Spoiler: Mega Buzz

27 01 2010


Got any more details on Madchen Amick’s role as Mac’s new love interest on CSI: NY? — Clarisse
As a matter of fact I do. “[She and Mac] will bump into each other, literally,” executive producer Pam Veasey tells me. “She is a hospital ER doctor, and we will visit her workplace many times.” Look for Mac’s first visit to the hospital to take place on March 10.

What crazy things will Phil do next on Modern Family? — Amy
Last week Julie Bowen teased some sexytime between Claire and Phil, but she tells us there might be one obstacle: Facebook. “My husband has ex-girlfriends who get in touch with him and I have ex-boyfriends that get in touch with me, and we laugh about it. This being Modern Family though, it’s going to take a twist for the worse,” she says. That twist is the always enjoyable Judy Greer, who pops in to play Phil’s unstable ex. This reminds me of that time that I reconnected with that girl from the gym who taught me how to stretch. Oh wait, that wasn’t Facebook. Never mind!

I’m thinking about dropping 90210 from my TiVo lineup. Say something to stop me from doing so. — Alexa
If you were unhappy with the mix of story lines in the fall episodes, imagine putting them all in a blender, leaving the cover off and hitting pulse a few times. Sure, some of your West Bev smoothie will spill out the top (never to be heard from again), but what’s left inside the blender will recombine familiar ingredients in new and interesting ways. The romantics in the hizzy might enjoy the unexpected pairings planned for the spring run.

I can’t believe Damages killed Tom! Any more bombshells coming? — Katelyn
Boy, are there! Look for two juicy reveals in the next episode, which present possible motives for Tom’s murder. The first causes Tom to take a personal interest in the Tobin case and may also lead to the second. “Ellen starts to help me out in my quest [for revenge],” Tate Donovan tells me, “and things start to develop in a complicated, interesting way. That’s all I’m going to say.”

Credit: TVGuide.com



Madchen Amick played Catherine on Gossip Girl and Nicole on Dawson’s Creek.

Julie Bowen played Aunt Gwen on Dawson’s Creek.

Tate Donovan played Jimmy on The O.C.

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

26 01 2010
  • Last night’s One Tree Hill (2.2 million viewers rounded up) stayed the same in the ratings compared to last week. (Life Unexpected dropped quite a bit from 2.8 to 2.2.)
  • Be sure to check out The CW’s site for all the new One Tree Hill video content this week.
  • The PopEater interview with Robert Buckley (Clay, One Tree Hill) mentioned yesterday is now posted.
  • Star News has an interview with Mike Grubbs (Grubbs, One Tree Hill).
  • The new One Tree Hill Connection podcast has an interview with Scott Holroyd (David, One Tree Hill).
  • PEOPLE.com has a short article on the new season of Tori & Dean: Home Sweet Hollywood, starring Tori Spelling (Donna, Beverly Hills 90210)
  • John Eisendrath (executive producer, Beverly Hills 90210) wrote the script for a pilot called Justice, which was just picked up by NBC. Eisendrath will executive produce the show.
  • Jacksonville.com has an article suggesting Beverly Hills 90210 fashion (aka 90s fashion) will become big again this decade just as 80s fashion was big the last 10 years.
  • Kristin is hoping for a Gossip Girl-Vampire Diaries cross-over, with Leighton Meester (Blair) appearing on TVD and TVD star Nina Dobrev appearing on GG.
  • The Wrap has an exclusive clip from Twelve, starring Chace Crawford (Nate, Gossip Girl).
  • The comedy pilot Josh Schwartz (creator, Gossip Girl; creator, The O.C.) is doing, called Hitched, was picked up by CBS.
  • Wonderland, the production company responsible for The O.C., which is run by McG (executive producer, The O.C.), is making a web-based spin-off for Supernatural called Ghostfacers. McG will also executive produce.
  • PopEater has an interview with Kerr Smith (Jack, Dawson’s Creek).
  • EW.com has an article about the film Blue Valentine, which stars Michelle Williams (Jen, Dawson’s Creek) and premiered at Sundance.
  • MTV has a short interview with Williams about the film.
  • Jensen Ackles (C.J., Dawson’s Creek) confirmed he isn’t on Twitter. Thanks to Vida for the info!

