PTR On Set: 'Raising the Bar' w/Two Points of View

By LillyKat
PTR Senior Staff Writer

It’s not every day you sit down next to one of the greatest television producers of all time and have him tell you about his latest project.

Or why he has chosen the cable medium as his newest playground.

Then again, everyone is moving to cable these days, aren’t they?

After all, that is where it’s at.

And TNT knows it the best.

Enter their newest drama, Raising the Bar, which premieres this coming Monday, September 1st at 10 p.m., and is brought to us by Steven Bochco – who I’ll just call Mr. NYPD Blue and Mr. Hill Street Blues for now.

Enter their newest drama, Raising the Bar, which premieres this coming Monday, September 1st at 10 p.m., and is brought to us by Steven Bochco – who I’ll just call Mr. NYPD Blue and Mr. Hill Street Blues for now. As the title of the show suggest, Raising the Bar is no cop show. Rather, it delves into a new realm of legal dramas: telling the story from the prosecutor and public defenders point of view.

“We started with the idea that we wanted to do a show about a busted criminal justice system not just from a public defender’s point of view, but also from a prosecutor’s point of view,” says executive producer Bochco. “All of them are functioning in a deeply flawed environment. The most passionate and committed of them are not only trying to win cases and defend clients, but they’re also trying to maintain, change and support a system which, flawed as it is, is the only one we’ve got.”

Raising the Bar comes to us at a time when cable television is firing on all cylinders. It has become the place to find top quality, character driven dramas. When PTR had the chance to visit with the cast on set back in June, before they had wrapped their first season, they already sensed they were onto something that had yet to be done either on network or cable television.

“It’s the kind of show where you get to root for the underdog,” says Currie Graham, who plays prosecutor Nick Balco. “You see these people that society has sort of forgotten about – the people who have to have a public defender, the people the system really doesn’t give a care about anymore, the bottom 10%. We’re taking a magnifying glass, shining it on this system that forgets about these people and saying, hey, look what really happens. Does anyone know what really goes on here? To see the sort of manipulating, and the strategizing and the dealmaking that happens around people’s lives is kind of frightening.”

Adding Raising the Bar to TNT’s ever-growing slate of quality original programming was a good fit for both the cable network and Bochco.

“It seems to me that there's been a real shift in broadcast television away from the kinds of shows that I like to do,” says Bochco. “For me to continue to do the kinds of shows that are not fantastical – they're not about superheroes, or vampires,or guys that live 800 years – requires that I do [it] in the cable world, which I'm happy to do because it's a very, very respectful environment from a creative point of view. Nobody's looking over your shoulder, nobody's micromanaging you. Everyone is so respectful.”

“There’s a feeling that we’re doing what we want to do,” says Mark-Paul Gosselaar, who plays public defender Jerry Kellerman and of whom also worked with Bochco on NYPD Blue. “I think the best part [of this experience] is getting the same feeling I got with Steven working with him on NYPD Blue - that feeling of confidence about the work we’re doing.”

The show is loosely based upon the book, Indefensible, by David Feige, who also serves as supervising producer on the show.

“I was a public defender for about a dozen years [in New York City] – first in Brooklyn, then in Harlem, then in the Bronx. I left and wrote this book [and] Steven was the only person in Hollywood I sent it to. And, to my amazement, he called and said, ‘I love the book but I don’t think there’s a show here.’” Feige recalls with a laugh. “So, I hung up the phone thinking, you know, Steven Bochco liked my book, the rest is gravy. I’m fine. Good. I’m done.”

Bochco laughs.

“He then writes me a five page e-mail – ” Bochco says.

“ – telling him why he was wrong,” Feige jokes.

“ – telling me why I was wrong. So, I said to my wife, read this – this crazy guy is so passionate about what he’s doing. That’s who we should be in business with – passionate people. So, I re-contacted him and basically said, ‘I don’t want to do [the book per se], but if you want to do [it a little differently], let’s go.’”

And they did.

So what do the creators feel sets the show apart from other legal drams – past or present?

“In the current landscape of television, I don’t think there’s a real character-driven, realistic, law drama. It’s been a long time since there’s been anything like that on television, and I don’t remember ever seeing a law drama that really sort of gave equal time to both sides of the equation the way we do,” Bochco says.

Adds Feige: “Steven’s explanation to me was you don’t have real drama until you have a clash of legitimate world views. And so, we have an incredibly powerful defender voice, which Mark-Paul carries as beautifully as I could have imagined. We also have incredibly powerful prosecutors, who really believe their point of view, and in the contrast is the drama and gist of the show.”

But Gosselaar wasn’t initially sold on the idea of playing a public defender.

“I’ve always played strong characters,” says Gosselaar. “But when I first viewed Jerry on the page, I thought he was really an underdog – a weak character. Everything I’d ever seen on television was through the eyes of a prosecutor, through the eyes of a cop. So, to me, playing a public defender who was always losing, fighting for poor people, engine clients, didn’t really appeal to me right off the bat. But in having read David’s book, seeing the struggle that he goes through, seeing what kind of strength of person it takes to be a public defender, I began to see the challenge in [playing Jerry]. That’s sort of when it opened my eyes, and I was able to read the script from a different perspective.”

Jane Kaczmarek, best known for her work on the Emmy®-winning TV series Malcolm in the Middle, portrays Judge Judy Kessler. She also wasn’t necessarily looking to return to television, but the appeal of working on a Bochco show was pretty strong.

“To be quite honest, I really wanted to work on a show that would allow me to work only a little bit,” Kaczmarek says with a laugh. “After Malcolm went of the air, offers I would get were mostly for comedies, which I really didn’t want to do again. I got so much out of my system doing Malcolm, and it was a long run. Also, I have three little kids, and I was really looking for a life where my primary focus was going to be my family, my kids. I waited until a job came a long that was really going to suit my lifestyle – and by that I mean I could work, I could be on an interesting show yet not be the lead. I had worked with Steven 25 years ago on Hill Street Blues, and I liked that. I think Bochco brings in a certain old-fashioned storytelling – and I mean that complimentarily – in that it’s nice to know about the people trying these cases, and it’s nice to know their back stories. I also used to play a lot of lawyers for many years, then I did a lot of comedy. So, it was kind of interesting to come back to this side of the bench. And I think the character of Trudy is pretty fascinating.”

On being asked about Judge Kessler being a hard core, hard hitting kind of character, Kaczmarek doesn’t see it quite that way.

“Well, in the same way, I never found anything that Lois did on Malcolm that out of the ordinary. [Trudy] is following the letter of the law; it’s just her interpretation of the law. So, there’s nothing she’s doing that’s really illegal. In the pilot episode, the character of Charlie Salansky [played by Jonathan Scarfe] really servers to temper her and make her think differently about certain things.

