go back and forth in rapid cuts. That was just intense.

Lange: That was very intense. I actually had a funny thing on that, too. He got the crap beat out of him underneath the pier and I wanted to have a bit where they smashed his head into one of those concrete columns and I said I really couldn’t do it with a stunt guy because it needed to be up close and personal to really sell. So I actually had them make an overlay piece out of foam that looked exactly like concrete so we were able to shoot his face being smashed into it. That was pretty cool.

TDW: Wow. The next one I was going to say is actually a death later that season. You have Johnny [Ryan Donowho] falling from the cliff [Episode 3.14, The Cliffhanger] and, like with Dawson’s Creek, we see it start to happen but we don’t see the point of impact.

Lange: Right. I think it’s the same sort of the thing. The value of showing this boy falling and hitting the ground is not huge, I think, emotionally. Both of the shows are emotional-based. You want to always have the heart and the emotion. If you show too much graphic stuff, it’s going to take away from the real story.

TDW: The last one I wanted to mention was in season 4, a really comedic episode [Episode 4.06, The Summer Bummer]. You had Ryan with all these crazy fantasies about Taylor [Autumn Reeser].

Lange: Oh my god. That was fantastic.

TDW: And you also had this character of Che [Chris Pratt], a hippie-ish guy Summer [Rachel Bilson] met at Brown, and he handcuffs himself to her. When you’re doing the dramatic episodes versus the lighter ones, what’s it like on set? Are things more tense in the dramatic ones?

Lange: I think that depends a lot on the director. I am always pretty much light. So when I direct, even in dramatic scenes, I always like to keep it light.

TDW: Your time on The O.C. overlapped with One Tree Hill and One Tree Hill brought you back to Wilmington. Do you have any comments on filming in Los Angeles versus Wilmington and do you prefer one to the other?

Lange: They both have their advantages. I love Wilmington. It’s a lot easier to get around there. The people there, because not that many things are filmed there, they’re always happy to help out and oblige when we use locations there. They’re always excited about it–“Oh, they’re filming a movie here!”–whereas in L.A., everyone’s much more jaded about the whole experience. In Wilmington you never have anyone turning up the music because they hate that you’re there, whereas in L.A., that happens more frequently than I’d like to say. So that aspect of it is great. For me, I live in L.A. and I have a family so I like being home. Being away from home is not that great. Also, although the crew on both Dawson’s and One Tree Hill were excellent, I think the best crews are in L.A. for sure. There’s no question about that. There’s definitely excellent crews in other places but if you want the best of the best, L.A. is the place and the same thing with casting. A lot of times with the smaller roles–although the talent pool in Wilmington is certainly wonderful; they’re all very nice people–the truth of it is you get a much deeper choice, many more choices, of actors in L.A. Like if you go out of for a small part, you’ll see 20 people in L.A., of which maybe 15 of them will be good for the part and 5 of them will be great. In Wilmington you’ll see maybe 5 people for the part and 4 of them will be okay and 1 of them will be good. So the talent pool, in every aspect–crew and cast–is just better in L.A.

TDW: Of the four shows, One Tree Hill you directed the least with your last episode in 2007 but of the four, it’s the only still on. Because of your commitment to Greek and other things, is it unlikely you’ll go back there at all?

Lange: Yeah, probably not. I don’t think I’ll go back there. They have called me a couple of times but I’m not available. But I like the show and I love Wilmington and the crew and everything is great about it. I always have a good time.

TDW: Looking at all four of these shows, they get lumped together in this teen drama category but do you see any distinct differences between them?

Lange: I think all things being equal–if you produced all of them at the same time–they’d probably be pretty similar. A lot of shows are reflections of the time in which they’re created and produced. Because, after all, these kind of dramas are reflecting the mores of the culture they’re about and that’s all sort of evolving and changing as time goes by. I think if you look back historically at the–it’d be interesting to look back 100 years from now; you can probably get a pretty good idea of what teenage culture was like from those shows. And if you looked at them together, you could probably see the evolution of how things have evolved. Obviously there’s many similarities that have concerned teenagers from pre-historic times, I’m sure.

TDW: Have you checked out the new 90210 at all?