From The CW…

26 01 2010

OMG Moment of the Week

Happy Birthday Paul Johansson!

26 01 2010

Johansson (Dan, One Tree Hill; John, Beverly Hills 90210) turns 46 today!

In recent years we’ve become more used to seeing Johansson on OTH so I figured we could celebrate with one of his classic 90210 scenes.

And that episode was directed by Michael Lange!

Spoiler: Watch With Kristin

26 01 2010


As you probably know by now, Gossip Girl‘s Chuck and Blair are going to be going through a rough patch caused by Chuck.

So what does Chuck do to Blair that leads to the crisis? Is it true that a fling with Jenny Humphrey is involved? Get the exclusive scoop on that.

Patricia in Boston: At first I was just sad about the Chuck-Blair breakup news, but now I am freaking the hell out. Is it true that the horrible thing Chuck does is sleep with Jenny Humphrey? I’ll never watch Gossip Girl again if that’s what happens!
Well, don’t delete that Gossip Girl season pass from your TiVo just yet, because sources assure us that this particular rumor is totally false. So, while we can’t tell you yet what bad thing Chuck does do, we can assure that you, no, Chuck does not sleep with Jenny. Whew.

Lauren in New York City: I’m so sad about Chuck and Blair breaking up on Gossip Girl! Anything new on that?
Ed Westwick
himself says of Gossip Girl‘s upcoming storylines, “It all gets set on its side. Everything goes upside down. Things are going to get even more dramatic than they always are.” And Gossip boss Josh Schwartz tweeted, “Trust. #ChuckandBlair.” Believe the man. Josh is the one who made Chuck and Blair so awesome in the first place, and he wouldn’t be breaking them up unless it was part of a greater plan, right?

Chloe in Grand Island, Neb.: I approve of the casting of Billy Baldwin (although John Slattery would have been ideal) as Serena’s dad on Gossip Girl, but I now have to know before I get too excited. Is Daddy van der Woodsen completely evil, or does he have any redeeming qualities?
We’re told we’ll see that William van der Woodsen does want to get back into Serena and Eric’s life on Gossip Girl. That doesn’t mean he’s a pure good guy—his motives for seeing them could be totally dark side—but at least he’s no longer totally dissing his own children.

Hope in Worcester, Mass.: Please give me some One Tree Hill scoop!
We see Sarah, Clay’s (Robert Buckley) dead wife again—but she won’t be Sarah. (Dun dun dunnnnn…)

Phil in Nevada: What’s happening when Melrose Place returns?
Colin Egglesfield
and Ashlee Simpson-Wentz only have one episode left, then Nick Zano joins the cast to stir things up. At the GBK Golden Globes gift lounge, Michael Rady told us he’s looking forward to the newbie. “We’re pals, and then…” he teased about Jonah and Nick’s character before stopping himself. “I don’t want to get in trouble, but the murder mystery is out, and that gets filled in with original Melrose, L.A. fun.” That said, insiders tell me that unlike 90210, which is trending toward the new kids, Melrose will be splitting its attention between the youngsters and the old guard likes of Amanda, Michael Mancini and dead Sydney.

Credit: E! Online

We already know Amanda Schull (Sara) will be back.

Laura Leighton (Sophie, Beverly Hills 90210) plays Sydney on Melrose Place.

