From The Set Of #E214: "Double Negative"

As bloggers who've come before me have noted, walking onto the sets of Stage 6 is a rather surreal experience…

I enter through the sound stage's double doors, not knowing what to expect.  I walk past clusters of lights and equipment.  I walk past a lonely table of food at craft service.  And suddenly, I'm walking on squishy grass, unapologetic in its fakeness, and it's only then that I realize, oh, this is the Walker's lawn.

The front door is wide open, so I just walk on in.  In most contexts, this behavior would be reserved for criminals and fairytale characters, yet I do not feel like a trespasser. In fact, it's a strange mix of feelings. Everything's so warm, inviting and familiar, but I also feel like a child visiting a museum.  Keep your hands and feet to yourself, no touching.

I peer around.  The whole house seems bigger and more open than it looks on TV.  Past that famous wall of family photos, the staircase leads to nothing. I look up and see no ceiling but rather the dark empty space of a sound stage.  If only the cameras would pan up five more feet.

In the dining room, I remember countless family dinners I wasn't at.  Tommy and Julia, in front of everyone, admitting they both had cheated.  Kevin not so discreetly plucking one of Rebecca's hairs.  And I imagine all the future dinners full of secrets and dysfunction.

Then, I peek into the pantry.  So this is where Nora went when Sarah got engaged and when Kitty told her she was pregnant.  This is the pantry where Kevin and Jason McCallister finally just cut the pretense and sucked face. As my mind continues to wander, my eyes scan the shelves. Teddy Grahams? Hmm, I wouldn't have pegged Nora as a Teddy Grahams kind of gal.

I turn around and I'm in the kitchen, probably the most frequented room of the house.  The room where the siblings sit around gossiping, drinking wine, snacking.  Ah, the Walker kitchen. I can't help but smile.

And then, I'm snapped back into reality.  Crew members march through, setting up lights, reading meters.  The kitchen is actually where they are filming now.  Stand-ins for the actors wait patiently as the crew busily works around them.  Oh, that lady looks like Nora.  I wonder if Sally Field is nearby.  And then I don't even have to wonder. "Calling first team."  A rush of adrenaline.  I'm a newbie, but I've been around film sets enough to know what that means.  I quickly exit the kitchen, as Sally Field and Rachel Griffiths begin making their way in.

I reenter the dining room and now see it for what it really is: "Video Village."  The furniture has been pushed against the wall. Director Michael Schultz, script supervisor Margery Kimbrough, and episode co-writer Liz Tigelaar sit watching the video screens.  A few of the seats look vacant, and I'm invited to take one.  Now I can just sit back and relax. It's almost as if I'm sitting at home on a Sunday night watching the show. 

Soon, crew members huddle around the monitors to watch the actors at work. The scene includes much of the cast as Justin, Tommy, Kevin, Sarah and Rebecca surprise Nora with an elaborate brunch. The siblings all play along innocently, but Nora sees through this obvious attempt to cheer up Mom.

They film the scene a few times in a wide shot, then a few in a medium shot, and then some close-ups of Nora. This process includes even more downtime than I had imagined.

In between these set-ups, Balthazar Getty comes into the dining room and chats with his two agents, who have taken the time to visit set today. He introduces them to Dave Annable and Matthew Rhys. Dave Annable jokes, "You guys come to see some Balty magic?" Balthazar and his agents discuss what projects he can do over summer hiatus. "You look good and fit," they tell him. Balthazar mentions that the strike gave him time to develop a fitness routine. 

They continue chatting. Balthazar recounts a couple years back when he first auditioned for the show. "I originally read for Kevin. I told Robbie (Jon Robin Baitz) and Ken (Olin) that I wasn't interested in Kevin. I just told them. But for Tommy they thought they wanted a blonde haired, blue eyed, athletic, All-American guy." The agents smirk at this. "That's what I love about you," one pipes in, "You just tell it like it is."

Director Michael Schultz approaches the three men, his brow sternly furrowed. "You need to keep your client UNDER CONTROL." He pauses and gives a long chuckle. They all stand around, making small talk, throwing in a little industry talk here and there. As they joke around, I can't help thinking these agents must be a little jealous. Whatever high-rise, posh office they sit in rolling calls to casting agents and TV executives can't compete with the warm and homey Walker kitchen.

[Editor's note:  Yes, they can.]