“Also, the difference between the legal system and what we think is the legal system is completely [a result of] watching lawyers on television,” Kaczmarek continues. “You kind of think lawyers act the way they do on television shows. They don’t. If you actually see real lawyers in action, what happens in a court room is so different than what we’ve gotten used to [seeing]. It’s slow moving, they’re often unprepared, they can be very tedious. They can be badly dressed, badly coiffed. I’m amazed when you see real lawyers – being on jury duty and things. You think, ‘Don’t you watch Law & Order? Dress up! Be prepared!’”

All joking aside, the entire ensemble cast feels as if they’ve been given a great opportunity to work on a Bochco series.

“I think Steven is so good at casting that you know what you’re going to do when you’re get the job,” says Graham. “Once he’s sees people, he knows what you’re going to bring to it, and he lets you go and do your thing. I think he has a great knack for overseeing the big picture, picking the right components and pieces that make it work.”

As for his character, Graham says it has been a fun challenge to play, of all things, a misogynist.

“It’s the first time I have played what I believe is a misogynist,” Graham says. “It’s not in a malicious way, it’s not in a mean way. He likes women, and he’s not afraid to compliment them in perhaps an inappropriate manner, not afraid to manipulate them into going out on dates with him, but also not afraid to tell them they’re not as good at their job because they are women. Also, I think this character has an opportunity to be very funny, especially for a guy who is somewhat morally ambiguous. He’s kind of on the edge of being ethically challenged, and yet at the same time, he’s funny. I think this character – aside from the misogyny, because I’m happily married – was kind of written for me. I think there’s a part of him that is me – the sense of humor, the sarcasm. For me, I put on an Armani suit, step behind the desk, and that’s the guy, man. And the words are good. The writing has been very smart, very intelligent.”

J. August Richards, who plays prosecutor Marcus McGrath, also feels very fortunate to be in the Bochco fold.

“I’ve found that when you work with people like [this], the level of confidence is such that they hire you and let you do your thing. They don’t second guess and triple guess, or micromanage you. It’s just a certain confidence,” says Richards.

But Richards told us of the challenge in taking on a character quite different from himself.

“This character is very moved by victims,” says Richards. “And what did strike me about reading the script was that I had to read it with, like, these sunglasses on because the script is from the point of view of the PDs – the public defenders. They are the heroes, they are very passionate about how the system doesn’t work for people. Now, as a prosecutor, I have to be very passionate about victims and victim’s rights, and those are the glasses I have to put on when I read the script so that I don’t hate my character [given I might not agree with that point of view]. I just have to think about that mother that comes to my office and says my son was viciously beaten, and I can’t feel sorry for the guy for being in jail for a year, waiting for his trial. I think about people who suffer from violent crimes, and that’s what makes me feel righteous about what I do. Marcus really relates to the victim, and there’s a lot of clashing between my character and the public defenders. This has been a very interesting character for me because, politically and personally, we are so incredibly different. This guy grew up in a trying situation, he comes from Harlem, he’s seen a lot, and he kind of has an agenda with what he’s seen and what he’s been through. I’m the exact opposite. It’s been fun to get to know this guy – really walk in those shoes and really see the world through his point of view because mine is so different.”

ER alum Gloria Reuben takes on the role of Rosalind "Roz" Whitman, who runs the office of public defenders. “I’m trying to run the ship without letting too many people jump overboard,” she told us. But her primary reason for heading back to small screen was the opportunity to be a part of the TNT family, and to portray a strong woman.

“I think that you can see that TNT has taken the lead in creating really great roles for women on television,” says Reuben. “And I think, quite frankly, cable television is the place where interesting stuff is happening – film noir television. It’s exciting to be a part of that process, I think there still needs to be a lot done for ethnic women and women of color. But, things are changing, and the roles are getting better, and shows like this - which have great female roles - always kind of inspire other shows to be developed with that kind of strength behind it. Not to mention the chemistry of this cast is out of this world.”

Melissa Sagemiller plays Michelle Ernhardt, an assistant District Attorney in the Manhattan office and of whom has a love/hate relationship with Gosselaar’s Jerry Kellerman.

“I’m incredibly driven and I will pretty much do whatever it takes to win cases,” says Sagemiller. “I have this sort of extreme desire to please someone. So, I tow the line between what is morally and ethically correct, and what is legal. I struggle with that throughout the series. She’s a spitfire.”

Natalia Cigliuti plays Roberta “Bobbi” Gilardi, a public defender transferred from Brooklyn office to the Manhattan office who clashes with Sagemiller’s character.

“She’s starting to get close with the Jerry character, but she’s married, so that’ll stop her. But, she’s very passionate about her clients, and she believes in them and for them and fights for them. Melissa’s character and I have out little tit-for-tat, which we’ve had a lot of fun with it,” says Cigliuti.

Teddy Sears plays public defender Richard Patrick Woolsley IV. As you might guess from the rather formal name of the character, Richard is taking the road somewhat less traveled after enjoying a well-to-do upbringing.

“Richard comes from a very well-healed background and is looking to work in the public defenders office. He’s stepping away from the very large shadow that his family and his father have cast, and striking out on his own, and just fighting diligently and passionately and committedly for the people who he feels are underrepresented and underserved. And all of the fun stuff that comes with it helps mold this unfolding maturation that this character is experiencing,” says Sears.

The cast remain ever enthusiastic about how the first season has been laid out, and they can only hope they’ll be able to come back for a second season to continue the work.

“I think that this show is right for this time,” says Gosselaar.

“And I don’t think you need to be a liberal or a radical or anything to look at this system and say something is seriously wrong [with our system]," adds Bochco. "I just hope that we get a chance to keep going because I think we have a lot of stories to tell with a great bunch of characters that can sustain us for a long time.”

Our great thanks to the cast of Raising the Bar for taking some time to share their thoughts on the show as well as our friends at Turner publicity.Tune in for the series premiere of Raising the Bar Monday, September 1st at 10 p.m. on TNT. For more information on the series, be sure to check out the show's Official Web Site.

PTR On Set: ‘Saving Grace’ - Ready for Round 2

By LillyKat
PTR Senior Staff Writer

“How cool is it that TNT is willing to invest in women over 40 – can we just talk about that for a moment?” asks Lorraine Toussaint, who plays Captain Kate Perry on the TNT series, Saving Grace.

When a unified “Amen!” breaks out from the assorted group of journalists assembled to visit the Saving Grace set as part of TNT’s press day tour last month, she instantly knows she is preaching to the choir.

And we encourage her to continue.

"We get so much more interesting and fascinating when we hit 40. That’s when we’re sexiest, when we’re braver, when we don’t give a f***, when we step out there, when we stop worrying about how everything looks and falls and fits. To have a network that says not only [do] we [not] care [how old your lead is or that she is a woman], but we’re going to support [it], we’re going to celebrate [it] and we’re going to really focus on [it] … that [has just been] really thrilling.”

Amen. Again.

You’ve got to hand it to TNT. They do know drama.

Really well, in fact.

