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By Krista

Interview with Christopher Gorham of "Covert Affairs" on USA Network 11/7/14

I enjoy watching this show, and he does a great job. He was very nice on the call.

COVERT AFFAIRS AUDIO JUNKET CALL
Moderator: Scott Radloff
November 7, 2014 12:00 pm CT

Operator: Ladies and gentlemen, thank you for standing by. Welcome to the Covert Affairs Audio Junket Call.

During the presentation all participants will be in a listen-only mode. After which we will conduct a question-and-answer session. At that time if you have a question please press the ď1Ē followed by the ď4Ē on your telephone.

If at any time during the conference you need to reach an operator please press the Star, ď0Ē. As a reminder this conference is being recorded today, Friday, November 7, 2014.

I would now like to turn the conference over to Scott Radloff. Please proceed sir.

Scott Radloff: Thanks very much. Good morning everybody. Thanks again for dialing in for todayís call with Christopher to discuss next weekís episode, ďStarlings of the Slipstream.Ē

Just a quick few things before we start. As many of youíve seen the episode in advance, please do not include any spoilers in your preview pieces from the episode or from todayís discussion.

Also prior to asking a question please specify whether the question is geared towards a preview piece or a postmortem piece so Christopher can tailor his response accordingly.

And with that said weíll get started. Thanks everybody.

Operator: Ladies and gentlemen if youíd like to register a question please press the ď1Ē followed by the ď4Ē on your telephone. You will hear a three-toned prompt to acknowledge your request. If your question has been answered and youíd like to withdraw your registration, please press the ď1Ē followed by the ď3Ē.

If youíre using a speaker phone, please lift your handset before entering your request. One moment please for the first question.

Our first question comes from the line of (Tim Holquin). Your line is now open. Please proceed with your question.

Tim Holquin: Hi Christopher. Thanks for speaking with us today.

Christopher Gorham: Hi. Itís such a pleasure, thanks.

Tim Holquin: Iím a big fan. I have many questions. Iíll get in line after this one. But having directed three episodes now as well as ďSights UnseenĒ, how does this upcoming episode rank in order of difficulty among those? And of those three do you have a favorite for any director-related reason?

Christopher Gorham: You know theyíve all been very different actually. You know, the challenges presented by each has been different just because the stories have been so different. That being said, I guess as far as favorites, you know, Iím proud of this episode. I think this may be the best one Iíve done so far. I think, you know, visually and structurally I think it plays really well and has a really nice pace.

So I think this one will be my favorite. That being said that ďSights UnseenĒ was the kind of the first directing job that they gave me on Covert Affairs. So that one has a special place in my heart. And we were able to shoot three days of that in Barcelona so I got a taste of directing our international crew as well; which was fun.

Tim Holquin: If I could ask a quick acting follow-up, this far along in the showís evolution whatís your favorite thing about playing Auggie and is it at all similar to what you liked most about playing him in the first couple seasons?

Christopher Gorham: You know I think itís been a - Iíve never played a character this long. So - and the rewarding thing about it - or I guess maybe one of the unexpectedly rewarding things about it is that weíve been able to continue to find new facets to his personality and to his life. And itís fun to keep digging. You know, we have an episode coming up where we get an Auggie flashback where we reveal more about is back-story.

And being able to dig that deep; which you only get by, you know, doing 5 - 6 years of a series is a real privilege.

Tim Holquin: Thanks so much.

Operator: Our next question comes from the line of (Heather McClaffey). Your line is open; please proceed with your question.

Heather McClaffey: Hi Christopher. Thanks so much for chatting with us today. So Iím sorry about Somi, dammit. So I have to ask what is this going to - what kind of path is this going to set Auggie on for the rest of the season?

Christopher Gorham: Itís going to be - itís tough. Heís got a hard road the rest of this season, you know, heís been losing some friends this year. He just, you know, as we saw in our fall premiere he just lost a close old friend again. And that takes its toll mentally. And he has a high physical price to pay as well in these remaining episodes; which leaves him in a new place for Auggie by the end of the season.

Heather McClaffey: All right. Thank you very much.

Operator: Our next question comes from the line of (Ben Lie). Your line is now open; please proceed with your question.

Ben Lie: Hi Christopher. Thank you so much for doing this. Iíve been a huge fan of you since the show "Popular".

Christopher Gorham: Oh wow, thanks, I appreciate that.