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

25 01 2010
  • E! Online has a brief interview with Jessica Stroup (Silver, 90210) about Jennie Garth (Kelly, Beverly Hills 90210) and Trevor Donovan (Teddy, 90210).
  • The CW Source has a podcast on last week’s One Tree Hill.
  • PopEater has an interview with Robert Buckley (Clay, One Tree Hill) but it’s not on their site yet. Thankfully, an excerpt has been posted on Geekweek.com
  • Chace Crawford (Nate, Gossip Girl) will voice a character on Sunday’s episode of Family Guy. Coincidentally that same night, I’ve planned to post another instance of Family Guy and our teen dramas colliding. (I’ve posted some already.)
  • Joanna Garcia (Bree, Gossip Girl) will star in an untitled pilot for ABC.
  • EW.com has a great interview with Kerr Smith (Jack, Dawson’s Creek). Lots of DC stuff.
  • Korbi has a short video interview with Smith about Life Unexpected. TVGuideMagazine.com has an even shorter one.
  • Sasha Alexander (Gretchen, Dawson’s Creek) and Jordan Bridges (Oliver, Dawson’s Creek) will both be starring in a new TNT show, Rizzoli & Isles.
  • Just found this fabulous interview with Josh Schwartz (creator, The O.C.) that covers a ridiculously awesome amount of information about the show.

Live-Blog: One Tree Hill 7.14

25 01 2010

Last Week’s Live-Blog

Keep refreshing this page throughout the show for plot developments, quotes and commentary.