In recent years, they’ve set a new standard for drama excellence with shows like Saving Grace and The Closer, and they were seemingly the first network to actually acknowledge that people would watch shows that have actors who have been around the block once or twice.

Not on a scooter or big wheel, either.

One thing is for certain: no matter what my issues were with the first season of Saving Grace - namely, that it seemed as if the premise was just being repeated over and over, with Grace never moving beyond being out of control and, subsequent to that, she had no redeeming qualities to make one want to care one way or the other if she was “saved” – I did dig the fact the show focused on a woman who had some mileage on the life odometer.

And to hear the passion the Saving Grace cast has for their show is equally as inspiring. In having the opportunity to speak with all of the series regulars during our set visit, I came to learn they are quite a tight knit group. They know they’ve followed in the footsteps of the success of Kyra Sedgwick and Co. over on The Closer, and they consider it a compliment.

"I think when one show gets popular, it sort of [sets a] trend,” says Leon Rippy, who portrays Angel Earl. “I’m glad to see it because there was a shortage of it for a long time. I like to see flawed, female characters.”

“It was such a struggle for so long,” adds Laura San Giacomo, who plays Rhetta Rodriguez, the ever-faithful best friend to Grace. “Now, everywhere you turn, [there are] really great, strong, sexy, fabulous, crazy, mixed-up, competent, intelligent, conflicted women. They are multi-dimensional [and] all over the TV landscape.”

And thank the heavens for that, eh?

Perhaps none are more crazy, mixed-up and conflicted than Grace Hanadarko, who blurs the line between … well, just about anything and everything that involves a line. The woman who portrays Grace relishes the freedom that has come with the ground-breaking role. But, when I asked her where Grace ranks among all the characters she’s portrayed in her illustrious career, Holly Hunter says she has a hard time ranking any of her characters.

"I just couldn’t compare them,” says Hunter, who also serves as one of the show’s executive producers. “I wouldn’t want to compare them. There’s a clutch of characters that I’ve played that are permanently imprinted into my immediate sensorial self. Like, if I watch Broadcast News, I am Jane Craig. I feel her, you know, because it’s such a true portrait of characters that [director] Jim Brooks was into [to which] I was a benefactor. The same could be said for [director] Jane Campion. It’s such a deep truth about human nature that I can’t help but immediately be Ada McGrath again [and] feel her again when I see [The Piano]. But, I [also] feel there’s a deep truth about Grace.

“It’s kind of a dream come true to get to play somebody who doesn’t have normal limitations,” Hunter continues, “who doesn’t place normal limitations on her own self, doesn’t censor her own needs, her own desires. I loved the episode last year where Henry, the coroner, lost his cat. He had a great investment in his cat – his cat was kind of his family. And when his cat died, Grace had sex with him. That was like a perfect example – a perfect gesture in a way – of who she is. There was something healing in [that] gesture. [And so], I find her [to be] healing or extraordinarily generous. It’s not just all [about] narcissistic fulfillment. It’s kind of an extreme desire to fulfill others’ needs, or to help them. It’s an interesting, complicated portrait of someone.”

Hunter agrees that the cable frontier has allowed for that complicated portrait to completely take shape – even if it pushes the envelope to the fullest extent.

“This thing with cable,” she says, “I keep thinking it’s going to be over soon. It feels a little like the Wild Wild West – like anything’s possible. It’s still a little crazy, like nobody’s quite got a handle on it, yet. My great fear is that the FCC [Federal Communications Commission] is going to find a way to wrangle [it] into submission. And I feel, like, I hope that [doesn't happen] because it’s allowed writers, and of course actors, to explore a broader realm of what it means to be alive - and that includes women over 40. I feel as much alive now as I have at any other point in my life. And creatively, I didn’t feel like I reached a zenith at 30-something. I keep living, and I keep wanting to express stuff.”

And, as we know, what gets expressed on Saving Grace runs the gamut from OMG! to WTF? It has offended some, invigorated others. There were times last season where I, for one, just did not get the point of what the show was doing, or where it was trying to go. But, it seems both the writers and show runners like to challenge the audience in certain way – whether that be over the top or along more subtle lines. And again, being at home on a cable network allows for a freer exploration of certain themes.

“There’s a certain amount of freedom we have just by being on cable,” says Toussaint. “[Creator and executive producer] Nancy [Miller] and [co-executive producer] Gary [Randall] pretty much take the heat. I know Nancy goes to the mat, and I know Holly goes to the mat [for us] in terms of we can/can’t do. You know, [this] ain’t Touched by an Angel - and that’s a good thing. I think a show like [this] is really pushing the envelope – questioning spirituality, the responsibility of the church and religion to us in this day and age. We’re moving forward, and the church has got to keep up with the ideas of what is God, who has God, who doesn’t – all of that stuff has to be busted wide open, and I think [the producers are] enjoying the provocativeness of what they’re bringing out.”

"TNT has definitely given us a long leash,” says Bailey Chase, who portrays Detective Butch Ada. “We’re able to make the show we want to make. As actors, we’re able to say things we wouldn’t be able to say on network television, [which] makes it interesting for us. [And] week to week, we don’t really know what we’re going to get. Whereas Law and Order is a great show, there is certain [formula whereby] you pretty much know what you’re going to get. The names and faces are going to change in terms of the guest cast, but SVU is SVU. Saving Grace is more a show about life, and life is messy. It connects, but it’s not a straight line. It’s all over the place.”

And it usually falls upon San Giacomo’s Rhetta to keep that all-over-the-place-ness in one place - if possible. She is the the glue, the touchstone, as it pertains to keeping Grace somewhat together.

"I do know there is a certain part of Rhetta – a certain aspect to that character – that is not experiencing a hurricane like everyone else,” says San Giacomo. “She’s just waiting to catch people as they get spun out. I mean, it’s all about Grace – it’s all about loving Grace, Grace’s life …”

“… for me, too,” adds Rippy.

“… and that’s the thing that we have in common,” says San Giacomo. “I feel like I’m working here on Earth, and [Earl is] working on the other levels. But we have the same job in essence. You know, weird and horrible things happen to people every day. They [have to] live with [it], and [life's] a challenge. What Grace has experienced in her life has been weird and horrible, and we get to watch her live that.”

Part of that living comes in having an affair with her married partner, Detective Ham Dewey, portrayed by Kenny Johnson. In coming off his tenure on FX’s The Shield, where he portrayed a far more hard-charging cop, he made a brief stint as a recurring love interest for Detective Lilly Rush on Cold Case (which … ahem … some of us still wish he was given his character of Joseph was the only decent guy Rush ever got her hands on, the cloning of The Closer's Fritz Howard notwithstanding). Suffice it to say, it’s been a good challenge for Johnson to dial it down from his arse-kicking days on The Shield, yet step it up a notch from his time alongside Kathryn Morris on Cold Case.

