The CW Upfront Videos

22 05 2010

Below are some videos I took outside and inside The CW upfront.

Truth be told, I don’t know if I was allowed to do this. I guess it was technically a private event, even though all the information given out was free to be printed by the media. There also wasn’t any announcement that no recording devices could be used and plenty of people had their digital cameras and cell phones out at varying points. Still, I won’t be surprised if YouTube pulls these down for copyright violations. And If The CW asks me to take them down, I will oblige.

Bottom line: watch while you can.

Come back Sunday for (extremely) brief, exclusive videos with Zuzanna Szadkowski (Dorota, Gossip Girl), Life Unexpected’s Kerr Smith (Jack, Dawson’s Creek) and Hellcats’ Matt Barr (Ian “Psycho Derek” Banks, One Tree Hill).

Special thanks to Gina for helping me through some technical difficulties!





News Roundup: Gossip Girl, The O.C., 90210 and Dawson’s Creek

16 04 2010
  • So glad I’m back to contributing Gossip Girl recaps to the Talking Gossip After Dark podcast! Make sure you check it out!
  • This week’s Gossip Girl made TVGuide.com’s list of Top Moments of The Week for the Most Tearful “IDo” with Blair (Leighton Meester, Gossip Girl) telling Chuck (Ed Westwick, Gossip Girl) “this is the end” for them.
  • The Gossip Girl season 3 DVD hasn’t been officially announced yet and there isn’t a release date but you can check out the cover art and pre-order it from Amazon.
  • The Gossip Girl tour of New York City will allow moms to go free Mother’s Day weekend.
  • CNN has their Connector Of The Day video interview with Chace Crawford (Nate, Gossip Girl).
  • PEOPLE.com has a short article on Taylor Momsen (Jenny, Gossip Girl) filming the music video for The Pretty Reckless’ Make Me Wanna Die.
  • Beauty & The Briefcase, starring Hilary Duff (Olivia, Gossip Girl) and Chris Carmack (Luke, The O.C.), will air Sunday night on ABCFamily.
  • Tiffani Amber Thiessen (Valerie, Beverly Hills 90210) filmed a PSA for the World Society for the Protection of Animals.
  • Tori Spelling (Donna, Beverly Hills 90210) will be on The Ellen DeGegeres Show Monday with hubby Dean McDermott. Duff was on today.
  • Shawn Christian (Wayne, Beverly Hills 90210) spoke a little bit about the show in an interview with We Love Soaps. Never knew he was asked to stick around in season 1o! He also discusses being on Summerland, which starred Lori Loughlin (Debbie, 90210), and working with Roger Howarth (Professor Hetson, Dawson’s Creek).
  • Kellan Lutz (George, 90210) is in talks to star in the action flick Deathgames.




News Roundup: Gossip Girl, 90210 and One Tree Hill

30 03 2010




Exclusive: Charles Rosin Talks Beverly Hills 90210, showbizzle and More

14 03 2010

Think the Spellings are the only real-life Beverly Hills 90210 family? Think again. Meet the Rosins: Charles, Karen and their daughter Lindsey.

As you may recall from my previous interview with Charles, he was the executive producer of Beverly Hills 90210 for its first five seasons. Karen wrote nearly 20 episodes between 1991 and 1994 and Lindsey had a memorable cameo in Episode 2.o6, Pass/Not Pass, as a little girl asking Brandon (Jason Priestley) to dance the hukilau at the Beverly Hills Beach Club.

I mentioned in January that my interview with Charles was one of my highlights of TDW Year One. I never dreamed I’d interview him once–let alone twice and this time in person. But that’s exactly what happened in January on a weekday morning in New York City, where Charles, Karen and Lindsey came to promote their new media venture, showbizzle.

Charles and I sat down to talk about showbizzle and, of course, Beverly Hills 90210.

TeenDramaWhore: If you had to give your elevator pitch for showbiz, what would you say?

Charles Rosin: Showbizzle is a digital showcase for emerging talent that combines a webseries called showbizzle with a platform for talent away from the immediate pressures of the marketplace. So it’s two mints in one: it’s a show and it’s a resource for emerging artists. The show is populated by emerging artists and it was really conceived by emerging talents, namely Lindsey Rosin being the first one to be showcased, as the writer and director of the majority of the shows. So that’s the basics of it.

Unlike so many people who do webseries, what they’re hoping is “Oh, everybody loves our webseries and we create so much action and energy, FOX or The CW will find us and want to put us on the air.” We’re not interested in that. If we wanted to do something specifically for broadcast or cable, we would go into the room with those people and say “We think this works for your medium because…” But we like this form, the potential of it, the idea that you can just do what you want to do and not have to go through committees. From a business standpoint, there’s ownership potential that works in the current marketplace.

So the premise of the webseries is that Janey, a young wannabe screenwriter, who is very plugged into the culture of Los Angeles, sits in a coffeehouse in L.A. trying to write her screenplay and looking forward to all her friends who stop by and interrupt her from that. That’s the basic premise of it. What is a lot of fun about it is that for someone like yourself and the audience that you know, that although you meet all these disparate characters doing these short little two-minute snackable, for-the-digital-world kind of stories, you start to realize these characters are related and there is a serialized story. It builds to a serialized place. We’re fans of that. We try to do it with humor and insight and with a lack of snarkiness that is so prevalent in the digital world. We try to do a show that’s engaging.