EPISODE 7.14: Family Affair

  • Previously on: Millie gets arrested for DWI, Victoria gives her a job, Julian tells Alex he is funding the movie because he believes in her, Brooke can’t get past him and Alex, Julian breaks up with her saying they need to work on themselves, Taylor and David are dating
  • Haley is making lots of noise to wake up Taylor and David
  • She says she dreamt she found out about them and then killed them.
  • Nathan says he dreamt the same but Haley was mature about it.
  • Q1:  Good morning slut.–Haley to Taylor
  • Taylor is surprised Haley is upset. They banter back and forth.
  • She makes a joke about Nathan already seeing her in skanky pajamas.
  • Q2: “Are you going to say something?” “I love you?”–Haley and Nathan
  • Nathan takes Jamie and leaves. He said something about a videogame shoot, whatever that means.
  • Julian tells his dad he is using LUCAS’ house for the movie he’s making with Alex. They are in it right now!
  • Apparently Lucas is letting him. This is crazy!
  • Alex is in the living room talking to the director.
  • Julian’s dad is concerned about Alex working on the movie.
  • Alex is dressed very skanky, which doesn’t help Julian’s case. Apparently she’s also starring in it.
  • Julian says the person he wanted for costumes didn’t work out.
  • Brooke is moping with a box of Julian’s stuff.
  • She tells Victoria they broke up the night before.
  • Grease 2 is in the box. Love it!
  • Brooke says she wants to bring it to him but she’s nervous and doesn’t want to see Alex.
  • Victoria says she’ll take care of it since…
  • Q3: There’s no need for unnecessary drama.–Victoria
  • Victoria tells Brooke that Millie is working for them again.
  • Can’t tell if Brooke looks surprised or POed.
  • Mouth is looking at the mess in his apartment.
  • Did he sleep on the couch last night? Or maybe in Skills’ room?
  • Millie promises to clean it up.
  • He says he’s just worried about her.
  • She’s says she’s not okay but she’s trying.
  • He asks about rehab and she says she’s thought about going back.
  • He offers to help and she asks how long he’s staying.
  • He’s just here for a day or 2 but will be here when she gets home.
  • Q4: That helps.–Millie
  • Haley tells Taylor her relationship is a sick joke.
  • Taylor says David is a good guy and Quinn couldn’t see it.
  • Haley gives David an attitude, too.
  • Taylor and David plan on cooking dinner for everyone. She says Quinn already agreed to it.
  • Q5: “David, how can you do this to Quinn?” “It’s no different than what she did to me.”–Haley and David
  • Quinn is with Clay and says she told David they slept together. Um, okay.
  • Clay is confused on why she wants him to come to dinner.
  • Quinn explains Taylor has always tried to steal her boyfriends.
  • Clay asks if she’s bothered by all of this, since it’s worse now, but she says she’s not as bothered by that as she is by the girl in a bikini swimming in his pool.
  • I believe it’s Kylie, from the Body Axe commercial.
  • Nathan is playing basketball in an interactive studio. They are putting him in a videogame.
  • This is actually pretty cool. He is in a black catsuit with round things stuck to him.
  • Clay and Jamie are watching.
  • Q6: “You look good covered in balls.” “Now I know how Taylor feels.”–Clay and Nathan
  • Clay says he’s not going to the dinner. He adds that Quinn’s more upset about Kylie.
  • Quinn tells Haley about Kylie.
  • Haley is surprised she isn’t upset about Taylor and David.
  • Quinn says David is right to be upset with her and he deserves to be happy, just like she is with Clay.
  • Alexander is asking Brooke how she’s holding up today.
  • So I guess they did just talk last night.
  • Brooke shows him a sketch. I guess it’s supposed to be Julian.
  • Q7: Clothes over psychos. Coming this fall to prisons everywhere.–Alexander
  • Millie says hi to Brooke but she doesn’t say anything.
  • Alexander introduces himself.
  • Millie asks if she needs anything and Brooke reminds her that she works for Victoria.
  • Millie looks hurt and walks away.
  • Alexander calls Brooke a mean boss. Victoria overhears.
  • Mouth is cleaning up the apartment when Lauren shows up.
  • She says Skills told her he was in town so she came to say hi.
  • She offers to help Mouth clean.
  • Nathan tells Jamie that sometimes friends fight (I guess he and Chuck were fighting; it’s not clear) but then they make up. Like Taylor and mom.
  • Haley then steals all the pots so Taylor can’t cook dinner!
  • Nathan tells Jamie to play upstairs tonight with Chuck.
  • The director asks Julian where Alex is.
  • Q8: Have you checked your hand? It’s usually on her ass?–Julian
  • They are now in the office and it looks a lot like the office Julian and Lucas and Dixon used for their movie.
  • The director says it’s no fun working on a movie with Alex Dupre if you can’t sleep with her.