Lange: No, I haven’t seen it. Most of it is because I’m pretty busy but part of it is because, to me, the real one is the one I did. The new one is just a pathetic copy. Well, that’s stupid of me to say because it’s based on nothing. I haven’t seen the show. It’s just an emotional reaction because I feel very close to [the original] 90210. It’s literally based on no knowledge [of the new show] whatsoever.

TDW: Have you see any of Gossip Girl?

Lange: Just one or two of them and I think that one, it’s not really my thing. And also working on Greek, because it’s so authentic–it’s a little bit heightened but it has an authenticity about it–it makes me sort of cringe when I see these shows that just don’t feel real to me and that’s one of them. I’m from New York and it’s not a New York that I recognize.

TDW: My last question is two-fold. What about Greek do you love so much and does working on it differ from a traditional broadcast teen drama, given that it’s on a cable channel?

Lange: What I love about it is I love the way it sort of evokes–even in me, I went to college a long time ago but it just has such an authentic quality to it–memories and feelings that are just kind of wonderful to sort of play around with in my head. I always figure a director is basically a highly paid and hopefully educated audience. So I assume it has a similar affect on people watching the show. The issues it deals with and the way it deals with issues between people, and the heart, which is just a big part of the show as well as the comedy, is just something that I love about it.

Because we’re on ABC Family we have to be a little more careful than we would like to be in terms of the drinking and the partying and language and stuff like that. There’s a little bit of battling occasionally between us and the network over stuff we want to do. We had this one sequence where it was supposed to be at a homecoming parade or whatever and there was an Antony and Cleopatra float. The float was built by the Omega Chis, who are kind of the straight-arrow guys. The KTs re-rigged it so it looked like Cleopatra was going down on Antony and at one point there was an explosion of foam from a beer, which was supposed to simulate, you know, an orgasm and the network wouldn’t let us do that. In fact, we had to carefully make sure it didn’t look like she was doing that. So there’s sort of those issues but those would probably be the same on network television. And then, of course, the cable budgets are significantly lower so there’s the production challenge of trying to make a show which has to look as good and feel as good. It can’t feel like it’s a low-budget show so that it a little more challenging but, truthfully, that is kind of fun to me. Other than that, it’s not dissimilar from how it would be on a regular network.

TDW: What is the outlook on a 4th season?

Lange: You know, it’s impossible to say really. It would be guessing. They’re going to let us know by the middle in February. It’s hard to tell.

TDW: Yeah. People are speculating now for all the other shows as well but with the upfronts still so far away, it’s a little premature.

Lange: Very. We’re back on the air a week from today [now tomorrow] and if the ratings are great, most likely we’ll get picked up and if the ratings are bad, most likely we won’t and if the ratings are medium, then we won’t know.

On that note, I encourage you all to tune in tomorrow night at 10pm eastern on ABC Family for Greek’s mid-season premiere.

Come back next week for another exclusive interview!

TDW Interview Index





News Roundup: One Tree Hill, 90210, Gossip Girl and More

5 01 2010
  • As of tomorrow at 4pm, SoapNet will begin reairing One Tree Hill’s first season.
  • MTV summed up the latest news on The Notebook musical, which Bethany Joy Galeotti (Haley, One Tree Hill) talked about in the podcast I posted yesterday.
  • Matt Barr (Ian “Psycho Derek” Banks, One Tree Hill) will appear on Friday Night Lights. Have you read my interview with him?
  • Starpulse has a brief interview with Ryan Eggold (Ryan, 90210).
  • Jessica Walter (Tabitha, 90210) voices a character in Archer, a new animated show on FX premiering next week.
  • On Sunday, SoapNet is airing This Time Around, which stars Brian Austin Green (David, Beverly Hills 90210).
  • SoapCentral has an interesting article on Vanessa Marcil (Gina, Beverly Hills 90210) possibly returning to General Hospital. The article also mentions Marcil starring in the webseries The Bannen Way, which also features Autumn Reeser (Taylor, The O.C.).
  • Jezebel has a look at the Gossip Girl comic book/graphic novel.
  • Blair (Leighton Meester, Gossip Girl) is out of the Girl on Top tournament.
  • Josh Schwartz (creator, Gossip Girl & The O.C.) is now on Twitter. Added him to the Twitter Directory.
  • Worth noting, as Zap2it did, that The Secret Life of the American Teenager, starring Shailene Woodley (Kaitlin, The O.C.), and Make It Or Break It, produced by Paul Stupin (executive producer, Dawson’s Creek), did significantly better in the ratings last night than Gossip Girl and 90210 typically do.