"[My character on The Shield] had a conscience about what he did, but yet he constantly broke the law. Here, it becomes a little more real. [Ham] doesn’t cross that line as much. I can drink, I can kind of get out of line, but [it’s only] to a degree. It’s much more to the book. [And when I came here], I’d never played a leading man [alongside] a female ever in my career. I did a little bit of it on Cold Case, but for me to play opposite of a female [character] that I have this complete feeling for [both] as a partner and as a human being is definitely touching a lot places I didn’t previously explore. There are a lot of layers going on that I didn’t have to deal with on The Shield [but of which] I’m dealing with here.

Adds Hunter: “This [show] is written by a woman, and [it’s] created by a woman. So, immediately, you have a woman’s sensibilities that [have] permeated [into the show’s make-up]. You have an iconic female lead in the form of Grace Hanadarko. And she is iconic; she’s not 'slightly other.' The Shield was a real exploration of men bonding – male bonding – in a way that soldiers do, in that way where people who are involved in illegal activities have to bond. It’s a totally different exploration on [our show]. [It] is much more of an adult relationship that Grace and Ham have ...”

“ ... incredibly intimate, too, in a lot of ways – for me, at least,” adds Johnson. “It’s naked with feeling.”

And the effect the show has on its actors is a direct result of yet another collaborative environment that exists with the show’s creators, quite similar to what exists over on The Closer.

“We had wonderful meetings at the beginning of this season with the writers,” says Toussaint. “In terms of our input – where do we see the characters going and where do they see the characters going this season. They took a lot of our ideas, and we heard a lot of their ideas. A lot of it is really being fleshed out.”

Adds Chase: “Just [going] back and forth - it’s cool when they really listen, and they’ll infuse it in the show.”

For Bokeem Woodbine, who portrays death row inmate Leon Cooley and of whom is also in need of Angel Earl’s guidance, the creative process has been one of the best parts of being on the show.

"I was never really the kind of actor who thought he would find himself as a series regular. So, for me to really be enjoying it as much as I am is because the writing is great, and the cast is really, really great – not just as talent, but as people. The producers are hands-on and effective, but also, they’re creative individuals. [That] is kind of a rare dichotomy to have a producer be efficient [but also] have sort of a creative mindset about stuff.

“To come to work and have this great material all the time,” continues Woodbine, “and to be able to work in a character that has some type of longevity [is a great experience]. You know, I’m [the] kind of person [that] gets in, does the job, gets out. But when you work in series television, and you’re on a show for couple of seasons, your character has a longer life. You’re not just there for a couple of months, people aren’t just seeing you one time and in one context. You get to show more range when you have an opportunity like this, and that has been really great for me.”

But the challenge of the second season still remains in the forefront of everyone’s minds. Gregory Cruz, who portrays Detective Bobby Stillwater, feels as if this season might even be better than the first.

“It’s easy to get complacent, [but when] we got here [for] this second season, [the] look in everybody’s eye was like, ‘Let’s do it, man.’ Because now, we’ve got a season under our belt, now people know what we can do, [so] let’s show them what we can [really] do. So, I think it’s going to set you up [nicely]. The writings [are] even tighter – if that is possible. People are really eager to get what’s been written and really [make it good]. I think that the episodes are even better than last season.

“The best part of this show,” continues Cruz, “is that I’m learning what I’m learning from the people that I’m working with. The experience on this show is profound for me personally because of the topics, because of the people I’m working with, because of where I’m at, because of the timeliness of it. All of that wrapped together, I take stuff from here and just go, “Wow!” It’s that kind of atmosphere around here. The show has such an effect on me in my own personal life. It’s been great.”

And how. Get ready for round two - looks to be quite the humdinger.

Our great thanks to the cast of Saving Grace for taking some time to share their thoughts on the show as well as our friends at Turner publicity. Saving Grace begins its second season July 14th at 10 p.m. on TNT. If you missed out on any of the first season, be sure to check out the show’s official Web site to catch up on all-things Grace Hanadarko.

PTR On Set: ‘The Closer's’ Fourth Season

By LillyKat
PTR Senior Staff Writer

“It’s a spicy, spicy, spicy new season filled with conflicts – much, much conflict.”

So says Gina Ravera, who plays Detective Irene Daniels on TNT’s hit series, The Closer.

“Power, power, power … power’s the theme – being powerless, being powerful,” adds Jon Tenney, who plays the incomparable FBI Special Agent Fritz Howard.

Spice. Conflict. Power.

Wowza.

As if last season wasn’t enough – what with BJ (that would be Brenda Leigh Johnson to those just tuning in) getting shot, going through early-onset menopause then deciding to have her ovaries drilled, giving up her sweets addiction, selling her house, watching two squad members start dating one another, watching one of said squad members nearly lose his job, trying to figure out how in the world she’s going to get married to Fritz only to learn of his alcohol addiction of years past …

Whew! To expect even more this year seems … well, criminal.

And let’s just say this: If you think BJ and Co. are fabulously entertaining and downright hysterical on screen, you should listen to them chat up assembled journalists as part of TNT’s press day set tour last month.

Can’t. Stop. Laughing.

“He’s coming out of the closet,” jokes Tony Denison (Lieutenant Flynn) to G.W. Bailey (Detective Lieutenant Provenza).

“Noooo, no, no …” says Philip Keene (Buzz Watson), innocently trying to steer the conversation back to something resembling serious.

“He’s got little girl’s underwear on right now,” Ravera says.

“Actually, I do,” says Denison.

Need we say more?

It’s a treat to find the cast so entertaining off screen, which makes it even easier to explain why the chemistry of the entire squad has become so addicting to us Closer fanatics over the years. But as comical as they are, they tell us of a season that is actually going to be quite dark and thought provoking, centering on a key theme: the loss of control and power.

“Power is often defined in the negative,” says creator and executive producer James Duff. “It’s demonstrated to you by how little control you have over your life. The first episode [“Controlled Burn”] pits Brenda against a fire, which is a very primal force. We think, as a civilization, we are in control of things. And yet, Griffith Park [in Los Angeles] – which is the largest wildlife refuge inside a major city in the United States – is like the sulfurous tip of a match. If it were to ignite, on a windy day, with a good wind behind its back, it could destroy the city. And, that’s the illusion we have – that we live with every day. We live with the illusion that we are in control, and the truth is we are not. Over and over again, the squad is going to face this dynamic where their footing is tested. Or, they’re going to see people in powerless situations, and see how the lack of power affects society.”

“I think the last couple of episodes [we’ve filmed] have been very, very intense,” says Ravera. “Dark.”

“But very thought provoking,” says Denison. “[As far as my character goes], whatever is different between last year and this year will probably be very subtle. [But] I know I’ve changed – I feel myself different as the character.”

Says Bailey: “The episodes we’ve done so far, [Provenza] has been a little more vulnerable than [in the past]. This last episode we just filmed [“Dial 'M' For Provenza’], while it was very funny, it also had a lot to do with his age – being forced to retire, having to face the fact that he is very vulnerable to time.”