Then Michael Schultz gets back to work. Emily VanCamp needs his assistance because a fellow actor keeps cutting her line off. Everyone on the set talks about Emily as being polite and sweet. It seems Emily is just one of those people, that when she leaves the room, no one can say anything but good things about.

A few minutes later when Emily forgets one of her lines, she swears under her breath. She's mad at herself, but not a single person even rolls their eyes. Rachel Griffiths yells out, "Come on, you half Walker!" The actors and crew hiss at this insult and all start laughing. Clearly, this group is a family, able to goof around and insult one another, which makes it all the more fun to watch.

"Alright, places." They're taking it from the top. And in exactly a month, I, along with you, will be watching this on my TV screen.

Until Next Time,
Cole Fowler
Writers' Intern

"Double Negative," the second episode back, airs Sunday, April 27^th.

Comments

[Scott]

Cole, what a great set diary! It's clear how big a fan you are of this show--I feel like I would have had the same "I can't believe I'm standing in the Walker kitchen" reaction as you did.

Also, love the anecdote about Rachel teasing Emily after she flubbed her line. The fact that the cast seems to get on so well really does come through onscreen. In fact, I'd say the real family "feel" among the cast is one of the show's greatest strengths.

And it's so nice to hear about all this Walker togetherness in the upcoming eps. Can't wait to see it!

[Miranda]

Cole, that was fantastic!!! Oh, it's nice to get the view from an insider's point of view. What a fun bunch. :)

Can't wait for the episode to air!

[will]

Thank you, Cole.

I'm treating Sunday evening like Opening freaking Night! All gym activity will be done in the early a.m., and if it's hot enough for the beach, I will be home by a reasonable hour to give me plenty of time to note who wrote the episode, who directed the episode, what are their previous contributions to B&S (in season one also), etc., in an attempt to glean a larger picture of the strengths & weakenesses of the contributing artists, so I may better serve you as house critic in the future.

(P.S. I learned the word "glean" from "Hamlet". True story. Once in a while I'll toss in a 10-dollar word to tone up the prose!)

Ask Dan something for me: Since Dan's credited with co-writing 2 episodes, I think it'd be interesting if he might possibly compose a blog chronicling the creative processes of a single script (either "Favorite Son" of "The Missionary Imposition") that shows us an evolution of one specific episode.

First, who assigns a particular episode to a particular writing team? Is there some understanding, say, that David & Molly would be better suited to certain material than Monica & Alison or Peter & Cliff? (meaning, if an episode is Kevin-heavy, does this partially dictate who would or would not be more adept at helming the episode?; if an episode deals in legal issues or courtroom scenes is Marc G. consulted for local color & jargon? is one writing team more proficient than the next?)

Which team holds the honor of being able to better spin great dialogue, concoct just plain witty banter for banter's sake? Meaning, if an episode was primarily plotless, which team might better sustain our interest all the way through? (this, admittedly is a "Will" question. Give me 15 minutes worth of crafty, artful, engrosing dialogue, and I'm a very happy camper.)

Is there a weekly writers meeting where everybody sits at a table and riffs and contributes to the current episode? Sort of like a writers gangbang where ideas are freely bantered and exchanged and built upon?

And specifically for Dan: since the Jason-Kevin-Scotty scenes is one of the better written in the "Missionary" script (possibly because it was one of the few that provided subtexts and undercurrents for both writer and actor...in other words, something approaching 3-dimensional material for the actors to play), was there an evolution to the scene? Was it clear at this point that Eric was not going to come back? (this was, after all, pre-strike). Were you writing to keep a door open for Eric to return or continue? Why choose soft crab over ravioli & pesto?

Let that scene function as a microcosm for the B&S writing experience. We've actually only had a single blog here (almost a year & a half ago if I remember correctly) that attempted to walk us through the evolution of a script. It wasn't very personal. And since we all know you (so to speak), Dan, and have a more substantive personal connection, it might be rewarding to re-route us & re-walk us once again through the creative process.

Good thoughts here for Sunday night.

[will]

Ok. I think a little restructuring is in order (and not just at "Brothers and Sisters" but the entire damned television industry; a complete overhaul of the current lopsided production system is needed)

As Bill Maher says, NEW RULES!

Since writers are the building blocks from which all other creative energy springs (ie. no script, no show), the writer should now be envisioned as the center of the primetime television universe. The writers are the seeds which must be tended, pampered and fertilized, to ensure a good harvest.