Exclusive: Executive Producer Paul Stupin Revisits Dawson’s Creek

15 11 2009

With the Paley Center’s “Dawson’s Creek: A Look Back” panel and the release of “Dawson’s Creek: The Complete Series,” I’ve been on a DC high the past week and a half.  Imagine my delight in finding someone who was not only just as enthusiastic but also chock full of insider stories only true fans like TDW readers could appreciate. And when you combine that with the fact that this guy is also partly responsible for introducing Beverly Hills 90210 to the world, well, that pretty much makes him a teen drama god.

After reading all the DC and 90210 goodness executive producer Paul Stupin shared with me, you’ll never want TDW’s stroll down memory creek to end!

TeenDramaWhore: How was the Paley Center panel?  How did it come about?

Paul Stupin: It came about for two sets of reasons. The first was that there are a  lot of die-hard Dawson’s supporters and fans out there that could support such a event. And the second key element is Sony is planning to issue this monumental all-seasons of Dawson’s DVD collection.

TDW: Yeah! It came out yesterday and I went to three different stores and finally found it!

Stupin: I just think it’s the coolest thing ever. So it was a good opportunity to call some attention to the DVD collection while at the same time having an event for the fans. It was really fun for me because when I did Dawson’s, I look back on it as a very special and rewarding time in my life and to be able to talk about it and see some cast members and see Kevin [Williamson, creator] again was just a blast.

TDW: I’m sure. I wish I could’ve been there!

Stupin: Yeah, you would’ve liked it!

TDW: Oh, I’m sure. Well let’s go back even further, to 1997-1998, and Kevin Williamson comes to you with this idea to make this semi-autobiographical show. What made you come on board?

Stupin: Well, that’s not exactly how it happened but I can tell you. I had read an early draft of this film that he wrote. At the time, it was called Scary Movie but that was going to turn into Scream and they used the original title for something else. I had read a draft of that and I had really responded to the writing. One of the things I loved about it is not only did it have some smart thrills and chills but it also had this great sort of teenage/20-something dialogue. I just loved his voice and I loved the different perspectives that he had brought to the horror genre so I pushed really hard to his agent for Kevin and I to sit down. Originally, I wanted to run two areas by him. The first area was sort of a younger X-Files-esque kind of show and the second one was just a really smart, young ensemble sort of show that could tap into younger characters’ voices. I had ran programming at Fox, so the idea of doing a family show was kind of not on the board because Fox had Party of Five. So we started to talk about potentially doing a show about a number of younger characters who live on the same street. Then Kevin sort of went away and came back and sort of pitched to me a bunch of characters living on the same creek, which, of course, was semi-autobiographical. What made that so interesting is that it specified the idea and made it something unique and took us to a place I had never seen before. And the other thing that made that original pitch so exciting was the characters. He pitched to me the characters of Dawson [James Van Der Beek] and Joey [Katie Holmes] and Jen [Michelle Williams] and how that triangle would work. And then as we were talking about that, we came up with the idea of incorporating another character into the mix who could be a confidante for Dawson and that’s how the character of Pacey [Joshua Jackson] originated.

TDW: I think you really hit it when you said the show was unique. There are a couple of specific things that people are still talking about today and they really want the inside details of how it happened. I know you guys went over a bit of this at the panel but I’d love to hear it from you yourself.  So if we can just go over a couple of different storylines, I’d love to hear what you guys were thinking and the genesis of those. So the first one is in season 2 when we have Jack [Kerr Smith] announce that he’s gay [Episodes 2.14 & 2.15, To Be Or Not To Be... & ...That Is The Question].