One of our slogans is, “Just take a little bizzle break.” The one thing about all media, all the shows you cover–and thanks for even thinking about showbizzle in relation to it–is what they really are is diversions. Somehow in the last 20 years, the importance of the television business, the shows that are made, have been thrown so far out of proportion because of the material value of it. But all they are–we have a lot of issues going on the world–is just a little place to get a respite, to get a chuckle or a laugh. One of the things that Lindsey really values is when her friends say, “That happened to me” or “I’ve got a story.” The whole social network aspect came from Lindsey saying, “We should ask our viewers what’s happened to them,” because even though it’s very specific to Hollywood, because that’s where we’re set, at the same time trying to get ahead in life and figuring out what you’re going to do and using every connection you have when you’re kind of an adult but not really an adult, is something [everyone goes through] and we wanted to explore that.

TDW: How did showbizzle start? Who came up with the idea?

Rosin: The origins of showbizzle go back to a day in December in 2005 when Disney announced they were selling Lost on iTunes, which effectively meant the end of the syndication model that financed network television. Producers would make X number of shows and if they had enough, they could sell them to the local stations and other places, and that’s how the revenue would come back to the companies and people would profit from that. Fortunately, I benefited from that twice. Once from [Beverly Hills] 90210 and more recently Dawson’s Creek, which moved into profit because of the syndication of it. But when you sell something prior to syndication, it dilutes the value of the syndication and to do something that as dramatic as to put episodes on iTunes the day they’re running or the day after they run is a fundamental change.

I started thinking about that and how network television was going to be changing. In the spirit of “everything old is new again,” I started thinking about branded entertainment, which goes back to the pre-network era, where with the television of the 50s, companies–Chesterfield Cigarettes, Lucky Strike, Kraft, General Electric–would come in and buy the half-hour or the hour and be totally associated with the show, whether it be variety or comedy or drama. They all had that. That’s how the revenue was derived. I started to think about what company had the resources to do this and is currently not an advertiser on network television. I realized that anyone who was going to put their name above an entertainment project was going to do it and want total ownership and control and then go to a network or then go wherever they want to go.

So I approached Starbucks about a project called Starbucks Presents. We did this in the winter-spring in 2006. We were trying to create a social network for the people who use Starbucks, in store or at home, and program hours of different ways to do things. At the core of it was a daily soap opera about what goes on in a coffee house. Showbizzle is the distillation of that idea. By the way, Starbucks’ response was “Don’t bother us. Come back to us in 5 years. We’re in the music business.” They’re no longer in the music business. They’re still in the coffee business.

TDW: Where does the name come from?

Rosin: Well, we wanted to call it hollybizzle for a while but it was taken. So, showbizzle, not quite show business. And certainly Snoop Dogg is very “fo shizzle” and made my kids laugh. We were sitting around the dinner table–I have two other children besides Lindsey–and we came up with that and said let’s see if that one will work. We like the name quite a bit. It’s friendly and open.

TDW: What is your role on a day-to-day basis? Is this now your full-time gig?

Rosin: I teach at UCLA and I still develop shows. I was very active in the business from the late ‘70s to about 2005. Found my name wasn’t on the lists that I liked anymore and this was a place to do it on my own. The idea to get more sponsorships, provide things for the community–that is where I spend a lot of my time [with showbizzle]. I think like 85, 90 percent of the time I still do other forms of writing and developing other projects as well. I like teaching and I like doing this. If J.J. Abrams called, I’d answer.

TDW: What is Lindsey’s role?

Rosin: I get to refer to her as “the talent.” She’s the writer and director. The other woman who did a lot of writing and directing for the first season is a woman named Arika Mittman and Arika just won a Humanitas Prize for an episode of South of Nowhere that she did. Arika was my assistant on Dawson’s Creek. She’s terrific and very talented and gets along very well with Lindsey. Arika, she’s someone who in a different lifetime would’ve been head of daytime. She plotted the serial a little bit with Lindsey. But Lindsey, I say to her–sometimes to her consternation; it’s a family business and all–anytime she’s involved with the site, it’s better on all levels.

TDW: What has been the response you’re getting from people in the business?

Rosin: I think they admire the effort and realize we’re pioneers. This is not formed. People haven’t done things like this. They always ask, “How are you going to finance this?” and I kind of talk about it but steer away from it a little bit. It’s designed to be branded entertainment and we’re here in New York now to try and find brands. We’re hopeful that we can and we present something that has potential and is different. There’s certain things we did in the first year–we did a lot of monologues; we didn’t emphasize the cinema. We’d like to have a little more production value. Lindsey has a lot of ideas for the second season. We know where to pick up the show and what kind of sponsors we’re looking for. Forms follows function, after all…

TDW: You mentioned finding sponsors. Is that what you did on this trip?

Rosin: One of the most difficult aspects of doing webseries is, whether you’re doing six episodes with friends in your dorm room or if you’re trying to do something to ultimately become a daily habit on the web, is to get the levels of support that you need. When you do branded entertainment, you want to get to brands. Brands have not been oriented to this. So we’re starting to see the change and transition as more and more brands advertise or consider sponsorships and realize that it might be worthwhile to look at certain web series, to brand projects and put their name above the title and all that. It’s a question, though, of “how do you get access to that?” One of the ways is you do something and it goes viral and they come to you and say, “How do you do that?” The other way is to do some work, you put it together, you have more ideas, you go to the brand and say, “With your marketing support, we do A, B, C, D and E” and that’s the method we chose. Creatively, I think showbizzle is somewhere in a middle ground or at least between premium high content and user-generated. We want it have the feel of an independent but be scripted.