He pauses for a moment, as if to deliver a punch line. “I guess I’ve noticed a lot of old man jokes - they’ve been stressing my age a lot.”

“What age? I see no age on thee?” jokes Ravera, who’ll be dealing with the aftermath of her inter-squad romp with Sergeant Gabriel.

“Well, it’s not good to sleep with those you work with, right? All of Brenda’s fears of what would go down – not in terms of the squad falling apart so much as the difficulty of working with someone after you’ve had an intimate relationship with them – will be realized,” she says.

“Once the bloom is off the rose …,” says Bailey.

“Dating at work is like fishing at Chernobyl. It’s very difficult,” jokes Denison.

“You never know what you’re going to get, right?” asks Keene, who says we’ll get to see loyal and faithful tech guru Buzz come out of the electronics room even more this season. “He’ll actually be in the murder room – going to get a little more exposure, a little more to do. It’s a nice evolution for him.”

And that, as it turns out, is all part of being a key player in a large ensemble cast.

“I’ve never been part of a large ensemble,” says Ravera, “but I think all of us have a very healthy respect for each other and for the ensemble they have built here. We play our note in it – whatever [large or small] note that may be.”

Speaking of playing notes (er, I guess you could say changing tunes), one time BJ nemesis (now team player) Commander Taylor, played by the excellent Robert Gossett, says it feels good to be in the fourth season given the rich evolution of character development everyone has experienced these last couple of years.

“One of the things that people come up to me and tell me they love about this show the most is the dynamics that are growing between each [character]. They like what the episode is about – the murder, the confession, all that. But, the stuff that’s going on under that – between all the guys and gals – is really what intrigues them. And I think that’s what grabs them – that intrigue. Otherwise, we’re just a regular cop show – just the facts, get the Perp off the street, wrap up the case, see you next week.”

Ah, perhaps he means like a certain other show on a certain other network that used to be about a seriously interesting and devoted female homicide detective in Philadelphia, but now is stuck in the procedural doldrums formula routine, long past its prime, with no indication of getting out any time soon.

Alas, I digress. I swear I did not pay Robert Gossett to summarize the shortcomings of the procedural trap so perfectly. Suffice it to say, as I mention to the cast that I think they are one of the best shows on television at the moment in balancing the personal with the professional, it’s refreshing to hear they, too, enjoy all those personal anecdotes and interactions as much as the rest of us – and that it is key to holding not only their interest as actors, but to the audience and the overall quality of the show.

“One of the things that’s completely unique to this show in comparison to other procedural dramas on television is our creator was not afraid to let the audience members invest in these characters,” says Corey Reynolds, who plays Sergeant Gabriel, the proverbial favorite son of BJ. “On a lot of other shows, the characters, the leads, can be replaced. We [can] see them actively get replaced because it’s about the formula of the show. One of the things [we’ve] done that some people in television would say is unwise to do is to really have this show rest upon these [characters]. They’re not easily replaced. What would the squad be without Tao? What would Brenda be without Fritz? We couldn’t continue to create what we have if [the writers and producers] hadn’t allowed us to commit to the characters and bring them to life to the point that it would really change the dynamic of the storytelling for a person not to be here. That may be a little dangerous in a business mind, but for viewers, that’s what you love – you love to be able to take that journey with the characters. So, for us, we evolve as well – our characters evolve, what they know evolves, what they fear evolves, what they support evolves. In film, you have the transition within the arc of the story, but with television, you have the transition within the arc of the series.”

Like, wow, can we say it any better than that? I don’t think so. Cold Case should take note.

“I think each story presents its own problems for all the characters,” says Michael Paul Chan, who plays Lieutenant Mike Tao, “and it’s our job to always make specific choices on how we’re going to approach something. That is always changing. Often times, the audience knows our characters better than we do.”

“In every episode,” says Raymond Cruz, who plays Detective Julio Sanchez, “there are little revelations – like pieces of an onion [skin] being pulled away. You, as an audience, gain insight into that specific person. And it’s like, ‘Wow! Sanchez has a temper!’”

“The writers spend time when they’re talking about story arcs for the year,” says J.K Simmons, who plays Assistant Chief Will Pope. “For every episode, they go around the table and ask how are we addressing each character’s development and each character’s relationship. You can literally take any script and find there is an interesting little nugget here or there alongside the development of the specific plot. Aside from continuing to have interesting whodunits, that’s what keeps it interesting for us.”

Adds Gossett: “The scripts that have come so far, they make it easy. They are so rich. And I think [the writers] know us – they write for us.”

And they do, which is part of the overall collaborative environment fostered between cast, producers and writers.

“We’ve become a collaborative team over the years,” says Duff. “We have a very tight, creative relationship. If an actor comes to me with a question or an issue about their lines, we generally are able to find something better – we work until we find something better. And, I take into account the fact that these are highly trained theater actors who have a strong appreciation and respect for writers. So, for them to come and talk to me means, maybe, something isn’t right. [As such], we often times work more in tandem. Every season we work closer, I think.”

“And somehow, we manage to do [it] all without the show becoming a soap opera,” jokes Gossett.

“We’re like CHiPs with a degree,” teases Cruz.

“Oh my God!” says Duff, exacerbated at the thought of BJ and Co. being compared to the cop show fixture of the 80s. But Duff needn’t worry. The Closer folks continue to push the envelope at what they can achieve creatively, and they do not choose formula over fortitude.

“And that’s partially because we have actors who we went looking for, who can do more than put their glasses on,” says Duff. “The truth is that if you don’t have actors of that quality, and that capacity, you can’t write for it. It is a very difficult balance to achieve, and it’s one we’re still learning. I don’t think we’ve peaked, yet. I feel like we’re still learning, and I also feel like I can still be surprised by just how terrible I can be on any given day. I’ll wake up, re-read three pages of dialogue from the day before and think, ‘What show is this? Who is ever going to say these words?’ And then I’ll start over.”

Nowadays, we couldn’t imagine starting this show over with anyone but Kyra Sedgwick as the lead. Yet, you may be surprised to learn (or remember) that it almost didn’t happen.

“Initially, [this] wasn’t what I was looking for,” says Sedgwick, who also serves as one of the shows co-executive producers. “I [actually] told my manager not to send [the pilot script]. And then [they] dropped [the fact] that it was like Prime Suspect, and I said, ‘Then you better send it.’”

And thank goodness for that. Can you imagine BJ being played by … someone else?

Not so much.

That said, as far as we’re concerned, it has been Sedgwick’s portrayal of Deputy Chief Brenda Leigh Johnson that has redefined what it means to be a strong, powerful, conflicted yet balanced lead woman on television.