The tending & care of writers, therfore, is of maximal importance. Daily de-stressing massages shall become manditory. Deep tissue, reiki, shiatsu, hot stone - whatever; but a de-stressed, happy, positive, centered, and REFRESHED writer is the object of our labors here. The recharging of the creative battery is primal.

Weekly forays to the beach and nature are important, too, as they are indispensable (even vital) to the regenerative process. The writers will be ensured adequate (8+ hours of) sleep per night. All production scheduling will revolve around this paramount fact. Every writer shall be furnished a professional nutritionist and personal trainer to assist him/her with specific personal needs.

I believe my recommendations will result in superior, more fully developed, three dimentional scripts (and healthier, psychologically balanced writers to boot). Deliver a copy of this memo to Berlanti, Olin & Company, and let the proposed restructuring commence ASAP.

Thank You.

[will]

The season three opener is entitled "Glass Houses"? Did I get that right? Glass freaking Houses? Ohh, my head...

What happened to "Jingle-Jangle Mornings"? What happened to "Herpes and Horoscopes"? What happened to the in-your-face "Three Bridesmaids and One Sloshed Drama Queen"? What happened to "Rainy Day Women" or "Carry Him Over the Theshold" or "The Hissing of Summer Lawns"???

See, "Glass Houses" is what happens when writers are not receiving adequate rest and energy slumps and the rejuvinative juices stop renewing themselves. ("Family Day" and "Holy Matrimony!" also happen)

Where's the vitality and BRIO I spent so many posts coaching you on? Where's the dash and nuance and swagger and lifeforce and joie de vivre?

All those posts for naught.

Cole, thank you for a giving us such a beautiful look of the set. You wrote it so great, that I could see it.

For some reason I like the part about the stairs:
"...Past that famous wall of family photos, the staircase leads to nothing. I look up and see no ceiling but rather the dark empty space of a sound stage...." Wow! That must be a disappointment. :-) I'll remember it next time I see the stairs on tv. But I HAVE always wondered what it looked like upstairs.

Please keep giving us info like this. I like to read it.

[sylviane]

Thanks for the tour over the set. I was curious about that. I am SO looking forward to the upcoming episodes. Except for the Rebecca/Justin thing, that has me worried, but I'll see how it's played out.

Thanks for the quick peek of how the actors interact and how things work behind the cameras. I hope to read more soon.

Just read the spoilers again for 2.16 and couldn't help but worry/be amused by the line that Kevin sees the adress of Scotty's parents in Arizona.
I sure hope you haven't forgotten that in 1.03 Scotty says that he is the son of Wally and Bertha Wandell from Oxford, Mississippi?
I would be so sad if this turned out to be one of those inconsistencies like Scotty's 'rusty orange' Ranchero (2.03) turning out not to be so orange, just rusted, in 2.11.
Or Kevin telling Scotty that Jason was on Tioman in 2.03, but Jason (and Kevin) saying in 2.11 that Jason was, in fact, in Kota Kinabalu, which is a completely different part of Malaysia. :-)
As funny as nit-picks can be, I'd rather not see too many of them on this great show. :-)

[will]

Just saw a sneak for tonight's episode, the one where Sarah & Kevin & Tommy & Justin all multi-gossip on cellphones about Nora & Isaac. Then, the gag that always seems to work, they all say "Bye" in rapid succession.

Mid-way, I realize that B&S has given us no reason to feel conflicted when Sally tells the suitor no (of course, she won't say yes; mom isn't about to leave her comfortable life & idyllic Williams-Sonoma-ed kitchen & her kids). But Isaac has been the equivalent of a stick-figure, with no recognizable quirks or character traits. Like Lena, he seems stuck into the mix to whip up momentary drama, and I am getting a little impatient with the stick figures that keep springing up. You might have spent a little time giving us a reason why Nora is attracted to him. Or why the audience might be attracted to him. This show needs some real dramatic friction, something that's alive, and not just fake friction to give the characters a temporary "plot".

[will]

"Separation Anxiety"

director: Gloria Muzio
writers: David Marshall Grant & Molly Newman
(Gloria also directed David & Molly's "An American Family" earlier this season)

---------------------------

Why do I feel like I know zilch about Isaac? Why does McCallister's defeat in the "Super Tuesday" primaries feel like no big deal, an afterthought? (and then we casually jump "three months later"; the script is practically complicit in the fact that we, the audience, are not invested in the subplot - that's why it's so easy to toss aside).