There was an event [this week] called Brand In Entertainment, which was an event to meet people who are independent purveyors of content and meet brands and those that are interested in the sector or interested in tipping their toe in. It’s a risk-adverse world, especially after the financial meltdown. It’s all going very slowly. But I had meetings with one or two other people who have access to brands and I wanted to let them know what we’re doing. It was a business-oriented trip.

TDW: You mentioned that you have people who are just starting out in Hollywood playing the characters in the webseries. Is anyone getting “noticed” from it? Any success stories?

Rosin: The thing that’s interesting is remember my original definition: digital showcase, emerging talent away from the immediate career pressures of the marketplace. So really, it’s only about a creative expression. Too much discussion in Hollywood has moved away from any form of creative satisfaction and is only based on business elements. That’s why you always hear about returning an investment and all that. Well, what about creative satisfaction? So the goal of [participating] is not necessarily to further a career but to allow them to perform. We are going to try and accelerate it. We’re going to formally announce soon that we’ll have a rotating group of casting directors as residents and we’ll supply short little monologues and encourage our community to perform them, upload the video and guarantee them that the ones the casting directors like the most, they will comment on them and be on the homepage. You get on the digital showcase. You’re in our community and now you get to be singled out. That might help.

This time last year, a cute little blonde came in and started [working for us], making calls to colleges for outreach. She was really nice. One weekend she told me she had to go to New York. For my class at UCLA, I was putting together a list of what [new] shows [the networks] had ordered so we could [evaluate] them and I saw the girl’s name. It was Brittany Robertson [Lux on Life Unexpected]. She was the girl making our calls. I had Subway sandwiches with her for weeks. I sent her an e-mail and said, “Either you get major kudos or someone has stolen your name!” Now she didn’t perform on showbizzle and I don’t think necessarily that people have seen someone on showbizzle and said, “I need that girl or that guy,” but I think it gives people the confidence to be that girl or that guy.

In the second season we may go after a few names that people know to play little characters. It’ll probably make a difference. Two of the biggest names so far have been Fran Kranz, who was on Dollhouse and was just terrific, and James Eckhouse [Jim], who isn’t in the same demographic. But people can come [to showbizzle] for various reasons. As Lindsey likes to say, they can choose their own adventure. They can focus on getting industry resources or they can focus on the show, they can express themselves, they can take a bizzle break from all the troubles in life.

TDW: What lessons from Beverly Hills 90210 have you been able to apply to showbizzle?

Rosin: The main thing I learned from [executive producer] Aaron Spelling is you make a show for an audience. The audience satisfaction really matters. We continue to adjust to what our audience is looking for, what they say they want. The other thing, which I always like to say, is showbizzle is low-budget production. We were able to do a little content for not very much money but still paid people and all that. 90210 was lower-budget production. We had much less money in the first two or three years than what was there afterward. When we built the college set, that was a big thing for us. We didn’t have big restrictions. The first few years we did. We learned how to do something economically and you learn how someone is paying for all this. Usually that someone is your corporation, whether it’s Disney or Fox or Aaron Spelling. In the case of showbizzle, it’s us. You have to be prudent. Production we were able to handle very well. It’s the digital stuff, the Web site stuff that sometimes spirals out of control.

TDW: I was curious to know if you and Karen were already married when you started working on the 90210 or if the relationship was born out of the show.

Rosin: I met a really cute girl in 1976. We were married a year later in 1977. We’ve been together a long time.

TDW: That is a long time.

Rosin: Yes, we’re very old.

TDW: I know she’s had a career of her own but she wrote close to 20 episodes of Beverly Hills 90210.

Rosin: She wrote the best ones. It was an interesting thing. Mr. Spelling had had a bad taste in his mouth about putting a married team on a show from when he did Dynasty. He never really wanted to let Karen come on the staff and be a permanent part. It allowed her to stay home and raise our kids, which is a great thing but at the same time, she really deserved a lot more recognition as a writer, as a writer-producer, and didn’t really get that from 90210 and I always feel badly about that. But it was circumstances beyond our control. I really love collaborating with her, and I really love collaborating with Lindsey, because you find out with writers, all writers have strengths and all writers have weaknesses. A lot of writers who really excel at dialogue have trouble organizing the story, the scene dynamics. That’s what I do in my sleep. But I’ll struggle over dialogue for hours and hours. So it was a really nice fit with us. One thing I would to say anyone who is starting out and is thinking about collaborating, is that you have to feel whomever you’re collaborating with brings more to the party than you do. You’re not carrying them but you’re benefiting from them. And that’s my relationship with Karen as a writer. Anytime we work together, it gets better.

TDW: I know you did commentary for the earlier seasons of the DVD sets.

Rosin: Karen and I were asked to do it on season 3 and I did an interview for season 4.

TDW: Since season 4, there’s been no extras. We’ve had seasons 5-9 with no extras.

Rosin: Want my opinion? Because there’s nothing to say. The show ended with season 5, in my opinion. Season 5, if you were going to do one, the person you’d need to talk to is Luke [Perry, Dylan] because Luke was so important in those first 12, 13 episodes where he has his money stolen and has his whole depression and anger, leading to the crashing of his car. Luke drove those first 13 and it was a pleasure to do them with him. He had such intensity. If he’s not going to talk about it, then what are you going to say? Tiffani [Amber Thiessen, Valerie] would’ve been the other person to talk to for season 5.

TDW: Some of us have also been upset with the cover art and that many songs have been replaced on the DVDs or scenes were cut because of songs issues.

Rosin: Knowing how much Mr. Spelling cared about the audience, the fact that the music isn’t up to the standards that we had, he’d understand it as a businessman but he’d be rolling over in his grave.