Stupin: I think there were two reasons for that. The first reason is it was a great way to integrate in a gay character on our series and to do it from the perspective of the kids we’d come to know and love on the show from the get-go. So the thought of involving Joey in a relationship with Jack and seeing that relationship take a completely unexpected turn and then understanding the emotional impact it would have on Joey’s character, and what it would do to Dawson and Pacey–all that seemed really interesting. And at the time, the thought of integrating a gay character and following that journey seemed really powerful and a way to tap into a whole set of emotions that would make our show even more memorable. One of the things that I love about Dawson’s is that it sort of wore its heart on its sleeve. Not only did it capture the voices and that sense of teenage yearning and teenage love and first-time love, and the power and the strength of all that, with love comes heartache as well in many stories. I think it enabled us to tell a really emotional and powerful story for a character that we’d really come to enjoy in the form of Jack. So that was one element to it and I think for Kevin it was a very personal story as well, and it was a way to again put a whole different perspective on the teen ensemble drama in a way that it hadn’t been done before. The second element to it was the fact that when Joey started that relationship with Jack, it was not going to go on forever. The key relationship in our series was what was going on between Joey and Dawson and Pacey, so the Jack character, that romance, was ultimately going to come to an end. And I think there was the thought of what a powerful way to see the relationship head south when the character starts to realize an insight into his own sexuality.

TDW: Going back to the Dawson-Joey-Pacey relationship, I read in Jeff Stepakoff’s book “Billion-Dollar Kiss” that Greg Berlanti–whom I adore–was the one to suggest putting Joey and Pacey together. I was wondering how accurate that story was in the book.

Stupin: Well, at the top of every season, we’ll sit and we’ll talk about [our plans]. We take a couple of weeks and we talk about each character and where we were going and what the sort of macro-issues were that we want to cover over the course of that particular group of 22 episodes. And Greg was definitely a part of that and the thought  of telling sort of a whole Joey-Pacey romance did in fact come out of that, absolutely. But I think you can go back, you can look at the pilot and you can look at the chemistry–and I did, in looking at the pilot last week–you can look at the chemistry between Joey and Pacey and you just know they’re sort of two peas in a pod and sooner or later that element of the triangle is going to get explored. So it’s definitely true what Jeff had in the book but I think that Greg was building from the seeds that were established in the original conception of the show, to tell you the truth.

TDW: Right.  Going to a more somber note: this probably came early on for you guys given how you plan the season but a lot of people were really surprised and devastated when in the 5th season Mitch [John Wesley Shipp] died [Episodes 5.03 & 5.04, Capeside Revisited & The Long Goodbye].

Stupin: Yes.

TDW: I’m wondering what the idea for that was. We never knew if it was casting reasons or storyline-dictated.

Stupin: It wasn’t really casting issues. The thing with Mitch was every year we would figure out a way to have 1 or 2 sort of emotional stories between Dawson and his mom and dad. In the first season we had all that great stuff with her affair with a newscaster. That was just sort of natural. The second season we have the story with mom and dad trying the open marriage, and it’s arguable as to how memorable that actually was. It seemed like such a fresh idea. I’m not sure that it translated quite as well as the idea initially seemed. And then after that, when the inter-relationships between the teenagers grew ever-more prominent and people became much more invested, it felt like the parents–though still important–were not quite as much a part of the storylines. So that’s when we would always try to include them, to have them in different things, to have great sort of Dawson-mom, Dawson-dad scenes but I think we were straining a little bit. And I think that when we got to the point of deciding the fate with Mitch, it seemed like we weren’t using him altogether that much in the series, in the seasons. We were using him but we weren’t using him in a huge way. There weren’t any financial or casting considerations. It really did come from the creative angle, in terms of how would it affect Dawson’s character if in fact this happened to his dad, and exploring that, and exploring the unexpected tragedy of it seemed like another way to really heighten the exploration as to who Dawson was, so that’s basically where that came from. And I remember talking to John Wesley and mentioning that the one thing that this would provide is that it was going to take the Dawson-father storyline to a really heartbreaking sense of conclusion and, at that point, we weren’t using him as much as we had in the past.

TDW: How does that contrast, then, to the decision in the series finale [Episodes 6.23 & 624, All Good Things... & ...Must Come To An End] to have another death and this time it be Jen?