  • So is this director Dixon version 2.0 or something?! (And if you recall, Dixon had like 3 names: Adam, Reese and Dixon. What was first, last or middle, I still don’t know!)
  • Alexander brings Julian his box of stuff. He apologizes and leaves.
  • Julian looks sad.
  • I wonder if Victoria sent Alexander on purpose, to send Julian a message.
  • Someone on Twitter just said this new director is one of the ones we saw when Julian and Lucas were looking at directors. He was the one who wanted to show Lucas living in a trailer. I recall that happening but I’m not sure if this is the same dude. Maybe it is. Would be kind of clever.
  • Julian comes into CoB and tells Brooke that he doesn’t appreciate her sending his “boy toy” to give him stuff.
  • She says she didn’t appreciate him breaking up with her.
  • Julian says it was needed and Brooke said she just needed space.
  • He says she got what she wanted and leaves.
  • So they break up and we still have the back and forth!
  • Quinn is lounging in Clay’s pool, making a point about Kylie.
  • Clay apologizes to her and says Quinn doesn’t seem to know who he is.
  • She says it’s okay. She knows that was the old version of him.
  • He says she can count on him and he’s coming to dinner.
  • He takes off his jacket and does a cannonball.
  • Haley is snacking to spoil her appetite.
  • Nathan admits dinner is a bad idea.
  • Haley says she only agreed because Taylor and Quinn already agreed so she didn’t really have  a choice.
  • Brooke shows up after Haley throws Taylor’s potatoes in the trash.
  • Q9: I was just feeling a little lost so I thought I’d come visit the most stable couple I know.–Brooke
  • It’s supposed to be funny because they (or at least Haley) aren’t looking so stable right now.
  • Mouth tells Lauren he left town because he thought the distance would help him with Millie.
  • He says she was out of sight but not out of mind.
  • Brooke agrees with Haley that Taylor is wrong.
  • Haley says Julian obviously cares for her because he is staying in Tree Hill when his movie could be made anywhere.
  • She says she and Julian are good together and they’ll work things out.
  • They talk some more and I freakin’ love it. More Baley, please!
  • Brooke makes a joke about Haley being in jail more than anyone she knows. They could call her Jaley. Haley says she hates her name. LOL
  • Q10: Enjoy your last supper, Judas.–Brooke to Taylor
  • The director is yelling at Alex.
  • Julian interrupts and Alex tells him the director is sexually harassing her. She thinks he’s trying to get her off the film.
  • He tells the director to be nicer to her. Alex looks happy.
  • Chuck comes over and he’s eager to see the early copy of Nathan’s videogame.
  • Nathan asks Haley if she’s going to be civil.
  • Q11: We weathered Dan’s crap for years. This should be easy.–Nathan
  • Clay and Quinn arrive.
  • Q12: “You must be Quinn’s boyfriend.” “And you must be her crazy sister.”–Taylor and Clay
  • Alex is doing a reading and the director calls her awful.
  • He tells Alex she can’t do anything right. He sees her scars…
  • Q13: Cut deeper next time.–Peter, the director.
  • Alex runs off crying.
  • Julian punches the director and tells the crew that he’s fired.
  • Wow. That had to be the meanest thing that guy could say, no?
  • Haley joins everyone at dinner and Taylor asks to say grace.
  • Q14: “You’re religious now?” “I have been calling out God’s name a lot lately.”–Haley and Taylor
  • David laughs.
  • Taylor says grace and praises David, including his home theater. A dig at Quinn, if you recall from 7.07.
  • Alex thanks Julian for sticking up for her. She says no one thinks she can do this movie.
  • Julian asks since when she does she care what others think.
  • Um, she’s always cared! That’s how she got to this point!
  • She says she’s worried about screwing up and looks at his scars.
  • Julian says she won’t and she should have faith.
  • Taylor and David are making out during dinner.
  • Quinn asks how they got together.
  • David walked into Taylor’s stripper aerobics class. LOL
  • She gave him a private sessions later.
  • Q15: And the rest, as they say, is sex.–Taylor
  • Quinn says she’s happy for them.
  • Haley calls Taylor and David out for being so insensitive.
  • David says that Quinn is the whore for sleeping with Clay while they were still married.
  • Quinn admits she lied. They never slept together.
  • David walks away and Quinn follows.
  • Q16: “Yes, Nate, I would love another beer.” “Good idea.”–Clay and Nathan
  • David asks how she could lie to him.
  • She said she had to because it’s the only way he would move on.
  • David says she can say whatever she wants about Taylor but at least Taylor is honest.
  • Nathan is surprised Clay hasn’t slept with Quinn yet but he points out he really likes her.
  • Brooke asks Victoria why she sent Alexander to give Julian his stuff and what happened to avoiding unnecessary drama.