TDW: I heard you were once working on a 90210 spin-off concept with Aaron.

Rosin: When we were thinking about moving forward with the college years, we also proposed they could spin-off a West Beverly High series but they didn’t want to do that at that time. Then in the year 2000, Spelling wanted to do it and I was hired to do something on it but it didn’t turn out to be what they were looking for. It was like 90210, the next generation. I think it had the exact tone of the high school shows but it was just for a different generation of high schoolers. Instead we have this bastardized version that’s on now.

TDW: What was your reaction when you first heard about the one that’s on now?

Rosin: The first reaction was that it just shows how important the brand is and how much branding means. Every generation has the right to do anything. I don’t own it. It was Viacom, Spelling. Darren Star created the show. It was more his world than it was mine. I was there to do something much specific. But now I’m more excited by a show like Life Unexpected than recycling shows from a different era just because of their title. I don’t feel [the new show] has that much in common with the original other than it has a high school premise and it’s in Beverly Hills. But tonally, from what I’ve seen, it doesn’t have that much in common.

TDW: Not sure if you’re aware but they recently killed Jackie Taylor [Ann Gillespie].

Rosin: Why?

TDW: They did this whole cancer storyline.

Rosin: I understand that. When you run out of ideas, you get people sick. No offense to Joey [E. Tata, Nat], but we were struggling and had to do 32 episodes. So Nat’s going to have a heart attack [Episode 4.18, Heartbreaker]. If you see characters getting sick like that at random, it’s usually evidence of a bankruptcy of ideas, in my opinion.

TDW: It came out recently that Rob Estes [Harry, 90210] is leaving the show and people are very surprised. “He’s supposed to be our patriarch. He’s supposed to be our Jim Walsh.”

Rosin: I would imagine that you do things like that when you realize a few things have happened. After the 5th year when I left [the original], so did Gabrielle Carteris [Andrea] but so did Jim Eckhouse and Carol Potter [Cindy]. At a certain point, you get to be a mature show. You realize you have to cut your overhead a little bit. You realize the storylines are going to move into a different direction and things are going to be different. So you do make adjustments. Why did Estes leave? Maybe he was profoundly unhappy with what they’ve done with his character. I wouldn’t know that but that’s usually why actors leave. They weren’t satisfied. The show thought they were paying too much money. He wasn’t being utilized, etc.

TDW: It came out recently that Jennie [Garth, Kelly] is sort of cutting ties with the show as well. The media went crazy with it.

Rosin: I only have admiration for Jennie. I don’t see her that often but I know she’s raising a wonderful family. She has political and social issues she’s very committed to. I really admired her on Dancing With The Stars. She wouldn’t have been able to do that at 21, 22. To have that courage, I admire that a lot. Jennie was very loyal to Mr. Spelling, very loyal to 90210 and I’m sure that led her back to [the new show] in a way. One thing you realize is that people do for their careers what they think is best, both in getting in with things and getting out of things. And I never like to comment on that because at a certain point they thought it was a good idea.

TDW: Are you in touch with anyone else?

Rosin: I am. I’m in touch with the guys. Luke, not as much. Hopefully will get back in touch pretty soon. But Jason Priestley [Brandon] I consider a really good friend. I love Ian Ziering [Steve]. He actually helped on showbizzle, doing an interview. And Jim Eckhouse I actually put in front of the camera. So those are the guys pretty much. And I keep in touch with Gabby through her husband, who is my stock broker.

TDW: I spoke with [writer-producer] Larry Mollin recently and he expressed some interest in doing a panel to talk about the show.

Rosin: If you ever want to do something like that, you let me know.

Come back next Sunday for another exclusive interview!

TDW Interview Index





News Roundup: 90210, One Tree Hill, The O.C. and Gossip Girl

27 02 2010




News Roundup: Gossip Girl, One Tree Hill, 90210 and Dawson’s Creek

11 01 2010
  • There will be Valentine’s Day-themed editions of the Gossip Girl tour in New York City. And remember, you can get 10 percent off your ticket for the tour anytime when you use the promo code TEENDRAMA.
  • Hilarie Burton (Peyton, One Tree Hill) has a new vlog on the SoGoPro site.
  • The new One Tree Hill Connection podcast features an interview with Joe Manganiello (Owen, One Tree Hill). MTV summed up the True Blood portion of it.  Have you read my interview with Manganiello?
  • Examiner.com has an interview with Maria Menounos (Jules, One Tree Hill). Have you read my interview with Menounos?
  • Shenae Grimes (Annie, 90210) was on Jimmy Kimmel Live last week.
  • Totally adorable to see Michelle Williams (Jen, Dawson’s Creek) and Busy Philipps (Audrey, Dawson’s Creek) hanging out together with their daughters.




Exclusive: John Wesley Shipp On Being A Dawson’s Creek Dad

20 12 2009

What’s better than a dad? A superhero dad. And, yes, my friends, they do exist. Look no further than John Wesley Shipp. Not only did he play a bonafide masked crusader in The Flash as, um, The Flash but he was also the most kick ass dad Capeside ever had on Dawson’s Creek.

Shipp and I discussed Mitch’s most memorable scenes, the heyday of soap operas and his independent film work.

TeenDramaWhore: What was it like living and filming in Wilmington? It’s so far from Los Angeles where most things are filmed.