Stupin: It was so interesting last week; it came up that in a way it was a great book-end for the series. It frankly never occurred when we were talking about the beginning or the end of the show but one could argue that the series began with a catalyst and that was the arrival of Jen. And the series ended with a catalyst as well, and that was the departure of Jen. And the one thing that I think that it did is it really brought a sense of emotional resonance and power to that final episode, because one of the things with a final episode you want to be able to do, you want to be able to end a series in a satisfying and emotional and interesting way. And if we essentially had the last episode in history for Dawson’s Creek, we could talk about and we could explore issues of mortality involving some of our characters. Then when we talked about it, if we were going to be dealing with the characters’ mortality, she seemed like the most natural character in which to explore that.

TDW: Going back to the catalyst idea, it could be extended that that was really what it took for Joey to finally make up her mind between the two boys.

Stupin: Yeah, I think a little bit. I think the interesting thing was the series sort of ends twice. It ends in the episode before then [Episode 6.22, Joey Potter And The Capeside Redemption] where we get the sense that finally Dawson and Pacey are going to be friends and Joey did actually get to Europe. And I think that had a sense of closure. Then we took it another step and went to a sort of even more sort of larger-than-life ending of exploring who she was going to end up with. I think that was the big question: who was she going to end up with? And I think that that was handled pretty well, too. Like I personally love the thought that what this show was really about was not the romance of Dawson and Joey but about the strength and depth of that friendship and how that friendship was going to exist forever.

TDW: So if you had to answer the question, in your heart of hearts, do you think Dawson belongs with Joey in a platonic, friends soulmates sense and Pacey in the romantic soulmate way?

Stupin: In my heart of hearts, I think we ended it the right away. I think that what she did have in the romance with Pacey was as powerful as the friendship with Dawson. And I think that we were able to come up with a sense of satisfying closure for both of them. ‘Cause I will tell you, weirdly enough, when I was looking at The Sopranos–I’ll weirdly liken it to the conclusion of The Sopranos, at least from my weird perspective, because I was a fan of that. I like to think, in my mind, that Tony Soprano is still out there–maybe it wasn’t going to last forever, but maybe he’s still out there with his family, still dealing with the issues and still dealing with all the balls he was juggling. And in my mind, I like to think that Dawson and Joey are still out there in our alternate TV universe, still communicating with each other and still sharing the inner-most aspects of their hearts and still dealing with their friendship as adults, and that Joey and Pacey still have that romance. Because I feel like what we were able to come up with was, for me, an emotionally-satisfying conclusion for both stories which doesn’t let anyone down. And I know there are people who think Dawson and Joey should’ve been together romantically and I totally understand that point of view but I think we did the right thing.

TDW: Well, as a Joey and Pacey fan, I completely agree with you!

Stupin: Well, I can tell you this: that decision wasn’t made until the last hour was being shot and so if you look at the first hour of that final two-hour, I think at that point we were leaning toward her ending up with Dawson and so there are a few, I think, little cues–for the life of me I don’t remember exactly–that were set up to lead us in that direction and then, frankly, in the last hour, when the last hour was being shot–because it wasn’t shot as a two-hour; it was shot as two separate 1-hours–that when we came up with that conclusion, it caused us to shift things around a little bit. So I’ll tell ya, we were undecided up until the very last minute ourselves.

TDW: Wow. Well, switching gears slightly, you spoke about Dawson and the way he would communicate with Joey. Going off that, both Kevin Williamson and James Van Der Beek are on Twitter these days. I was wondering, had the service existed when the show was on the air, how do you think Dawson would’ve used it, if he would’ve used it? As I said, They’re both on it now, and Dawson was very much a storyteller.

Stupin: Well, I think Dawson might’ve used it to express his emotions. I think he might’ve used it as a shorthand way of communicating with both Joey and Pacey. It’s certainly easier to communicate things to someone by Twitter than it is necessarily in real life. He might’ve, at some point in our storytelling, he might’ve used it to express something that he might not have been so willing to express in person.

TDW: When you look back on the show and the television landscape then and now, what do you think the show’s legacy is?