Ben Lie: Itís no problem at all. My question is, is what do you enjoy most about directing the episodes?

Christopher Gorham: Well I tell you, itís , you know, Iíve been acting for a long time and I still really love being able to craft, you know, my own performance and kind of tell the story from my characterís point of view.

But the joy of directing is that you get to expand that out and now you get to influence the story telling of the entire episode. You know, not just your individual character and your individual scenes. You really get to be the guide for the audience in this experience. And thatís a real privilege and very rewarding.

Ben Lie: Thank you so much for doing this, I really appreciate it.

Christopher Gorham: No, itís my pleasure, thank you.

Operator: Our next question comes from the line of (Landon Gereese). Your line is now open. Please proceed with your question.

Landon Gereese: Hi Christopher, how are you today?

Christopher Gorham: Hi, Iím well (Landon). How are you?

Landon Gereese: Good thanks. How does your mindset change from going to in front of the camera to behind it?

Christopher Gorham: Well itís really two very different skill sets. When, you know, when youíre - when Iím behind the camera in the directorís chair I have to be thinking big picture. I have to be thinking, you know, not just the moment before and whatís happening in front of me but also where itís going. And how all the individual pieces fit together. The individual camera angles, you know, the wardrobe, the - I mean the everything. Youíre in charge of everything.

And when youíre acting you really canít think about any of that stuff. All you really have to focus only on what your character knows and the moment that your character is in and be very present just in that place. So itís two completely different skill sets.

Landon Gereese: All right. Thank you very much.

Operator: Our next question comes from the line of (Vlada Gellman). Your line is now open. Please proceed with your question.

Vlada Gellman: Hi Christopher. Thanks so much for taking time out to talk to us.

Christopher Gorham: Hi (Vlada). No problem. How you been?

Vlada Gellman: Iím good. Thank you, how are you?

Christopher Gorham: Yes, very well thanks.

Vlada Gellman: The (stuff thatís still thatís) coming up is the first time we really get to see a lot of Ryan and Auggie one-on-one interaction. Can you preview sort of their dynamic and how that relationship plays out?

Christopher Gorham: Iím sorry (Vlada), could you tell me one more time, I lost you for a second there.

Vlada Gellman: Oh yes. The upcoming episode is the first time we really see a lot of Auggie and Ryan one-on-one interaction. Can you preview that dynamic?

Christopher Gorham: Yes. You know, that was fun. I was really happy that I got to be the director for when Auggie and McQuaid meet. I have a lot of fun teasing Nic about how I was just not going to shoot his coverage.

But we - it was great. It was - I think itís - it was nice to see those guys in Iraq because itís a complicated relationship, you know. You have the two men who at this point in our story care the most about Annie in the world. Like these are her two rocks, you know. This is, you know, her ex-lover and her love right now and theyíre trying to navigate it and theyíre trying to be gown-ups. And, you know, theyíre trying not to be competitive.

But thereís, you know, some of that bleeds through and you just canít help it. So itís complicated and; which makes it really fun to watch and fun to direct.

Vlada Gellman: Great. Thank you.

Christopher Gorham: Yes.

Operator: We have a follow-up question from the line of (Tim Holquin). Your line is now open; please proceed with your question.

Tim Holquin: Hey Christopher. Couple questions here. I have the screener link but I just havenít seen the episode yet so these are coming from that place of ignorance of not having seen it yet.

Christopher Gorham: Itís the best of the season. Thereís your headline.

Tim Holquin: Awesome. Well firstly does your episode feature a notable guest star on the level of Oded that you might want to mention? And on a related note is there a particular guest star that youíve worked with so far throughout the show that you would name as your favorite?

Christopher Gorham: Oh let me think. Let me think back here. Well, you know, I mean my episodeís not - God Iím trying to remember now. The guest stars arenít really the focus of my episode. You know, itís really the important parts are what Annieís going through and then Auggieís journey and where Auggie ends up at the end of the episode; which is a shocking ending.

As far as like favorite guest stars for the show, I mean itís impossible to pick. Weíve been, you know, weíve had an embarrassment of riches with guest stars. You know, Oded certainly being one of the top of that list. You know, heís not only a fan favorite but heís an on-set favorite. Heís just, you know, heís a great guy.

You know, our current guest stars we have, you know, Shawn Doyle is doing an amazing job as Belenko. Kenny Johnsonís going to be coming on the show soon who people, you know, will remember from The Shield and Sons of Anarchy and, you know, heís fantastic. Rossif Sutherland who plays Tony has done an amazing job recently.