John Wesley Shipp: You know, it’s funny. Not just in terms of where to work but at different points in my career when I’ve really wanted to have an experience, I’ve noticed that if I really hold it in my mind, the experience will present itself. Right before Dawson’s happened, I was thinking, you know, I’m sick of living in L.A., the land of perpetual glare. I sure would like to do a series somewhere that had seasons. I’m from the Southeast, so close to my family, which is all in Atlanta, would be nice. Not a series like The Flash, where I’m killing myself every day, practically opening a vein with each episode. But something that had some interest and was cool. Dawson’s Creek presented itself so it’s kind of what I asked for. At least in the beginning, the parents had vital storylines. Of course, they were subsidiary but they were independent and intersecting with what the kids were experiencing. That was fun. It was fun for a couple of years and then it was fun again at the very end. But in terms of working in Wilmington, Wilmington’s a cool town. I love the fact that the water–which Dawson’s Creek used very effectively–was almost a character in the series. It was very effectively used. It’s very much a part of the landscape. And the town is sort of like traditional, small town, historical society, Southeastern coastal town meets Hollywood. And then there’s the beach culture. On one side, it’s all new, the Outer Banks, cool places, houses to rent, condos. The other side, which is on the Cape Fear River, is older, historical. They had downtown candlelit carriage rides to view the houses that had been restored. There’s a river culture. There’s even a little sophistication in it. They had this wild club there for a while. They have cool cigar bars and eateries and restaurants down on the river. So I enjoyed it. I enjoyed it a lot. I also think that given the fact that the show exploded the way it did and we had such a young cast–and I know it was a pain in the ass for them being separated as the years went on–I think the production probably benefited from the fact that we weren’t in L.A. or we weren’t in the fastest-track place, because those kids became international stars overnight. Even as intelligent and well-intentioned as they were, it probably would’ve been very heady stuff for them had we been, say, in L.A.

TDW: Let’s throw New York into the mix, because you filmed in New York City, too, when you were on Guiding Light.

Shipp: Yeah, I lived in New York City for 14 years. I love New York City. I started my career there and I had my first success there. When I was living there, I was living there the way you’d want to live there. I had a great apartment on the Upper West Side overlooking the river and I had a house on six-and-a-half acres in Woodstock to go to on the weekends. So that kind of was the ideal way to live in New York. Then I went back in 1992 for a year when I did Dancing with Lughnasa on Broadway and a stint on All My Children. I don’t know if it was my youth or my success that I remember fondly or if it’s entirely New York but I’m actually wanting to move back there. L.A. can be very oppressive. There’s many opportunities about L.A.; I don’t want to be a whiner about it. But it is a one-industry town and everyone is in the motion picture industry. Everyone has a script in tow and everyone is an actor and everyone is a producer and everyone is on the hustle, getting this project made–you know what I mean? It can be a bit mind-numbing. Plus all that sun. New York is, as they call it, the great teeming metropolis. It’s teeming with life. Everybody does something different and nobody is particularly impressed with what you do because everybody is so busy carving out a piece of the rock themselves, a piece of that island for themselves. It’s just such a melting pot and it’s exciting. You walk out onto those streets and you’re alive. So many different people from so many different worlds. I think for an artist or an actor, it’s probably much healthier creatively to live in New York than L.A. But I’ll only speak for myself.

TDW: If you came back to New York City, would you want to do Broadway again or another soap? One of the ones that’s still here, anyway.

Shipp: I don’t know about daytime. Daytime seems to be in a pretty tough spot at the moment. I wonder, and I’ve heard speculation, about whether there will be any daytime dramas left in 5-7 years. Certainly I would like to do theater. I’m attached right now to the production of a little play with the Firebone Theatre Company called Song of the Bow. I’m attached to that and they’re looking at production next September. I’m also, after our phone interview, talking to a producer from Atlanta. He’s actually in New York right now checking out theater space. They’re taking the play from Atlanta to New York in January and he’s talking to me about the possibility of whether it would be a good fit for me. I would love that. I would love going back to New York doing a play. I think it would be the best thing for me right now so we’ll see. We’ll see if it holds true that what I hold in my mind happens. Of course, first choice, I’d really like to do an interesting series in New York because (whispers) that’s a lot more money. We’ll see what happens.

TDW: What was your reaction when you found out Guiding Light was going off the air after 72 years?

Shipp: Well, the Guiding Light I knew, from everything I had heard, no longer existed. They weren’t shooting in a studio anymore. It was practically students with handheld cameras in driveways.

TDW: That was very much my understanding of it as well, from what I’ve read and from watching it.

Shipp: I would watch it. It would be on at the gym and I’d look up. I just thought the production values had flipped. I was at a Guiding Light Emmy party at Krista Tesreau’s on August 29 in L.A. I have some pictures up from that party on my Facebook page. It seemed like ancient history. I left that show, what, 25 years ago? A quarter of a century. It was exciting. Guiding Light was a great time and it was a great time to be in daytime. That and when I went over and did the story on As The World Turns with Julianne Moore and Steven Weber. It was a time when the youth explosion, the numbers, the ratings were way up from what they had ever been before. As a consequence, the networks and Proctor & Gamble were putting money in. I went to the Spanish Islands on location. I went to St. Croix on location. Of course we also went more regionally. I don’t think they did even local locations anymore. We went up to Connecticut, Kent Falls, where we did the whole Laurel Falls Kelly-Morgan wedding and story. It was an exciting time. If you were going to do daytime, the early to mid-80s was the time to do it. I was very fortunate to work for Douglas Marland on both Guiding Light and As The World Turns. I had the best of the best in my daytime experience.

TDW: So if that was so wonderful, what 10-15 years later made you switch not only to primetime but a teen drama?