“I think that the success of this show has really helped to make it a bankable thing to do – to have a female lead, a female-centric story,” she says. “So, I’m really grateful for that. It’s been really fun. I’ve never been able to do the girl in the picture. You know, when I was first starting out – when I was 16 – they’d send me scripts, and they used to be all these teen comedies. It was, like, a guy, and then there was this girl – it was in and out, it was teeny, it was small. And I said, you know what, I don’t know what to do with this part – I can’t do it. So, it’s [always been] easier for me to be able to do more.

“And [this] feels really good,” she continues. “I get a lot of mail from young girls and women and mothers [who think of Brenda] as a role model. God, I can’t tell you want that feels like to me. I love women. I really have my most intimate relationships with women. I’ve always been on their side. You know, I think some women aren’t, but I always have been, so for me, what could be better. I can’t think of a thing.”

Sedgwick says she never had hesitations about moving from film to the small screen, and in fact, it’s proven to be an invigorating experience throughout the four seasons.

“I love the work that we do together, really fast-paced. I think, sometimes, it can be the most spontaneous – you just throw everything against the wall and see what sticks. You’re willing to just go for it and not pretend. There’s something about doing it on budget that is exciting for me.”

Adds Reynolds: “I can honestly say that Kyra is one of the few ‘leads’ / ‘stars’ / ‘number ones’ – whatever you want to call it – that really come in with an open slate as to what’s going to happen in [the] moment. I have never felt as though she comes in and dictates the tempo of the scene, [or that she] serves her serve [and] expect[s] you to hit it back with the same energy and intensity. She gives you the versatility to send it back in whatever manner [you want] – she’ll take it in whatever form. I think that’s where the genuineness and the organic nature of the performances come from. We’re not just there to read scenes. The cameras are really there to capture moments, and we create those moments. It doesn’t even feel like acting, quite frankly.”

That is perhaps none truer than in the creation of the ever-important dynamic with BJ’s beau, Fritz. When I mention the fact the Brenda/Fritz relationship is my favorite on television because it comes across as so incredibly real, not contrived and stereotypical, and that everything just seems to mesh in a true examination what works in a relationship, what doesn’t and what challenges lie ahead, Tenney is genuinely thankful.

“Well, it’s really nice to hear you say that,” he says, “that [the relationship] feels genuine and honest. James Duff and the writers have [always] looked at this as a character piece – a series that’s character driven, not a crime driven drama. So, I always felt like there was a lot paid to the development of the truthfulness [between the characters] and living in the gray area that is real life. To have that celebrated by the writers and the directors, and the whole environment in which we work [is a great thing].

“We carve out time to say, ‘Let’s have this rehearsal, and let’s find out what these moments are,’” Tenney continues. “We have a read-through before we begin an episode, then there’s tone meetings, then people hang out after the read-through and bring up any points that cross their mind. A lot of attention is paid to [making time for rehearsal]. The whole company loves to toss it back and forth, and everybody sort of operates in an open way, which makes it a lot of fun. There’s nothing more fun than discovering something in the moment, so it’s nice to hear that it translates.”

Adds Sedgwick: “It’s also the cameramen – the camera people, the camera operators. They’re told, ‘If you find something that you find interesting, shoot it.’ So they’ll shoot little teeny moments that the director will go, ‘Wow, I didn’t even see that.’ But the camera guys [do], [and it’ll be] something [so] little [that ends up being] so good. It’s like everyone is encouraged to play.”

As for what is in store for the fourth season on the Brenda/Fritz front, Tenney says it’s all about dealing with addictions and Catch 22s.

“We’re renters, now. We’re not going to buy a place until we’re married, and we’re not going to get married until we buy a place, so there’s a little Catch 22 set up. And we spin off on stuff we did last season about Fritz’s addiction issues. Frankly, I think they’re both addicts – Fritz is trying to be aware, and Brenda’s not aware. It’s a luxury to be going into season four, because like Corey was saying, it’s a long arc. There’s no shortcut for [how you] develop [Brenda and Fritz’s] relationship or [Brenda and Gabriel’s] relationship. It’s nice. We’re lucky.”

So are we. For another umpteen number of seasons we hope.

Our great thanks to the cast of The Closer for taking some time to share their thoughts on the show as well as our friends at Turner publicity. The Closer begins its fourth season July 14th at 9 p.m. on TNT. If you missed out on any of the third season, be sure to check out the show’s official Web site to catch up on all-things BJ and Co.

Ready, Set, TNT: PTR Visits the Folks Who Know Drama

By LillyKat
PTR Senior Staff Writer

We here at PTR love TNT.

We really do.

We're not just saying that because we were cordially invited to attend a special press day set visit at Raleigh Studios in Los Angeles (okay, we were, which helps in feeling the love).

No, we love TNT simply for their slate of programs - several of which are PTR Faves (whether that be with original programming or syndicated shows). Top to bottom, TNT has what people really like to watch, and they have single-handedly set the bar for all the other basic cable networks. If it weren't for The Closer, are we really sure we'd have Saving Grace, FX's Damages and now USA's In Plain Sight - three other shows lead by three other top drawer actresses who wouldn't normally wind up on the small screen? Me thinks not. Or, me thinks ode must be given to Kyra Sedgwick and Co. for showing us all that: a) not everyone who watches television is 20-years-old; b) people like seeing strong, fierce, fabulous women front and center; c) you can put quality writers alongside quality producers alongside quality actors without succumbing to a procedural formula trap; and, d) a cable show can go toe-to-toe with any network show on air at the moment and wipe the floor with said network's standards and practices.

Network television should wake up. The best shows are on cable right now, and at the forefront of that excellent slate of programming is TNT.

Now, our set visit experience encompassed visiting three shows: the new Steven Bochco legal drama Raising the Bar, starring Mark-Paul Gosslear, Gloria Reuben and Jane Kaczmakerk set to premiere in September; Holly Hunter and Co. over at Saving Grace; and BJ and Co. - er, I mean, Kyra Sedgwick and Co. - over at The Closer.

I'm going to break my report into separate parts (read: give you a little this week, a little next week) so as to give each show its adequate due, but here are some highlights:

Raising the Bar: How often do you get to have one of the greatest television producers sit down next to you for a chat? Steven Bochco did just that, and can I just say ... awesome? This cast is a great group of young, talented actors alongside seasoned veterans like Reuben and Kaczmarek. Enthusiastic and fun, they're quite passionate about the show that will follow the lives of young lawyers who work on opposite sides, the Public Defender's Office and the District Attorney's office, as well as those who sit in judgment over their cases. Stay tuned.

