There's been a lot of talk this week about the process of how a TV show is planned, following the posting online of an early version of the series bible for "Lost." Much was made of the fact that a lot of the things included in the bible conflict with what eventually appeared on the screen. Damon Lindelof, the co-creator and showrunner for the show, was one of the people who later pointed out that the document was never intended to be the real guideline for the series. It was created primarily as a way to convince ABC that the producers had a vision that was in line with network expectations.
That admission sparked a number of misguided stories (like this one on io9), but it also highlighted the fact that most people--even those who follow TV shows very closely--don't have a good handle on the creative give-and-take that takes place on a show. Part of the problem is that most times journalists don't get the opportunity to really hear about the gritty battles that help define the direction of a show.
But if fans are surprised by the lengths "Lost" producers took to get their vision on the screen, they should keep in mind that one advantage "Lost" had was that it opened with a healthy-sized audience, which gave producers the ability to push back a bit with the network. That battle is much tougher on shows that are struggling in the ratings. And that brings me to the UPN drama "Nowhere Man."
I first started writing about television back in 1995, while I was still doing talk radio. I made friends with Larry Hertzog, who had created "Nowhere Man." It had premiered to decent numbers, but as the season progressed the numbers softened and he started arguing with UPN and Touchstone about the direction of the show. The situation deteriorated to the point where Touchstone brought in Joel Surnow to run things.
The series only lasted a season and one reason it didn't return was that Surnow was moving on and by the end of season one Hertzog was effectively boxed out of the show. Faced with a show with modest ratings and no one willing to come in as showrunner, the show shut down.
I had a lot of discussions with Hertzog about the show, both during its run and afterwards (he moved on to "Profiler" after the cancellation). He was very open about the process and I was reminded of this interview after reading all the discussions about "Lost."
Some of these comments probably won't make much sense if you didn't watch the show. But I didn't want to edit the interview at this point. These comments are primarily from an interview we did over dinner just as the show was ending. All of his comments are verbatim:
ON WHETHER OR NOT NwM HAS AN ULTIMATE GOAL IN MIND, OR WAS THE PLOT JUST ADVANCING IN A HAPHAZARD FASHION
"Nowhere Man" knew where it was going. But it wasn't a show about clues. We weren't revealing a clue a week, nor are there specific details laced into every show. Personally, I find it amusing when I see how many folks are just desperate for answers. It seems they just can't deal with the great cosmos and "go for the ride".
Sounds like they're good candidates for "Them" training school. The facts. The details. We will abandon you without them. Hey, how do you fall in love based on "the facts"?
ON THE CHANGES THAT TOOK PLACE IN THE SECOND HALF OF THE SEASON, AND THE REASONS BEHIND THE CHANGES.
We took some serious pounding from "them" over the middle four or five episodes of the season. This is the rule in episodic television, not the exception. What is the exception is that I was "cut loose" as much as I was at the outset of the series. Well-there's been some attempt to correct that and to curtail my wild and wooly ways. They haven't resorted to drugs or mind control yet, but to a large degree, it's a do or die situation.
Before people flood me me with--"who can I write to"--let me say. "thanks" for the support"--but it won't have much impact.
Beginning in January, NwM had a slightly different spin on it. For what it's worth--I put the spin on it. I did so under threats and dire pressure, but it's still my spin. I'm not sure how it will impact the future of the series, but it is what it is.
I feel (felt) that my job was to keep NwM hopping, interesting, creepy, provocative and "cool", while addressing THEM's thoughts, threats and entreaties. As always, when something's gained, something's lost. My interpretation is this: We'd moved away from some of the more "Prisoneresque" attributes and more into "The Conspiracy". The episodes will probably have a more "Alpha Spike" feel to them than a "Something About Her" feel. A little less cerebral, perhaps, but maybe not fatal to the series. (It *is* possible that it will be seen as a vast improvement--I'm not chiding THEM for ruining the show--just for beating up on us.)
So you've seen a slightly more "active" Tom (but it's still not an action show, though) and you'll get more insights into various THEM activities. They haven't forgotten the negatives, but Tom will have some opportunities to "make inroads".