Stupin: You know, I think for me it’s–well, first of all, I’m so proud of the show. I think the characters were amazing. I think their stories were amazing. I think the quality of the writing, the quality of the direction was–of course I’m biased but I think it was just top-flight. And I really do think it took the young adult teen genre and elevated it from just a niche kind of show to something universal and iconic. I think adults could look at it. When we were doing it we never looked at it as just a teen show.  We looked at it as just a smart, interesting, relationship show that happened to deal with teenagers and though our core audience was teenagers, it was written for everybody, for people in their 20s, their 30s, their 40s. And I really think it managed to transcend all of that and bring an element of quality and exploration to the genre that really took it to the next step.

TDW: Do you have a favorite episode or storyline?

Stupin: You know, I’m so biased. It’s like trying to pick if you have 120 kids which one’s your favorite. But I think for me there are certain sort of moments that I love. There’s certain episodes, like the pilot because it introduced us to that world, and I remember so much of it almost like it was yesterday. The first season-ender when Joey went to visit her dad in prison, I loved that. I loved the detention episode [Episode 1.07, Detention]. A lot of them are some of the original ones. But then I think I love the episode when they graduated high school [Episode 4.22, The Graduate]. I thought that was just sensational. I love the one-hour ender as well as the two-hour series finale ender. I think there’s so many. The episode where they studied and it was an all-nighter [Episode 2.07, The All-Nighter]. The episode where Joey had to enter the beauty pageant [Episode 1.12, Beauty Contest]. I just love all of those.

TDW: Well, conversely, do you have a big regret or something you wish you did differently?

Stupin: Yeah. My biggest regret would probably be, as I think about it–and it was a mistake we made–was the character of Eve. Remember that character?

TDW: Yeah. You guys even have a joke about that in the episode before the series finale.

Stupin: Yeah. I don’t think the first episodes of season 3 really were as memorable as the other episodes. And I think that whole notion of “Is she Jen’s sister? Is she not?”–I don’t think that was that effective. I don’t look back on that run of episodes as my favorites.

TDW: Yeah, I think the fans do agree with that.

Stupin: Yeah, but you know what, we turn it around.  In the middle of that season we turned it around with–

TDW: With Joey and Pacey.

Stupin: Yeah, with Joey and Pacey. And that certainly helped get us back, I think, to our roots.

TDW: Going more to your history, I know you played a bit of a role with the creation of Beverly Hills 90210.

Stupin: Yes, I did.

TDW: What influence, if any, did that show have on Dawson‘s Creek?  If you learned anything from how viewers took to what was really the first teenage show, as Dawson’s Creek is largely considered the next step in the genre.

Stupin: Well, two things. And it’s an interesting question. The first thing: when I hired Darren Star to write 90210, I felt as if his voice was just so unique in terms of his ability to write characters and come up with dialogue and wit that seemed like it would be a particularly good fit if he put into teenager characters’ mouths. So in a way I think that when I read Kevin’s voice, I felt some of it was the same in terms of being clever and sharp and smart and pop culturally-savvy. I felt like I had found another voice who was capable of taking the genre to the next step. So I felt like both Kevin and Darren brought originally a really unique sense of humor and sharpness to their creation of characters and dialogue. So I think there was a similarity there. The one issue that I took away from 90210, that was very effective in 90210, was the mix of issue-oriented episodes and personal inter-relationships. Though, when we jumped into Dawson’s, we veered away from doing the issue-oriented episodes and explored further just all of the great inter-relationships.

TDW: Going further ahead to the rest of the genre and the teen dramas that are on today, do you think Dawson’s Creek influenced them?

Stupin: I’m sure it did, though I can’t say–you know, again, I’m biased. I don’t know. In my mind, I’m undecided as to what the next real step in the genre is after Dawson’s. I’m not sure what it is. I haven’t watched enough of the shows. I hold, of course again I’m so biased, but I hold everything up to the prism of Dawson’s. I don’t know if any of them that have come since have quite represented that cultural milestone that Dawson’s did.

TDW: Do you think Dawson’s Creek would fly on The CW today? Because it’s so different than what The WB was.