Saving Grace: OK, we know how I wrote off Grace at the end of the first season - so much so I didn't even watch the four additional "bonus" episodes in December because I was fed up. I had not found anything redeeming about Grace, couldn't figure out why anyone should care one way or the other as to whether she gets saved, ya-da, ya-da. Well, I may have to eat my words. After listening to the entire cast talk about their devotion, passion and outright love of being able to do this show, I may have to give it a second chance. And sorry folks, this set asked we not take photos. So alas, you'll just have to take my word that sitting in Grace's apartment talking to Grace (Holly Hunter) and Ham (Kenneth Johnson), sitting in the bar talking to Earl (Leon Rippy) and Rhetta (Laura San Giacomo), sitting in the conference room talking to Butch (Bailey Chase) and Captain Kate (Lorraine Toussaint), and sitting in the squad room talking to Leon (Bokeem Woodbine) and Bobby (Gregory Norman Cruz) really is as cool as it sounds.

The Closer: Rounding out our day with lunch on set at this PTR Fave ranks up there with Best. Experience. Ever. Not to mention a full room-by-room set tour takes the cake against the other two visits (no offense, folks). But I have just two words: Jon Tenney. As if we didn't love Special Agent Fritz Howard enough here at PTR (and Lord knows we do given we want to clone him and send him over to Lilly Rush on Cold Case), the actor who portrays him is just ... well, genuinely awesome. He took some extra time to chat with me about Fritz - appreciating so much that we love the very real, organic, tangible and ever-so believable relationship his alter-ego shares with Brenda. The two of them work hard to create this dynamic for us, and it was somewhat of an honor (can I even say that?) to seemingly let him know there is a serious devoted following to the handy work. With any luck, we here at PTR might be hearing a bit more from Jon (along those exclusive interview lines). Stay tuned.

And now for a comical blow-by-blow (may be slightly spoiler-ish, but only in a minor way):

5:00 a.m.: Alarm goes off. Wow, I don't normally get up this early.

6:30 a.m.: Leave for LA from my locale in the OC (and yes, it can take 3 freakin' hours to drive 50-something miles on a weekday morning even during summer, when school is out; welcome to the LA/So Cal traffic life).

8:17 a.m.: Make it to LA in plenty of time and spend the next 45 minutes hitting the Ralph's on 3rd and La Brea to get some breakfast.

9:07 a.m.: Arrive at Raleigh Studios. Meet my Turner Network publicist (who is wonderfully nice and genuinely cool). This studio is one of the oldest around, and thus, is pretty small. Sort of squished onto Melrose and Van Ness. Like, blink and you'll miss it. Paramount Studios, on the other hand, sits just down the road like some sort of palace.

9:15 a.m. - 9:30 a.m.: Mill about. Snap a few photos. Board the bus. Get a look at the other press folks. I'm kinda new, so I'm sort of by myself. But the other folks seem to know each other from previous meetings, so there's lots of chatter.

9:45 a.m.: Buh-bye, Raleigh. We veer through the streets in and around the studio back to the Hollywood Freeway 101 North to head over to Raising the Bar. We get some snacks, a press kit, view the trailer for Raising the Bar and start tuning into the season premiere of Saving Grace. The TNT folks take good care of us.

9:52 a.m.: Point of Interest (for me, anyways) ... drive by Barham Boulevard exit on the 101 North. Warner Brothers studios sits just over the hill, which is where the Cold Case folks film. Hello Lilly and Co.

10:09 a.m.: Arrive at Riverfront Stages, which is one of those nook and cranny filming locations for which LA is famous. Not all shows, especially when starting out, get the luxury of filming at a Warner Brothers or Paramount. Even Cold Case had to schlep it to Raleigh in Manhattan Beach their first season. This is when PTR Fave Kathryn Morris (commuting from Silver Lake) got by on maybe 4 hours of sleep each night. At least she was traveling in off traffic hours. You know ... zero dark hundred in the morning when there is actually no traffic in LA.

10:15 a.m.: Off the bus to awaiting iced coffees. Sweet. Even though I don't drink coffee, nice gesture. Ushered into a big ol' room with a ton of food for our rotating/round table interviews.

10:15 a.m. - 11:20 a.m.: Round table interviews with Raising the Bar cast. All lead actors make their way from table to table. We're so ensconced, we can't eat the mound of bagels, pastries and fruit piled before us. We're introduced to head of ABC publicity (who sits at our table). We prepare out digital voice recorders hoping the loud sound carry/echo won't screw up our recordings. We start with Jane Kaczmarek and Jonathan Scarfe. Jane is always funny. She has a quirkiness about her, but her answers are straightforward and genuine. When Steven Bochco sits down next me, I know I'm in a good seat. I didn't tackle him to tell him how much I loved NYPD Blue, but thought about it (okay, not really). Gloria Reuben has one of the softest voices I've ever heard. We remember her from her ER days, then leaving the show to go sing back-up for Tina Turner. The woman has serious talent.


11:20 a.m. - 11:25 a.m.: Tour the main set, which is a courtroom. Seems huge and makes me feel like I should be saying, "Um, your honor, if it pleases the court ...." Snap some pics. The cast is nice enough to gather and pose for me. Like I said, a very cool bunch.

11:27 a.m.: Heading back to the bus when dufus here (that would be me) realizes she left her notebook on the set when she set it down to take the cast photo. Duh. I'm lucky to have such a good publicist run back and get it for me. Major thanks to her.

11:34: Back on the bus, heading over to Saving Grace. We're asked not to take photos at their set - a request from the Grace folks. To be fair, I can't believe we're even being allowed to take photos at all, so it's no bother to me and/or I'm not disappointed. We're also asked not to ask Holly Hunter personal questions. Since I'm not that kind of journalist, no problems here. I've never done the whole go-after-the-personal crap, but hey, call me old fashioned. I prefer to let an interview take its own course as opposed to poking and prodding people. You get much better stuff when you do not irritate the heck out of the people.

11:48 a.m.: Arrive at Delfino Studios in Sylmar, which seems like a hole in the wall in the middle of nowhere. JAG's set was like this.

11:50 a.m. - 12:00 p.m.: Mill about as we wait to go into the various set locales for our rotate-it-around interviews. Crew is busy - ladders, lights, cameras, security, extras seem to be moving in this carefully choreographed sequence. If you've never been on a set before, you have no idea how hard these guys and gals work to keep everything humming like a finely tuned engine. No show can exist with out the crew as its backbone. That said, the cast members begin to emerge and are sent to their respective "sets" to await "us." Holly Hunter walks right by me. Can I just say that Holly - love her as I do - is absolutely tiny? As in, she seems to be about three feet tall. I feel awkward that at 5'8", I feel more like 6'7" as I seemingly dwarf her.