We'll see. I've been trying to recover from the battles. We're not out of the woods yet and it wouldn't surprise me to find the guys who did "My Mother The Car" running "Nowhere Man" if there's a second season.
ON A PROPOSED EPISODE THAT WAS NEVER MADE BECAUSE OF THE COSTS:
We were going to open in Civil War times and show Bruce Greenwood playing a man who discovers the roots of the conspiracy. The coolest thing was that it would have ended with the hanging of the Lincoln Conspirators--four people with bags hanging over their heads. TOO MUCH!
ON WHETHER OR NOT IS WAS EVER CONSIDERED THAT TOM WOULD BE 'DEAD" AND NOWHERE MAN WOULD BE TOM'S DREAM Ala 'JACOB'S LADDER:
I seriously considered it at one time and it's a very good concept because it's consistent with a lot of events.
ON BUDGET CONSTRAINTS:
Let it suffice to say that two things hamstrung us at NwM. One was that Disney, very inexperienced in one hour shows and failed to negotiate a satisfactory license fee from the network. They were told at the outset that their figures were too low (Peter Dunne, my producer, and I did everything we could to let them know.) If you combine that with the fact that UPN (as a newbie) wasn't forking over quite the same $$s as the "majors" -- you'll start to get the picture.
EXAMPLES OF HOW BUDGET CONSTRAINTS AFFECTED THE FINAL VERSION OF AN EPISODE:
It needs to be noted that I've never worked on a show, despite the budget, where "it's just enough." That's the nature of the biz. Probably the biggest "bite" we had to take was on the episode "You Really Got A Hold on Me."
It was originally called, "You Send Me." The ep had a lot more heart and soul on paper than it ever did on film. Despite his talent, Dean (Stockwell) really stripped a lot of "character" from Gus. When the script was re-written -- Gus was a defeated, but very passionate, "out-there" person. He was in love with Sam Cooke and Sam Cooke's music. It was his life and he identified with the singer.
Sam Cooke's people wanted an OUTRAGEOUS amount of money for using the songs. Far too much, IMHO. They also had some preposterous stipulations on what could and could not be said about Sam. I understand their concerns but the script was a tribute to Sam in every way. (There was a speech about how the great man died and they weren't going to permit it.) Eventually, I got fed up with them and eighty sixed it myself (but it was painful).
As we went down the "list," it turned out that EVERYTHING was out of our budget. (Post production was always the hardest hit since TPTB at Disney just didn't get it.) So Smokey's tune, "You Really Got A Hold on Me" remained on the page as a title without any reference.
ON WHETHER OR NOT THE LACK OF A FORMAL 'BIBLE' FOR THE SERIES WAS A BONE OF CONTENTION WITH UPN AND DISNEY:
Well, as for the lack of a bible being a bone of contention -- yes and no is the best I can come up with.
NwM was conceived and pitched to Mike Sullivan (President of UPN) and had to be developed literally overnight. I didn't walk in with the idea. Mike and I were talking and very suddenly he asked me to do a "Prisoner-like" show. That was it. The script for the 90-minute pilot was probably delivered 3 weeks later and we were in production very shortly thereafter.
We didn't need a bible since the show was never intended (as I've said -- how many times now --) to be about "solving the mystery." The show was initially designed to be a weekly excursion into Tom's world, facing the pressures that he ("we") face against them ("them"). So, even if there HAD been time to develop a bible, we wouldn't have. The show was conceived (albeit quickly) to be anthropological in nature.
That conception was really ultimately the bone of contention. When Lucie Salhany saw the pilot, I don't think she realized just what Mike had commissioned. Obviously, it's easy to see the pilot and imagine a show where Tom would spend tense, nail-biting, moments, moving deeper and deeper into the heart of the conspiracy.
But Mike had commissioned an ocean liner and it had been launched. It was nigh onto impossible to turn it into an aircraft once it was out to sea. The show had never been conceived to spend each week plotting toward the end. In fact, Lucie didn't want any continuous elements. And there's the rub. How do you even ATTEMPT to turn things around, get into the conspiracy, but avoid a connection from one ep to the other? We never figured it out. Neither did they.