Liane Balaban whoís played Natasha, you know, comes back as Natasha this season has always been a favorite. So, I mean, it would be impossible to pick someone whoís at the top of that list.

Tim Holquin: Yes. Kenny Johnson especially is awesome in everything he does.

Christopher Gorham: Heís so good and such a great guy.

Tim Holquin: Did you arm wrestle with him?

Christopher Gorham: Oh yes, of course. It was like my favorite thing to do is to get like destroyed by Kenny.

(Laughter)

Christopher Gorham: Itís great.

Tim Holquin: Okay and follow-up question is kind of a procedural one but besides the instrumental score thereíve been many cool songs featured in episodes by group like Interpol and Florence and the Machine. In those instances when that occurs are those licensed songs chosen by the music supervisor or by the director say from a pool the music supervisor chooses as possible options?

And does your episode...

((Crosstalk))

Christopher Gorham: Yes. How it works, itís both of those things. You know, the director in the directorís cut can use whatever music he or she wants. And then the producers can either keep that music, the producers and the network can either keep that music or they can change it out for whatever music they want.

So typically when the episode goes to air itís typically a mix of those two things. You get some songs that the director chose and if, you know, if the producers and the network agreed with the choice and could get the music licensed then they go with it. And if not then they change it.

For my episode I actually havenít seen the air cut yet. So I donít know how much of the music I chose was kept. But I was - I guess Iíll have to talk about it after I see it to tell you, but I was really happy with the music that I chose. So I hope itís still there. But I donít want to talk about - I donít want to tell you what it is in case itís not.

Tim Holquin: Okay, understandable. Thank you very much.

Operator: Ladies and gentlemen as a reminder to register for a question press the ď1Ē and the ď4Ē. We have a follow-up question from the line of (Heather McClaffey). Your line is now open; please proceed with your question.

Heather McClaffey: Hi Christopher. One of the common themes when weíve had a chance to do press calls with folks is that thereís such a dichotomy between shooting things at the agency and then going out and doing the gorilla film-making where youíre - you drop in somewhere and you shoot on location.

As a director and as an actor do you have a preference for one or the other?

Christopher Gorham: Oh boy. You know, I donít really have a preference. Because, you know, the way that I direct you can do either thing. I tend to plan things out fairly specifically as far as shot selection, you know, even when weíre shooting internationally, you know. And so the run-gun style of it doesnít affect how I direct so much. It really is more of a production question.

So as an actor, you know, look when youíre in the studio or when weíre shooting in Toronto itís certainly more comfortable because we have our trailers and we have Kraft Service there and we have, you know, all of the creature comforts that we donít have when weíre shooting internationally.

But what you gain shooting internationally is something that you canít replace. So itís worth it. So they both have their merits.

Heather McClaffey: All right. Thank you very much.

Operator: Our next question comes from the line of (Joyce Ang). Your line is now open; please proceed with your question.

Joyce Ang: Hey Christopher, how are you?

Christopher Gorham: Iím good (Joyce), how are you?

Joyce Ang: Iím good. Well I mean we know the theme of the season is juggling the professional and personal. So now with so many of his military buddies dead like how will we see Auggie handle this. You know, itís (into) summer season heís on call out Annie for being so detached with her mission.

Christopher Gorham: Yes. He - well listen, I think Auggie, you know, Auggie tends to get himself in trouble when his emotions get away from him. I think weíve seen that multiple times over the years. And, you know, where we find him at the beginning of this episode is a perfect example.

That being said, you know, at the end of this episode heís left without the ability to control much of his fate. You know, he is kind of at the mercy of others and is in real trouble. That being said, you know, he of all of our characters I think is as equipped as anyone could be to handle it. But itís tough. He gets put in a really tough spot.

Joyce Ang: And youíre actually in the episode a lot so what was like directing yourself being in so many scenes?

Christopher Gorham: Well, you know, I tell you itís funny because well I canít talk about the next episode yet, but itís difficult mostly because itís more time-consuming for me to direct scenes that Iím in because after every take I have to - I mean unless itís a total disaster. But if we finish the take and it seems like it was useable I have to go back and watch playback just to make sure that weíre, you know, that weíre getting all of the moments that I want to get.