12:00 p.m. - 1:15 p.m.: Round table interviews with Saving Grace cast whereby we rotate to four different sets to awaiting interviewees. We start in the bar with Leon Rippy and Laura San Giacomo. She is flippin' funny, especially when a fellow journalist tells her she is in the 40-and-over sexy group. "I'm in that group?!?! No way?!?!" Leon Rippy is a sweet guy. Quiet, unassuming. Kinda like Earl. His voice is to die for, but don't tell Bill Nighy I said that. We move on to Holly Hunter and Kenneth Johnson, who are sitting in Grace's apartment. As we introduce ourselves, I tell Kenny I appreciated his time as Joseph on Cold Case, and he's genuinely grateful - "Aw, thanks a lot! I appreciate that!" Holly's pretty lively - energy up the wazoo. You can tell she loves the character, but when I asked her where Grace ranks compared to all the characters she's played, she says she can't - and doesn't - really rank any of her characters. Each holds a special significance at that precise moment she portrays them. Even now, when she watches herself in something like The Piano or Broadcast News, she can instantly transport herself back into being Ada and Jane, respectively, and thus, one character portrayal never overrides another. Kenny talks about how this is the first time he's gotten to play alongside a leading lady for any extended period of time. He says he got to do a little bit on ... wait for it ... Cold Case. It's at this point I have to restrain myself from saying, "Don't get me started on the why-can't-Lilly-Rush-keep-a-decent-guy thing." Kidding, of course, but I thought it a compliment to the Joseph character that Kenny considers that portrayal the heftiest, leading lady co-star role he had up until his time on Grace. Argh, as if I needed any more reason to ask he be brought back to Kathryn Morris. Alas, he's with Holly these days. We move onto Bailey Chase (Butch) and Lorraine Toussaint (Captain Kate) in the conference room on the squad/station set. Lorraine is a kick. She's so thrilled to be on a show that has a strong, over-40 woman as its main character and thinks cable is way ahead of the networks in terms of knowing that people want to see this kind of thing. We all really aren't 20-years-old (amen to that). Bailey is equally as supportive and talks about the collaborative nature they enjoy with the writers and producers. As in, get to suggest plot idea, changes, wish lists. Gee, Cold Case should take notes. We end with Bookeem Woodbine (bad guy Leon) and Gregory Cruz (Bobby). Both are genuinely blessed to be on the show. It's changed them personally and professionally. You see why the cast makes me want to give Grace another chance?

1:20 p.m.: We get a fruit cup and board the bus to head back to Raleigh and visit The Closer. Kenny Johnson boards our bus to check out the digs and thanks us for visiting. So does Gregory Cruz. A nice bunch of folks.

1:38 p.m.: Back at Raleigh and The Closer awaits. It's lunch time, and it seems like everyone and their brother is out at the catering truck. We're ushered into a secluded little restaurant/private dining area. Kinda a veranda thing. There's chocolate goodie centerpieces on our tables. Yum. We get divided up, and like with Raising the Bar, we sit whilst the actors rotate to us.

1:45 - 2:15 p.m.: Round table interviews with the cast of The Closer. We start with Lieutenant Flynn (Tony Denison), Lieutenant Provenza (G.W. Bailey), Detective Daniels (Gina Ravera) and Buzz (Phillip Keene). Some funny stuff is slated for an episode titled "Dial M for Provenza." G.W. says Provenza sees his character being more vulnerable this year - even with all the old man jokes. Gina speaks to the mess that will be the fallout of the Daniels-dates-Gabriel thing that started up last season. In short, Brenda's worst fears are realized after these two co-workers bond. Buzz is heading out of the electronics room and will actually make it into the murder room. Go Buzz! We then get treated to executive producer James Duff (who, like Steven Bochco, sits right next to me; is it my day for rubbing shoulders with the showrunners?), as well as Commander Taylor (Robert Gossett), Lieutenant Tao (Michael Paul Chan), Chief Pope (J.K. Simmons) and Detective Sanchez (Raymond Cruz). Everybody speaks to the quality of writing on the show, and how the balance is maintained between the cases and the personal tidbits that get revealed via the overall dynamics of the show. I ask James Duff to elaborate on his comments that the theme of power and/or the perception of how much control we have over our lives will dominate this year. He does, which can be summed up by saying it's an illusion. Situations change us, and how they change us based on our perception of how much control we have over that situation is what will be explored. He then goes on to talk about the collaboration with the actors (hmmm, are we noticing a theme here? COLLABORATION WITH ACTORS makes for awesome show dynamics and/or fabulous television viewing). He says it's easy to write for this level of quality actors who are, essentially, all well-trained theatre actors). "We have a very tight, creative relationship. And we work until we find something better. I have such an appreciation for them. Every season, we work more closely." Gee, sort of like the total opposite of where some shows are at the moment (ahem, Cold Case ... am I bagging too much on them? Oh well, too bad. These guys are making them look old, stodgy and boring.) We then end with BJ (Kyra Sedgwick), Fritzy (Jon Tenney) and Sergeant Gabriel (Corey Reynolds). Great group, even if Kyra had to be airlifted out early (okay, excused politely). Since we were an all women group of journalists at the table, Kyra said we were automatically the best. Right on. Like Holly Hunter, Kyra oozes passion for Brenda and the show. She repeatedly mentions how much she's never gotten to play someon elike this before, and how she's grown from it. I ask Jon and Corey to talk about the chemistry overall with Kyra - which is when I get into the aforementioned appreciation re: the Brenda/Fritz relationship, how well its done, how real it is, etc. Jon says, "It's really wonderful to hear you say that." Corey elaborates further into how open and free Kyra is, and how they sort of serve/volley off one another in any given scene. They all react so well, and pick up nuances from each other that make their interaction that more tangible, that more electric and engaging.

2:20 p.m: We finish and get some food (finally). The cast mills about for a bit, and we're allowed to ask additional questions. We're also told we'll have the set tour after lunch. I am hungry, but I bypass food for a bit to see if I can snag Jon Tenney for a photo (or two). He is ever so gracious. He talks a bit further about how much he appreciates hearing that we love the Brenda and Fritz dynamic. I tell him I loved him from his Tombstone days. This brings up some discussion as to the history buff in me, and I look to see if we can't perhaps do a one-on-one QA in the not-to-distant future. He's game.

2:27 p.m. - 3:15 p.m.: I finally sit down to eat something and visit with a couple of fellow colleagues. I tell them I'm new, but they don't buy it - in a nice way of course. I guess I do sound like I know what I'm doing. I meet a couple of other colleagues, exchange business cards.

3:19 p.m.: We head over to start touring The Closer set. And I do mean tour. Producer Andrew Sacks graciously takes us through everything, narrating tales of set construction as we go. It's very, very cool. I snap photos to document for our readers. What can I say, I like the behind-the-scenes stuff.

3:38 p.m: That's a wrap! We're done for the day. We say our goodbyes, thank the TNT publicists for all their hard work in putting this thing together (and it is a lot of work; I've been there, done that). I make my way back to my car. The parking attendant guys think I work for TNT. Don't know how that happened. Told them I was here just for the day, but I guess I could try and go back and see if they'll let me on the lot. Not.

Below are the behind the scenes photos from the set of The Closer.




































Our great thanks to the good folks at TNT for inviting us along and taking quite good care of us. Look for my additional write-ups on the set visit happenings from Raising the Bar, Saving Grace and The Closer over the next week.