Shipp: It was what was offered. I mean, I had been through The Flash and that was disappointing in many ways. It was handled so badly by the network and that’s not just my opinion. That’s the network’s opinion. We had a number of things going against us for that show, even though we were a critical hit and the industry really dug us. But we had a network that had the oldest demographic so all of our in-house advertising fell on deaf ears. Plus we debuted in the fall and then we were off for baseball because CBS had the World Series that year. So we went on and off then we went back on. Then the Gulf War broke out. Then we went back on and George H.W. Bush threw up in Japan so we were preempted again. Then they moved our night. So it was impossible to find an audience, although it’s doing well now on DVD. It was released in 2006. So after that I went back to New York and did the play Dancing at Lughnasa on Broadway and a series of guest shots and TV movies and things like that. And then Dawson’s Creek presented itself. The interesting thing about that is they had already shot the 20-minute pilot presentation. I believe at the time they were auditioning for Mitch, I was in Moab, Utah with David Carradine, Lee Majors, Cathy Lee Crosby and Michelle Greene doing a movie called the Lost Treasure of Dos Santos. What a cast, huh? It was a riot. But, anyway, then I heard about this project. They were deciding to go in a different direction with the father and they sent me the pilot presentation. If you can think back to before Dawson’s Creek exploded on TV–and as a result of it, so many spin-offs and so many teen dramas and so much saturation and copy-cat shows to the point where it became something of a cultural joke almost–if you think back before Dawson’s Creek, there was nothing like it. I mean, yeah, you had Beverly Hills 90210 but it was completely different in tone. The kids were beautiful and–ours were, too–but theirs were popular and sexy and with it and hip, slick and cool and, let’s face it, didn’t have the brain power of our characters. What was interesting about Dawson’s is that it was not slick. The kids were not hip, slick and cool. They were a little bit on the outside. Joey Potter [Katie Holmes], that whole story–not exactly your typical teen queen there with the problems in her family. Pacey Witter’s [Joshua Jackson] father being a drunk. And that Michelle Williams [Jen] character being a real outcast at the beginning. And even Dawson [James Van Der Beek], his mom cheating on his dad and experimenting with an open relationship. There really was nothing like it. And, also, I noticed the language that these kids were using. I thought, wow! We were even criticized for that. We’re writing up to the youth audience; we’re not writing down to them. Why would you criticize that? Isn’t that a good thing? You mean the dialogue is too smart? That’s a criticism? But, anyway, how did I come to do it–I didn’t really look it as a teen drama. Now, when [creator] Kevin Williamson left the show [between seasons 2 and 3] and it became more and more of that and the parents were increasingly de-emphasized, that led to my leaving. At the end of the four seasons and the kids were going to be going to college, I saw the handwriting on the wall. We would be standing in the background with Lily and waving at Parents Day and I really had no interest in doing that. So when they wanted to renegotiate our contact, I set my price really high. Then they started production on the fifth season and two weeks into production, the WB shut them down because they had no story and that’s when Paul Stupin came to me in L.A. and said if we gave you the money you were asking, would you come back and kill the character? I kind of budged my heart for a minute but I have to tell you, it was a great decision. It was the perfect time to leave Dawson’s Creek. I did indeed get two beautiful episodes that made me feel like the previous four years had been about something. You know what I mean?

TDW: Yes. Those episodes [5.03, Capeside Revisited & 5.04, The Long Goodbye] are just incredibly moving. For a show that was, at times, a lot about sadness, those really stand out as sadder moments and turning points for Dawson, his mom, for the way that it affected his relationship with Joey. We got that in that episode after Mitch’s death. We see how his death has affected everyone as there’s those flashbacks or re-imaginings of Mitch with each of the characters.

Shipp: And imagine for me–what a sendoff?! And what a tribute to Mitch. I mean, I really got to tie up each relationship. I got a retrospective of what Mitch had been and, as you say, what he had meant to everyone and went out on a real high note. It worked out really well for me.

TDW: The other scene [in episode 2.05, Full Moon Rising] that stands out in my mind–and I was talking about it to someone just a few weeks ago; they were watching the series for the first time–was the scene where you’re in the kitchen with Dawson and he’s kind of confronting Mitch about having an open marriage and Mitch kind of breaks down and says, you know, “I was never taught what to do if my wife had an affair.” And the way that you just delivered that line was just heartbreaking.

Shipp: Honey, thank you so much. I loved that. Kevin Williamson wrote that episode. I didn’t even have to act it, you know what I mean? Just the idea of this man and those words. You can barely even say them. I think I even heard you choke up trying to say them.

TDW: Yeah, it’s true.

Shipp: “My dad taught me how to do this, he taught me had to do that but he never taught me what to do if my wife cheated on me. I never knew to ask.” I mean, I can barely say those lines now. So beautifully written and so incredibly vulnerable, particularly for a male character on television. I love that scene. I love that episode.

TDW: Did you keep up with the show or its storylines after you left?

Shipp: Not at all. I never saw it after I left. And it’s not that I sat down and made a conscious decision and it’s not that I had a resentment about the way things went down, because it was totally a collaboration. They needed something from me and I wanted something from them and we both got it. But, having said that, when you’re such an integral part of a family–and that’s what you become and it’s also an impact of being in Wilmington because we only really had each other. So on the weekends, you’ll be going out on boats and going out to Masonboro Island, we’d throw the football around, ride around on wave runners. We did everything together so it was very much a family and to know that your family was going on without you, it was too sad for me. I really had to make a clean break. It’s interesting. They had asked me to come back recently. AFI–was it in AFI?

TDW: The Paley Center. They had the panel.

Shipp: They asked me to come and be a part of it but I couldn’t do it. I think James did it and Meredith [Monroe, Andie].