And like I said I can be pretty - I can get fairly specific with shots that I want to help tell the story the way I want to tell it. So I really do have to go back and check. And also not just technically but just check to make sure that my performance is where I want it to be and that my physicality is where I want it to be. I donít have to worry so much about my co-stars, you know, theyíre pretty great and they know what theyíre doing.

But, you know, like technical things like, you know, does Auggie look blind in this scene, you know, things like that that I canít tell from being in the scene. I have to go back and check because sometimes with a camera angle it can play tricks on it.

Joyce Ang: Yes. All right, thank you.

Christopher Gorham: No problem.

Operator: Our next question comes from the line of (Rick Bentley). You line is now open; please proceed with your question.

Rick Bentley: Hey Christopher. How are you doing?

Christopher Gorham: Hi (Rick). Iím good man, how are you?

Rick Bentley: Iím wonderful. Hey can you just break down a little bit sort of the timeline on this? How far in advance do you know youíre going to be directing an episode? How far in advance do you start working on, you know, your shot selection and how long after youíre done shooting are you involved with it?

Christopher Gorham: I find out which episode Iím directing usually a couple of months ahead of time. You know, they schedule all that stuff out. In fact this season they originally had me slotted to direct the fall premiere. But because of the way the schedule ended up playing out the part that we were shooting in Istanbul ended up moving to the same week that Iíd planned my family summer road trip through D.C. and Philly and all this stuff and as we shoot through the summer, like that was going to like nix the only summer vacation and time I would have had to spend with the kids.

So I asked them if I could move episodes, so they were very kind to bump me to the second one; so that we could take the kids to the White House. So you know the episode usually a couple months ahead of time. But then you canít really start working on it until you get the script; which happens, you know, sometimes a day or two before you start prep; but sometimes the day of prep. On some shows you donít get the script until youíre 2, 3, 4 days into prep.

But our showís great. You know, our writers always get our scripts to us on time. And then you have seven days of prep typically and then eight days of shooting. I had a seven day shoot which left me I think with fewer days of prep. And then plus, you know, Iím shooting on the, you know, I was shooting the prior episode at the same time so I lose a couple of days prep because Iím acting.

So, you know, letís say I had like five full days of prep; which is kind of short and then seven days of directing. And then - and on this one too we had like my directorís cut has I think three scenes missing because we lost a location; which was the first thatís happened.

I mean it happens to directors all the time in TV, but it was the first time it had happened to me where, you know, we had booked this location and then the location just changed their mind. They didnít want us to shoot there and it was too late for us to find somewhere else so we just had to punt those scenes until the next episode.

So I was actually directing this episode well into the next one. But Stephen Kay and I were just - or weíre like swapping places, you know, like heíd direct - heís working on his episode and I would come in and direct a scene on mine. And then Iíd be asking, you know, it was just a mess.

And then for post-production I have four days with the editor. The editor completes their cut and then turns it over to me and I go into our post-production house and; which is in our production office in L.A. and sit down with the editor for four days and do my cut. And then once I turn that in then Iím done.

Rick Bentley: Wow, long process.

Christopher Gorham: Yes, itís long but I tell you - I mean compared to film itís half...

((Crosstalk))

Rick Bentley: Yes.

Christopher Gorham: ...blink of an eye. Itís one of the things that I love about directing TV actually is how fast the turnaround is. Because youíre rewarded with this completed project so quickly and I really like that.

Rick Bentley: All right. Well thanks a million, good talking to you.

Christopher Gorham: You bet man, you too.

Operator: Our next question comes from the line of (Jorge Solis). Your line is now open; please proceed with your question.

Jorge Solis: Hi. Itís a pleasure to speak with you.

Christopher Gorham: Hi, likewise.

Jorge Solis: I was just wondering - when you read the script like how do you look at it from the perspective of an act - as a director?

Christopher Gorham: How do I look at it like differently as an actor and as a director?

Jorge Solis: Yes.

Christopher Gorham: Yes. Well as an actor, you know, the first read is pretty much the same as an actor or director. Like I just try to sit down and read the script like an audience member. And just experience the episode and kind of let that first read be whatever it is.

And then as an actor then I go back and start over and then start really just focusing in on Auggieís story and what Auggieís emotional arc is throughout the episode. And then breaking down each scene, you know, where am I coming from, what am I doing here, what do I want.