  • Victoria says that drama was necessary but now she’ll keep out of it.
  • Victoria changes the subject to Brooke shutting Millie out.
  • She points out Millie was there when Brooke needed her, especially through their mother-daughter problems, and now Millie needs a friend.
  • Brooke says if Millie wants a friend, she has Victoria.
  • Taylor is still making snide comments at dinner. Clay and David aren’t helping, though.
  • Taylor tells makes a joke about Haley eating food and instantly getting fat and Haley says…
  • Q17: Your lip is about to get fat.–Haley
  • Nathan says he can’t take any more and goes upstairs to the kids.
  • Chuck is saying Nathan–in the game–sucks and Nathan is shocked to see how poorly his character is doing.
  • Nathan takes over and does well and Chuck is embarrassed.
  • Julian’s dad comes into the office, saying he heard what happened with the director.
  • He says Julian is moving backwards as a producer and all he has is an unreliable, uninsurable actress.
  • He reminds Julian they invested a lot in the movie and he needs to fix it.
  • Chuck is trying to beat Nathan in the game and is getting frustrated.
  • Nathan is a little over the top but it’s kind of funny.
  • Haley asks when he’s done being mature, if they can talk. LOL
  • Haley asks him to talk to David and help him realize he’s wrong.
  • He says he will.
  • Chuck tells Jamie his family is lame.
  • Clay approaches Quinn outside.
  • She says she shouldn’t have lied to David.
  • He tells her not to beat herself up and everyone does things they regret.
  • Q18: It’s just hard when our past starts swimming in our pools and cooking us dinner.–Quinn
  • Nate asks David if he knows how messed up this is.
  • David starts to say he was trying to show Quinn up but he realizes it is messed up.
  • Nathan admits he doesn’t like how Quinn is handling things either.
  • Cut to Clay telling Quinn she’s handling it better than he would’ve.
  • She thanks him for being there and he says she’s ready to go at any time.
  • Nathan asks if David is serious about Taylor.
  • He says they have fun together and he’s the first person to make him smile in a long time.
  • Q19: Just make sure you’re with her for the right reasons and not because she reminds you of her sister.–Nathan
  • Nathan says they’re cool but if Haley asks, he yelled at him.
  • Mouth thanks Lauren for help cleaning.
  • She admits she’s been lonely.
  • Mouth says he knows what it’s like because he only knows Skills in L.A.
  • He tells Lauren Skills misses her and he knows being alone sucks.
  • Julian is at CoB and they apologize about their fight that morning.
  • Brooke admits she should’ve brought the box to him herself but she knew it would be too hard.
  • He says that’s why it’s difficult for him to ask her to work on the movie but he needs her.
  • Brooke points out they just broke up.
  • He says she’s the only one he trusts and he needs the best for the movie.
  • She says she doesn’t know she can help him.
  • He asks her to think about it.
  • Q20: You don’t even have to look at me if you don’t want to.–Julian
  • Aw, that was cute. He’s still very charming at times.
  • She agrees to think about it.
  • Haley walks outside, still very POed.
  • David apologizes to her and she says say the apology means a lot.
  • Taylor interrupts and says not to apologize because they didn’t do anything wrong.
  • Quinn interrupts and says Taylor has been causing problems their whole life.
  • Q21: When Haley got her first period, you tried to convince her she was dying.–Quinn
  • Quinn names other things Taylor has done wrong to each of them and the family.
  • Taylor points out Haley went after her leftovers first (Nathan).
  • So not the same thing, seeing as Haley didn’t even know about Nathan and Taylor. And it’s not like they really even dated.
  • Haley wants Taylor to admit she’s wrong.
  • They start pushing and shoving and the 3 of them end up fighting in the pool.
  • The O.C. did this in season 1 with Julie and Hailey.
  • Jamie and Chuck are watching from the window.
  • Chuck now says his family is cool and he has 5 bucks on Haley. LOL
  • Now the girls are sitting on the side of the pool and Haley and Taylor continue to fight.
  • Haley says if she kills Taylor, it’s one less person to send a Christmas card to.
  • Taylor says that’s good because she doesn’t need anymore pictures of Jamie dressed as an Elf.
  • LOL. I would love to see that!
  • Quinn yells at them to stop fighting.
  • She says if Taylor is going to keep pretending she likes David, she has to be careful not to hurt him.
  • Taylor points out Quinn hurt him first.
  • Quinn admits that.
  • Taylor says she’s not pretending and Quinn says fine.
  • Haley yells, with tears, saying this is not fine.
  • She is clearly harboring residual resentment from the Nathan stuff and whatever happened when they were kids. It’s hard to understand because we didn’t the latter.