TDW: Yep. It was James, Meredith, Kevin, Paul Stupin and Busy Philipps [Audrey].

Shipp: They had actually asked me to do it and I wish I could’ve. That would’ve made me feel like a part–it would’ve completed something for me to be able to do it. But I’ve been up in San Jose. I’ve been very busy and I just got back from doing an independent film in Ohio that I’m very excited about and had another, a comedy with Jodie Sweetin, play to really good notices at two film festivals, one in Wilmington.  And another film I had premiered in New Orleans at the New Orleans Film Festival in the last several months so, you know, I’ve been busy. But one thing James had said–they said something about the death of his father and he said “I was really sad because I wouldn’t get to see John anymore” and that’s the way it was. I was literally killed off. When you leave a show, you leave a show. And it was accentuated by the fact that we were sequestered in Wilmington. So, no, I never saw an episode after I left.

TDW: Well, I can tell you that, in the series finale, Gale [Mary-Margaret Humes] actually remarried.

Shipp: Yeah, I knew that because I keep in touch with Mary-Margaret. But do you know that I just found out–and I mean a couple of months ago–that Jen died, right?

TDW: Yes.

Shipp: I just found that out, like two months ago.

TDW: If you have the time, I really recommend picking up the complete series and watching the last two seasons. The emotion that we talked about earlier was there for Jen’s and maybe that goes back to the fact that Kevin Williamson returned for the series finale after he had been gone for so long. You really had his voice, his emotion and his rawness that he would put into things.

Shipp: I’ll tell you, those are good words to describe it. It seemed to me that–this goes back to the pilot presentation when I first watched it–this had a sound and a look and a feel that was unlike anything that was on television. It’s difficult now to imagine as there’s been so many copy-cats and spin-offs and it’s been run into the ground. There was a rawness amidst the sophistication. There was a bumpiness, a sense of dis-ease about the emotional lives. And also I always felt that Kevin really was Dawson, I think. I haven’t had this discussion with him. I could be wrong. But I thought we were seeing all of this life on the creek through the eyes of Dawson, which were Kevin Williamson’s eyes. I felt for James after Kevin left because I really felt that Kevin is the only one that really gets Dawson and I’m sure that was difficult for James after Kevin left. It was much easier to write for Pacey, much easier to write for Joey. To a lesser degree I think it was easier to write for Jen. I don’t really think they quite knew–they experimented with different things. But it was easier to write for Pacey and Joey. But the more awkward unique perspective of a Dawson was Kevin’s voice. I mean, my god, Greg Berlanti is a wonderful writer and oh, god, the man–I just blanked on his name–who wrote my last two episodes was just brilliant and some of the best stuff I had. But I do feel the show suffered from Kevin’s awkwardness and the lack of the Kevin’s awkwardness. There was something really awkward in the writing of Dawson that Kevin really got that we missed after he left.

TDW: Going back to you and your storylines, did you think the show gave a realistic portrayal of parent-child and husband-wife relationships?

Shipp: I don’t know about realism. I think realism is overrated. I would say it gave an interesting perspective. One thing I will say is with the explosion of information with the Internet and the sophistication of kids–I mean, my nine-year-old niece and twelve-year-old nephew have their computers in school and their this and their that and they’re so much more aware of the world and what’s going on–that I sort of think that the parents, adults, have a much wider ranger of possibilities. They’re not locked into authoritarian roles in modern society. In other words, in the 40s and 50s you started wearing suits and you got a corporate job and the dad was the head of the house and the mother was the nurturer and the father was the provider and everybody knew what their roles were and everybody got old very soon. I sort of think after the 60s and 70s and all that, and certainly today, there’s a much wider range of possibilities and, in a sense, the kids are growing up faster and the parents aren’t growing up as fast, getting old as fast. So they’re meeting in the middle. Does that make sense? I know what I’m trying to say. It’s that consequently you have a lot of more options. What I enjoyed was when Kevin would turn the–and he did it many times–he would turn the father-son relationship on its head. Another thing we were criticized for. I read things saying what kind of parents were these, what kind of role models, blah, blah, blah. But what I enjoyed was the intentional flip-flopping, the parent becomes the child and the child becomes the parent. I think that was interesting writing. Is it realistic? I don’t know. Again, I think realism is overrated. If I want realism, I don’t have to ever turn on the TV. I just live my life. But I think it has to be true but it doesn’t have to necessarily be real if there’s a sense of truth in it, and I think there was. I was tickled to death that Dawson goes out on his first date and I’m more comfortable talking about it than he is. I tell him, “Have fun, play safe.” And he’s all “For chrissake, dad!”  You know, coming in and finding his parents making love on the coffee table, he’s totally grossed out and disgusted by that but I thought that was great. I loved that. It certainly was more fun for me as an actor than if I had to come in and be “the dad,” you know what I mean? I mean, who was Mitch? What did he do for a living? Who was this goofy, kind of lovable, sensitive, lost character? There was a certain wisdom that he had, simple wisdom. Certainly he wasn’t the stereotypical patriarch of the family and I was glad ‘cause that would’ve been boring as hell.

TDW: Are you recognized for the role at all when you walk down the street?

Shipp: Oh, yeah. Constantly. You know what I’m most amazed about? And my mom has picked up on this, too. The amount of times I get recognized for Guiding Light. I wouldn’t even recognize myself from Guiding Light! But the two things I get recognized the most for are, of course, Dawson’s Creek and The Flash.

TDW: Are you back in touch with any of the Dawson’s Creek cast or crew?