The truth be told, I would have been more than happy to "turn things around" given the network's guidance. We beat our heads against the wall to try and figure out how to "scratch their itch" -- we made numerous suggestions -- but each time we thought we had something -- we got shot down.
So, in short, every week we were criticized and condemned (even Mike was aboard that by now) but no one would okay any "new" direction.
As I've said before, the "Gemini" arc was pitched to begin much earlier. We had twelve eps suggested (a sort of "emergency bible"). It was well received by Disney and some of the folks at UPN, but Lucie still wouldn't sign off.
So on and on we went, making eps (some great ones, I think) and no direction, just more criticism. At the 11th hour, the palmtop concept surfaced (an attempt, again, to scratch that "itch.") We got a half- hearted "go," but I believe it was just because everyone was so confused.
In the end, it wasn't our highest moment but it was all they would let us do. The first ep of the palmtop arc was "Contact." It wasn't too bad, but it was starting to get linear. The second was "Heart of Darkness." As dailies came out, the yelling started again. They were just as unhappy (though eventually they began to like this episode). As the screaming started again, I got (not for the first or last time) fed up. I said, "Hey, we're going in this direction that none of us like and they still hate us -- let's dump this arc." So, we planned the end of the arc.
ON WHICH OF THE NwM DIRECTORS DELIVERED THE SHOW CLOSEST TO HIS ORIGINAL CONCEPT:
Surely, Tobe (in the pilot) gave me more and then some. Episodically, two directors stand out for me: James Whitmore, Jr. ("Something About Her" and "Dark Side") and Ian Toyington ("Enemy Within," "Doppleganger," and the wowser "Through A Lens Darkly.")
EXAMPLES OF AN EPISODE THAT GARNERED A LOT OF NEGATIVE FEEDBACK FROM THE NETWORK:
The episode that first comes to mind is "Paradise On Your Back Doorstep." (which was episode five). I made a conscious effort to make this episode "brighter". NwM is usually dark and murky and the brightness-the bake sale, the races, the fake smiles, the artificial joy-was there for a reason. It's unusual, in episodic, for people to go to real photographic lengths to make a point. It costs money and makes people shrug when I talk about it. To know that it works on some level is really wonderful.
I like Dee. I don't respect her ultimate choice, but I feel for her. Her somewhat "demented" innocence was just enough to take the edge off her. She's a believer, but without militant commitment. She just needs to learn. She wasn't old enough when they got to her to know what Tom knows. Hopefully she'll grow. (I'm not optimistic about that, but hey-I made her up). I wonder how'll she'll deal with the power that's been bestowed to her. At the very least, though she seemed to completely misunderstand Tom, maybe some of what he said will rub off.
The thirty second "implication" that Tom and Dee slept together was at network insistence. The note first came up on a script level and I accommodated that. Deidre came into Tom's room, very understanding of his dilemma. They began to talk about Alyson. Tom still maintained his view that she had somehow been coerced into cooperating. Dee told him (trying to get him to "reality") that Alyson did what she did-no matter what the reason.
Tom defended her by stating that a lot of pressure could have come to bear. Dee reminded him that a lot of pressure's been put on him and *he* hasn't folded. Their connection deepens as Tom has to consider his loss on a deeper level. Dee reassures him and-as things happen-one thing leads to another.
When I saw the film, I couldn't stand the scene. It was missing important shots that had been scripted and discussed with the director and it was lit horribly. Add to this...the episode was ten minutes long (not uncommon on NwM-try dealing with that). The scene ran seven minutes and seemed like a perfect "lift" (especially since the scene was an "add-on" to begin with).
When the network screened the cut, they were nervous about viewer "tune-out". The week before we had a minor tune-out after the first act break. Alarms were going off and, I suppose, they thought that the sexy moment of Dee entering Tom's room would keep the audience across the break. I cut it from the picture entirely, locked the picture and had an answer print when they called and insisted that the picture be re-opened and the 30-40 seconds be reinstated.
Frankly, there were so many debates, discussions, arguments, hassles and negotiations over every script (not just with the Network) that it didn't seem to be an issue worth going to war over. After all, I did write it and we did shoot it (however poorly). So there you go.