Stupin: Yeah. I’m not sure. I’ve often thought would I be able to sell Dawson’s today? Would I be able to pitch that as a series and get it going, and I’m not altogether sure. Because now, when you look at Dawson’s, we sold it off the strength of the characters and off of the strength of Kevin’s voice being so fresh. Now, I think that the networks are looking for slightly higher concepts. So I’m not altogether sure that a Dawson’s would be able to sell today.

TDW: I have to ask, then, why do you think the 90210 spin-off sold?

Stupin: Oh, I see, are you talking about bringing able to bring it back, for instance?

TDW: Well, no, not for it to be a spin-off. But the 90210 concept today is working.

Stupin: Well, I think the 90210 concept–everyone, myself included, has fondness for that original show. The thought of sort of putting two new outsiders into that world and bringing the  show back is a great way to hook people into a whole new group of characters, and I think it was a great idea. The thing with Dawson’s is I don’t know if bringing the world of Dawson’s Creek back with a bunch of new characters would generate quite the excitement. Because I think when you think about the show, you think about Dawson and you think about the very unique 3 characters, the 4 characters we had, and the actors that played them. And I’m not sure if it was brought back again–I certainly wouldn’t want to redo it with a new Dawson or a new Pacey. So the question would be could we go back to Capeside with a whole new group of characters, and I’m not sure we would be able to put together a new group of people as memorably as we did originally.

TDW: Right. You know, they say lightening strikes once.

Stupin: Right. And you know, I’m afraid you always run the risk of–when you make a sequel to a movie that’s not as good, it kind of reflects negatively on the original movie.

TDW: I completely agree.

Stupin: And I like to think of all our episodes as being so special, I’m not sure it’s something you could bring back.

TDW: Well, my biggest disappointment right now is that Dawson’s Creek is no longer on any channel in America.

Stupin: Really? You know, they gotta get on that! Wasn’t it running like forever in the early morning hours?

TDW: It used to be on TBS. When I was in high school, it used to be on at like 10am. And then they pushed it to 4:30am, 5:30am and then it just faded away there and now it’s not on at all.

Stupin: I’m not sure what the design is on that because I always like to know that Dawson’s is out there.

TDW: I know, I know. It saddens me that it’s just not in repeats anywhere anymore in this country.

Stupin: You know what, those things tend to be cyclical. Maybe in the future you’ll be channel surfing one night. Knowing you, you’ll know way before then but maybe you’ll be pleasantly surprised.

TDW: Fingers crossed.

Stupin: Exactly.

TDW: Well, let’s bring it back and finish on today. You’re with Make It Or Break It on ABC Family. Just looking at your career over the years, what is it about Make It or Break It that you’re here now?

Stupin: Well, what I love about Make It Or Break It is I’m a big fan of the genre, having originally developed 90210 and then developed Dawson’s. When I left to become a producer, I never really thought that my first real success would be in the same genre as 90210 because I actually never thought that lightning would strike twice in that genre for me as quickly as it did. But after I ran Dawson’s, you know, for six years, I developed a real love for the genre. And the thing that I love about Make It or Break It is the idea. It’s a fresh idea, it’s a fresh world. And it provides a pretty unique prism in which to explore sort of teenage relationships in a really unusual way. I mean, these girls aren’t normal teenagers. They’re elite gymnasts and there are rules against relationships as they’re pursuing their passion. How do they deal with that? And how do we deal with the same elements of teenage love and relationships and heartbreak but from a whole different perspective? And I love that about it, and I also love the relationships between the main characters and their parents and their parental figures. I think they’re a really organic element to the show and give us an opportunity to deal with really unusual family situations as well. So that’s why I love it. And also the gymnastics is just really cool. It’s a lot of fun just to see the gymnastics.

TDW: Oh, the gymnastics is just phenomenal to watch.

Stupin: So I think that Make It Or Break It is just such a special show. We’ve done 10 episodes and I think it’s just starting to get its sea legs. I think it has a huge successful life in front of it, I hope.

TDW: Well, best of luck to you on that!

Stupin: Thank you!

Come back next Sunday for another exclusive interview!

TDW Interview Index








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