Musical cellphones, charming as always. And Kitty, Tommy, Kev & Sarah (and Justin) spying on mother's candlelight dinner is delightful (it could have been even more screwball if you'd had Kevin up against the door, listening in, and have Sally open the door with Kevin falling through, like Lucy & Ethel).

The Nora-Holly scene (mixing ingredients for a birthday cake) seemed artificial & superficial. Color & surface. In the next scene, Ken Olin provides a fluky gravitas & depth merely with that easygoing, gravel-y voice. I'm all for more Ken.

I don't believe for a cotton pickin' minute that Nora is going to leave her kids & that beautiful "House and Garden" stately manor for what is essentially a crap shoot. Is she really that lonely? The problem is, there is no romantic or sexual undercurrent or friction between these two that might help explain her decision. Again, color & surface. Emily VanCamp, on the other hand, is like Ken. She's a natural, she draws me in. Two lines of dialogue and I'm suddenly listening more intently, no longer skimming the surface.

Ken & Patricia work well together. Ken liberates Patty (do you guys call her Patty?). And Matthew & Rachel in the brief scene (where he's on the verge of tears) work well together too. Funny how certain pairings (a specific chemistry) bring out subtext and a 3-Dness. Something suddenly FEELS right. Ken is Patricia's 3-D.

I feel alienated with this "Nora tempted to go to D.C." storyline. It feels trumped up. It feels lightweight & dumbed down. I don't feel for a hot second she might run away (or elope) with this half-drawn nice guy. This subplot definately needed redeeming motivation, a quiet chemistry. But I guess Danny Glover is better than Treat Williams or Peter Coyote (not saying much; poor Sally's had depressing luck in the romantic leading man department). Kitty's "Please stay. I need you" was touching.

Dave & Emily have first-rate chemisty. They both underplay & compliment each other in a relaxed, lived-in way. In a sense, I don't care where this storyline goes (I tend toward the baroque anyway; give me incest or madness & crazed drug addiction & I perk up). The writers could definately jack up the material a notch for these two. They'll rise to the challenge.

[Carrie]

I am so happy to have B&S back on my screen. Last night's episode was fantastic.

[Scott]

What a wonderful showcase for Sally Field. She rocked it all -- especially that heart-tugging speech at Rebecca's birthday party. This woman is amazing, simply amazing. The final scene of her eating alone was appropriately bittersweet.

Loved all the Walker sibs interaction (the phone chain, sneaking up on the dinner) and the scene of Kevin and Sarah tearing up over the store-bought food was particularly inspired.

I like the potential Sarah/Saul subplot you've set up (company in trouble, family loyalties tested), but writing Sarah like a lovestruck teenager and not the savvy businesswoman we know she is was really disappointing. Hopefully that was just a blip and she'll be back to her kickass self next week.

Rebecca...ugh. Please tell me the previews are a misdirection and that Rebecca is indeed a Walker. I did not buy for one second that any caring parent like Holly would allow her daughter to believe herself a Walker for a full year when she wasn't 100% certain of her paternity. Not credible, and not consistent with Holly's behavior in Season 1.

Rebecca staying a Walker is the only way to be true to Season 1 AND to keep her a viable character. If she's de-Walkered and the J/R "romance" (ugh) is wildly unpopular, then her character has no purpose left on the show. And how awful to go down a path that would efectively foreclose the development of her siblings relationships with the other 4 siblings.

Sigh. I'm a loyal fan, but I can only take so much retcon. Please, writers, be true to this show. To make her conveniently David's daughter would so be beneath your talents. You've worked too hard in building up the character's intro and integrating her into the family in order to destroy all that with a cheap twist.

[Yvette]

Ok guys I think I am going to have to say so long to Brothers and Sisters. This show which started out great is becoming way to predicatable and its no fun anymore. Anytime I can guess the story line it is time to hang it up. Sunday night show had a lot of promise (and truth be told) after the long writers strike I was ready for a fresh episode but I must say I was not impressed. It turned out to be the walker kids at their worst.

[JoAnne]

Nora's speech to her ungreatful children was fantastic! It's about time she spoke up for herself. I knew she wasn't going to go with Isaac, I did not see any chemistry between them and anyway.

I am not giving up on this show, but it really has turned into the typical soap opera. I personally think that Rebecca is going to find out that neither William or David is her father(maybe Saul is her father) since Holly seemed to be "doing it" with everyone she knew during those years.