We produce a 45-minute movie every week-and each one of them is full of "sturm and drang." Each one of them is "the one that's going to kill us." Each one is "life and death." It's an amazing process and I'm always surprised that we accomplish anything.
WHAT WAS UPN'S LEAST FAVORITE EPISODE:
Easily, it was "The Spider Webb." From the amazing annals of the Powers that Be--we were criticized for casting a "bad actor" in the role of Robert (who played Lenny Little, who played Tom). It was not one of UPN's favorites. In fact, "we should have never made this episode" did escape their lips.
It's confusing. The online reaction's been so positive and yet the numbers rolled off every fifteen minutes (tune out, in the trade parlance). So either it had nothing to do with the quality of the episode, or something big was going on in some Nielsen households.
ON THE EPISODE 'THROUGH THE LENS DARKLY'
They just wouldn't sign off on the story which they have to do before we go to script. It took some finagling and I think it was more than worth it. It's one of my favorite episodes and I've re-watched it and it works every time. I hate the "Hidden Agenda" cut at the end, and I think it sullies the episode.....The episode was completely personal and when Tom "flashes" back on Laura at the every end (when they're in the car) and he finally remembers the scene where she tells him that it's his "search for the truth" that makes her love him--it renews him. When the "Man" asks Tom what he saw, Tom says "the truth" and grabs the wheel. Disney made us put the cuts of "Hidden Agenda" in there. In their world, the truth is merely facts and clues. In mine (and Art's) the episode was a much broader palette and I resented their interference.
ON THE MOVEMENT FROM FANS TO KEEP THE SHOW ALIVE AT ANY COST:
What's interesting is that some of the "we will resurrect NwM in any case" type of notes makes me smile but it also provokes some interesting thoughts. After all what is "Nowhere Man?" It's something I made up. There is no master plan, left behind at Disney. There is no bible that someone could come upon and continue. Someone else would have to come aboard and start making things up. Given that, what makes that NwM? Sure it would be Bruce playing Tom Veil.
Okay, Tom Veil is a guy that had been erased over a photograph. But after that would it really be NwM? Or couldn't it just be a show about an FBI undercover guy (Gemini) who was trying to find out who "did him in?" It could be called "Gemini," "The Seeker," whatever. If there was a master plan that hadn't been fully realized -- maybe -- but everyone who wants answers -- the show to continue -- those answers would have to be made up by the next group. It's ether. It's something I made up every day.
Truly, the best I can grok here is that Bruce is incredibly enigmatic and talented. The Tom Veil character is very compelling. I don't believe that it's NwM per se but the continuation of Tom Veil's plight that people want to "stick with." That's all very gratifying -- it implies that Tom Veil struck a deep chord with many and is a compliment to me and a really royal bow to Bruce's characterization.
Whatever happens, it's certainly been a ride.
ON THE FUTURE OF NwM, AND AS TO WHETHER OR NOT SOMEONE ELSE COULD BUY THE RIGHTS FROM DISNEY:
In short,I created Nowhere Man but Disney owns it. As the owner, I've contracted with them for my rights -- they're mostly financial. Currently, as long as NwM exists, it belongs to Disney. So as far as any "hostile" takeover-it won't happen. Also, if there is any future to NwM in any form, it's unlikely Disney would surrender their ownership since it means potential $$s to them. They've already got an investment and would like as much product as they can get to recoup their expenditures.
As far as how they "forced me out" -- I won't go into details here (it's not appropriate) but you'll have to take my word for it (or not). Of course, they can't force me out of my creator credit and any remuneration that has been contracted over that.
If there were plans for a wrap up would Disney say "No?"
I don't know what Disney would say. I know what I would say to them. There are a gazillion scenarios possible here because. given the show's cancellation, it's my bet that any contractual "services" have been nullified with the cancellation. (This doesn't include creator rights.) Whoever orders the additional product that you alluded to could insist on me, insist on my absence, not care at all. The buyer has a lot of power, obviously and nothing can be "projected" without knowing how the buyer feels. Of course, Disney could always refuse the buyer's terms and just not do it.