Shipp: Yeah. I never was out of touch with some of the people. Mary-Margaret and I, in fact, our friendship if anything has grown deeper since the show. We’re very close. We’re constantly in touch and she kind of plays the mom role and gets the gang together every now and then. I haven’t talked to Katie in years but she and I have messaged. She sent a message through an agent at the premiere of a movie but she’s got her own thing going on now and that’s consuming her. I’ve actually seen Meredith several times and her husband. Michelle, of course, has been in New York. The person I’ve most consistently been with–and I keep up with everybody through her–is Mary-Margaret.

TDW: One of the films–I think you already mentioned it–that you’ve been working on is Port City.

Shipp: Yeah, that was the comedy with Jodie Sweetin at the festival in Wilmington.

TDW: Well, coincidentally, that also stars Matthew Laurance and Barabra Alyn Woods, who also played parents on teen dramas.

Shipp: Oh, yeah.

TDW: Matthew was on 90210 [as Mel] and Barbara was on One Tree Hill [as Deb].

Shipp: It’s like, where do teen drama parents go to die? Port City. (laughs) And then this last film that I did–I just got back a couple of weeks ago from Ohio where we filmed it–was a company out of Chicago called Glass City Films. It’s a wonderful script called Separation Anxiety, in which a young man either falls to his death accidentally from an icy dam or commits suicide and we don’t know which. His two best friends, one female and one male–there’s also some sexual tension there that we find out about–and his father, who is me, spend the movie trying to make sense out of his death based on what we need to believe. Interestingly enough, the father needed to believe it was suicide, which I immediately found interesting. He saw his son as kind of a drifter, where his life was just sort of a series of accidents. It was intolerable for him to think that at the end of his life, it was just one more accident. He needed to believe that it was an intentional act that he set out to accomplish and accomplished. Now isn’t that an interesting perspective? That’s not something I’ve ever seen, where his father needs to believe his son committed suicide. We fight it out, the three of us–me and the two best friends. Most of my scenes are with the girl who–that’s a complicated relationship so I won’t go into it but it’s more than just best buddies with her and my son. We spend a lot of time hashing and thrashing that out and what we need to believe and finally come to an accommodation where I’m able to go bury my son. It was a good group of people, a talented crew and cast. I can’t wait to see it put together.

TDW: Where we can we actually see you next? Is Port City going to get a wide release or is it just doing festivals?

Shipp: I don’t know. Karma Police, which debuted at the Dallas Film Festival the year before last, is out on DVD and on I think–I can’t keep up with these sites–Blockbuster Online or Netflix, so I know it’s out there. Grotesque, my little short film that I’m so proud of, we banged out in New Orleans last year in about a week. I play a priest with a dubious past. That’s online and the trailer for that is in my Facebook videos and there’s a link to the actual 29-minute version. And then Separation Anxiety will also do the festival market.

TDW: Do you like the festivals better than a major motion picture that’s in theaters everywhere?

Shipp: No. I would rather it be straight to theaters. Again, it’s a matter of what’s offered. I will say one thing–and it’s not just my particular insight–but there’s a lot more creative freedom the less money there is riding on a project, you know what I mean? The more money, the more hands in the pie. The more sets of suits that have their handprints on the script and the edit and the this and the that, the more of a business it is. I understand that. It’s wonderful and spontaneous and creative working in an independent film atmosphere but make no mistake: I would not turn down an A film that would be set for a major release.

TDW: I hope to see you in one soon! And I’d really like to see Port City.

Shipp: You know, it’s funny. I was kind of worried about it because it’s sort of a screwball comedy and my character’s really a jerk, a goofy filthy jerk and that’s not necessarily been my trademark but all the feedback I’ve gotten is “Wow! What a great departure! You should do more comedy!,” which my brother has been telling me for years because he knows how innately ridiculous I am. But I’ve managed to shield the rest of the world from that.

TDW: Hopefully not for long!

Shipp: I’ve actually taken off the last year, for all intents and purposes. Those projects that I mentioned came to me of their own volition. I’ve not been interviewing. I’ve not been auditioning. My dad came up to San Jose to pastor a new liberal church out here that’s been facing some difficulty and then he had heart surgery. Well, I came up to San Jose and they ended up losing their music director and my background is music. I was an opera major at Indiana University in Bloomington before switching my major to theater and I’ve studied keyboards since the age of 5 so I grew up with music of the church and for the last year, that’s been my primary occupation–rediscovering my love of music and my spirituality in a very inclusive and liberal atmosphere. It’s been great for me being of service to my parents, who are now back in Atlanta. My dad’s doing fine. And I agreed to stay on at the church through Christmas, the Christmas Eve service. So I have two more Sundays to plan musically and then I’ll be flying to Atlanta to be with my family and probably re-engage my career full-time beginning in February.

TDW: Mary-Beth Peil was an opera major as well.

Shipp: Yep. She has a glorious voice. A wonderful woman. People who only knew who her from Dawson’s Creek have no idea who that woman is.

TDW: I interviewed her, via e-mail actually, last month and I would’ve loved to hear her real voice because I know her Grams voice isn’t actually hers.

Shipp: No, she’s young and sexy and funny. You just wouldn’t know her with her hair down and all that. And she tends to be play those severe, more matronly parts because she’s good at it. She’s on a series now, isn’t she?

TDW: Yes, The Good Wife with Julianna Margulies.

Shipp: Right.

TDW: Alright, well, I’m glad we were finally able to connect.

Shipp: My pleasure, Shari. It’s been great talking to you.

Come back next week for another exclusive interview!

TDW Interview Index








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