Can it be that Robert is not giving Kitty her shot
(remember she didn't feel it)He didn't want anymore children, I think he told Kitty that after her miscarriage.

Also disappointed in Sarah, she is acting like a lovesick teenager instead of the strong business woman she has been so far.

Nora and Holly being "girlfriends" is a little unbelievable.

So much, just isn't right or as good as it was in the beginning.

still not giving up, I love
Ken Olin whether he writes, directs or acts.

[will]

Big kudos to Luke MacFarlane for publicly coming out. This is one of the ways public perception changes.

So, T.R. Knight came out, and Doogie Howser came out (Neil Patrick Harris), and a couple months back Jodie Foster finally came out. And Queen Latifah has been peeking out the closet door, tenatively.

I am both a Dodgers and an Angels fan. If only a few pro baseball players would now brave a possible backlash, brave the elements & come on out, we'd really get some traction. Kudos to Luke again.

[sylviane]

I loved the episode.

I missed Scotty, but Kevin's casual "sweetie" and "Love you" during the phonecall made up a little for it. And Julia's "Hi Scotty." made it feel like he was already accepted. So cute.

I was glad to see more Tommy/Julia again. I like them both and felt they were underused, so glad to see them back. I hope we get to see more Julia too in the future. She's such a nice character, but we know so little about her.

I heard on the writers video that, the children disturbing Nora's dinner, felt like a theater piece and I had exactly the same feeling about it when I watched it unfold.

I try to ignore the whole Justin/Rebecca-thing as it is really dragging down the joy of the other great stories that seem to come. I will see how it unfolds and complain afterwards.

Loved the subtle change in Saul, during the last talk he has with Sarah.

I can't wait for episode 2.14, when we can see Kevin/Scotty again. I just hope my expectations aren't too high.

[will]

Ok. I've imbibed my afternoon latte & discovered a renewed sense of (caffeine-driven) purpose.

Titles!

"Bowling for Gunnar": Sarah & Kevin find themselves attracted to the same comely danish guy (Gunnar) they meet lunching at a french bisto... who mysteriously seems to reciprocate both their advances when each calls for a date later in the week.... Oh freak. This won't work. I keep forgetting about that damned Scotty thing. Scotty's c-blocking all my libertine Kevin action. Anyway, the plot WOULD HAVE heated up after Sarah & Kevin, sick of splitting the dane's affections, decide to take their frustration & aggressions out in a winner-take-all bowling match....hilarity ensues. Obscure "Hamlet" jokes could be made & bandied, a running gag; Hamlet was a dane too.

"Rosemary Lambchops, Rum Punch & Recriminations": Yet another Nora Walker dinner party goes horribly awry.

"Love Minus Zero": Ok, Bob Dylan tune, don't know what it means, I just think it sounds zippy & satisfyingly cryptic. This will be a Tommy episode which I'll figure out on a different caffeine buzz.

My caffeine is wearing off. Sorry it yielded so little. More later...

[Karen]

I loved episode 214, but loved Emily Van Camp's evening dress more. Can you find out who designed it?
Thanks.

[Kim]

I just came upon this blog this morning, and have spent most of my afternoon reading all the previous postings. I had to laugh when I got to this one, and read the comment about Emily VanCamp. I interviewed her a few years ago for a documentary I was working on and for like a month afterwards, anytime it was brought it, I'd gush about how smart, professional and, most of all, nice she was when we worked together. I drove my friends crazy! You're right though, she really is one of those people.

The show is amazing by the way, and I'm looking forward to reading more of your posts.

[Ashe]

Karen, I have been searching relentlessly for that blue dress Emily Vancamp wore in that episode. If I ever find it, I will certainly post it here!

[Elisa]

hi!
i like "Brothers and sisters" very much
Here, in Italy i'm watching the 1st saeson , and it's great.
i like the opening and the ending theme. Do you know the title?
thank you a lot

[Wendy]

Hello!
I wonder if anyone knows the brand of eyeglasses Holly wore (baby pink cat eyeish shape) while on the phone at home before rebecca comes in the door in the season finale.

thanks

[Anne-Marie]

Hello - I too am looking for the brand of baby-pink cat eye shaped eyeglasses that Holly wore in the season finale...THANKS!

[Sally]

I am looking for those glasses as well! They are great! Please tell us where to find them!