I assure you, if there were any sort of venue where I could continue NwM, I would.
ON THE VARIOUS SEASON ENDINGS THAT WERE CONSIDERED AT DIFFERENT POINTS IN THE YEAR:
For the record -- when I wrote NwM I had *no* ending in mind. When Tobe and I were shooting the pilot we discussed a "Manchurian Candidate" type of scenario. It certainly fit and explained (as someone else mentioned) how it was so easy to erase him. Not hard to remove an identity that only existed for a few months. So the idea that Tom was someone else started early. The specifics of the "Gemini" idea began to take root about halfway through the season -- though in an altered form. As things banged and burned and crashed toward the season's end -- it came out the way it did.
One of the discussed endings was the ending of "Hidden Agenda," that would reveal that the site of the photo was not in the Jungle. Another was the ending of "Coma" (though, at the time, it wasn't associated with that story) but we discussed having Tom actually kill Alyson, making the discovery that she was either the head of the opposition or certainly high enough in the ranks to pay for what she did to him. Some of the elements of the last two eps, though not the specifics, were discussed to happen much earlier in the season -- even before these other endings.
TRYING TO DESCRIBE THE ROLE OF EXECUTIVE PRODUCER:
Giving the definition of an exec producer likens itself to those discussions about how many angels can be fit on the head of a pin. I haven't spent much time in Portland this season, because, given the lack of lead time, I've been hunched over 20 some odd scripts and stuck to the editing rooms. There's a lot of me in NwM, from stories, scripts, ideas, mood, tone, feeling, etc. Episodic directors are -- technically -- visiting guests. They're here to do their very best to get us what we want. They're not here to invent the show, a style or a POV. Even given that, it's amazing the variations we see. Most of those variations can be "smoothed" out in the post production process. Our favorite directors (well, what would you expect me to say) are the ones that deliver the closest to what was conceived when the story was conceived.
SOME COMMENTS ABOUT THE SONG 'La Vie en Rose,' WHICH WAS USED SEVERAL TIMES IN THE PILOT:
A couple of interesting (to me) La Vie en Rose stories. We had our pilot wrap party at a restaurant in Studio City, CA. This place has an upstairs and a downstairs, the former being for private parties. I was having my "fortune" told by some palm readers (hired for entertainment at the party)when downstairs, the strolling violinist, playing for the non-partying diners, began to spontaneously play "La Vie en Rose". A little creepy. And fun.
Of course, everywhere I went in Paris last month I heard the song. I took it as a personal welcome. It was very heartwarming to hear Paris welcome me so warmly. We would've used the song in some other circumstances--it was actually called for. Budget prevented its further use.
DISCUSSING WHETHER OR NOT NOWHERE MAN IS A 'SCIENCE-FICTION SERIES':
At the end of the day, I don't consider NwM science fiction-we'll sacrifice *that* reality for another impact. Sometimes it works for some folks better than others. The bigest stir was created over the VR in ROUGH WHIMPER. It was mostly on the Internet and it was my belief that they reacted mostly to our portrayal of the computer "geek". Interesting, since we didn't consider him a geek, just a fascinating shut-in. I liked him quite a bit. But NwM is about emotional impact and not science fact. Hopefully, we won't stray too far and become ludicrous. But the fans will judge.
ON WHETHER OR NOT THEY EVER CONSIDERED USING THE BEATLES TUNE "NOWHERE MAN" AS THE THEME FOR THE SERIES:
Not seriously-it's far too expensive. We looked at it, choked and said-hey, who needs it? But it was an obvious thought.
ABOUT THE VAST SPECULATION AMONG FANS ABOUT WHETHER OR NOT THE NAME TOM VEIL HAD SOME "HIDDEN" MEANING:
There's lots of anagrams and thoughts about the name. I just thought Veil was appropriate and I liked the name Thomas. Not much more, but I enjoy the speculation.
ON WHETHER OR NOT THE TV SERIES "THE PRISONER" WAS AN INFLUENCE ON THE SHOW:
The Prisoner was clearly a HUGE influence. It was the "seed" that began my thinking for the show. Though most of the parallels people saw were not intentional.