  • Q22: I want you to admit that you’re a bitch.–Haley
  • Taylor starts cry but admits it.
  • Nathan looks outside and says they’re not fighting anymore.
  • Clay says maybe that means they can work through their differences and David says not a chance.
  • Millie comes into the store and Brooke asks how she is.
  • She says Mouth came back and Brooke says that’s great but it must be hard to see him.
  • It’s clear how much Brooke is trying.
  • Q23: It was harder not seeing you.–Millie
  • Was it really? What does that say about her relationship with Mouth?
  • Millie tears up and turns to leave.
  • Brooke asks her to stay and help. Millie says thanks.
  • Quinn asks David if he’s leaving and he says he never should’ve come.
  • She says she never should’ve lied but she just wanted him to be happy.
  • He says he’s getting there and Quinn says she is happy. Well, that probably isn’t going to help David get there any faster!
  • She hands David her engagement ring.
  • Q24: Maybe just don’t give it to Taylor.–Quinn
  • What about the wedding band? Odd to give one back. Or any back, really.
  • She apologizes and David says it’s okay.
  • I feel closure there now between them. Thank god.
  • No closure with the girls, that’s for sure.
  • Millie comes home and sees the clean apartment. She tells Mouth he didn’t have to do it.
  • He says she doesn’t need to live like this—and he’s staying for a while because she shouldn’t have to be alone.
  • Brooke walks on to the film back-lot (clearly their real back-lot).
  • She asks if he really thinks she’s the best at this job.
  • He says she is.
  • She says if that’s true, she has to do it because it wouldn’t be fair otherwise.
  • He says she starts as soon as he hires a director.
  • She jokes about him not having anyone to work on the film but wants her so badly.
  • He explains that he had an issue with the director.
  • She says she knows a great guy who has always wanted to direct his own film.
  • Q25: I’m thinking someone whose names rhymes with Smulian.–Brooke
  • He laughs and says he doesn’t think his dad will go for it.
  • She says if he doesn’t get to direct, she may not do the costumes.
  • Q26: ‘Cause, PS, that’s now the deal.–Brooke
  • Aw, see, she can still be charming, too!
  • She says his people should call her people and leaves.
  • That was too cute.
  • There is still so much there. That makes it worth it.
  • Clay and Quinn get to his house.
  • Someone hands him new keys and he gives Quinn a key, saying she’s the only other person who has one.
  • It’s to show how important she is to him.
  • He says he’s lucky he found a locksmith on such short notice.
  • Q27: “You’re about to get even luckier.” “Finally. Can we tell everyone at the next dinner?”–Quinn and Clay
  • Julian goes to see his dad. His dad says he has a list of directors.
  • Julian says he wants to direct. He knows the movie, he knows Alex and he knows his dad can keep him in line.
  • His dad rips up the list.
  • Q28: You were at the top of the list.–John, his dad
  • That was sweet, too.
  • Haley is getting into bed and says she’s happy the day is over.
  • Nathan says the day was good–the drama wasn’t about them. No psycho girls, no contract issues, no Dan problems.
  • Haley realizes it was indeed a good day for them.
  • Nathan starts laughing as she cuddles up to him.
  • Q29: “Your family is crazy.” “Whatever. What time does Scott-Free come on?” “Oh, nice.”–Nathan and Haley
  • Fade to black. Good ending. Good episode.
  • Preview: Haley tells Julian about a fundraiser dance at Tree Hill High that Haley and Quinn organized. Alex asks Julian who his favorite director is. He says John Hughes. Cheap Trick performs. Nathan and Clay are on the back of a truck. Haley, in a knock-off Molly Ringwald in Sixteen Candles, says, “I can’t believe they forgot my birthday.”

Those are my thoughts! What’s yours?

News Roundup: Gossip Girl, One Tree Hill and Dawson’s Creek

24 01 2010
  • The Times Online has a feature on Taylor Momsen (Jenny, Gossip Girl).
  • Ryan Reynolds did an interview about his Green Lantern co-star, Blake Lively (Serena, Gossip Girl).
  • Billy Baldwin (William, Gossip Girl) did an interview (with his brother Alec, incidentally) about playing father to Lively on GG.
  • Examiner.com and TVGuide.com have interviews with Shantel VanSanten (Quinn, One Tree Hill). The second one has spoilers.
  • Jeffrey Stepakoff (writer, Dawson’s Creek) has a novel coming out called Fireworks Over Toccoa.
  • Jane Lynch (Mrs. Witter, Dawson’s Creek) is included in a Glee: Then & Now photogallery and the “then” for Lynch is her 1-episode role on DC.

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

Happy Birthday Mischa Barton!

24 01 2010

Barton (Marissa, The O.C.) turns 24 today!

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