And as a director I have to do the same thing but now I have to do it for every character. So that when weíre on set, you know, and I say, ďListen Piper Iím thinking you could come in this door and come in and sit down on the couch.Ē And Piper goes, ďWhy would I do that?Ē Iíve got an answer for why I think, you know, that would happen.

And then it goes - and then aside from, you know, all the charactersí emotional arcs and dealing with the acting stuff then itís, you know, how, you know, what are the visuals? How visually am I going to tell this story? Like, you know, what does this feel like; does it feel like it needs to be big and open or does it feel, you know, confined and I was the audience to feel confined and claustrophobic, you know. Do I want to isolate people by using long lenses or do I want to open up the world, you know, by keeping things wide.

You know, then it becomes just all of those visual ideas will play through my head and Iíll make notes as I read through. And then start refining them.

Jorge Solis: Thank you very much.

Christopher Gorham: Yes, you bet.

Operator: Ladies and gentlemen as a reminder to register for a question, press the ď1Ē, ď4Ē.

Our next question comes from the line of (Krista Chain). Your line is now open; please proceed with your question.

Krista Chain: Hi Christopher. Thanks for talking to us today.

Christopher Gorham: Oh itís such a pleasure. Where are you from?

Krista Chain: Alabama.

Christopher Gorham: Alabama. I love your accent.

Krista Chain: Thank you. My question goes back to the guest stars on the show. Is there someone that you havenít worked with that you would like to work with in the future?

Christopher Gorham: Oh my God, thereís like the list is as long as my leg - yes, sure. I mean, you know, thereís so many - I donít even know where to begin. Weíre - thereís so many talented people. Let me - boy, let me think. Like who - well let me guess weíll talk, you know what itís funny.

You know, Ty Burrell is a good buddy of mine. We worked together on a show called Out of Practice years ago. We played brothers for a season and we still keep in touch. And he is incredibly jealous of all of the international travel that we get to do on Covert Affairs and I keep telling him that if he ever has enough time that he can come and play Auggieís brother and weíll take him on a trip.

So Ty.

Krista Chain: Okay, great. Thank you.

Christopher Gorham: Yes, you bet.

Operator: We have a follow-up question from the line of (Landon Gereese). Your line is now open; please proceed with your question.

Landon Gereese: Hello again.

Christopher Gorham: Hi.

Landon Gereese: How has your character Auggie changed from the first season until now?

Christopher Gorham: You know, I think one of the interesting ways in which heís changed other than, you know, his hair grew out a little bit especially since that (unintelligible).

Landon Gereese: Right.

(Laughter)

Christopher Gorham: Itís, you know, I think heís found someone in Annie who - I think Annie is the first person since the guys he served with in the military with whom heís felt a real kinship, you know, with whom heís felt like heís found a true like peer and a true friend; someone who can really understand what heís going through.

You know, I think their relationship started out very much, you know, mentor/student relationship. And now has I think come to a place where they really are peers. And I think itís part of the reason why their relationship has been so strained lately. Because I think that transition, you know, aside from, you know, their romantic feelings for each other and, you know, even aside from the romantic love is just like their genuine like love for each other as people.

I think that transition from kind of from student to peer is always a tricky one and can be tough on both people. And I think thatís probably part of whatís caused the tension that clearly exists now. You know, and then lately, you know, Auggieís just been losing a lot of friends and thatís really hard because I think, you know, his friends especially, you know, his military brothers are really his family.

I mean I think thereís a reason why weíve never met his extended family, you know, and thatís because I think his brothers in arms are his family.

Landon Gereese: Right. Thank you very much.

Christopher Gorham: Yes, you bet.

Operator: And we have no further questions at this time.

Christopher Gorham: Great.

Scott Radloff: Can we do one last reminder for questions, please; how to do it.

((Crosstalk))

Operator: Ladies and gentlemen as a reminder to register for a question press the ď1Ē, ď4Ē.

We have a follow-up question from the line of (Jorge Solis). Your line is now open; please proceed with your question.

Jorge Solis: Hi. After directing this episode do you feel like you would like to jump again into the directorís chair? Or do you prefer just to do acting?

Christopher Gorham: No, no I definitely want to continue directing. Itís - I mean not only is it something that I truly enjoy, you know, Iím getting better at it every time I do it. So yes, I think directing is something that Iíll continue to do for the rest of my career hopefully.

Jorge Solis: Thank you very much.

Christopher Gorham: Yes, you bet.

Operator: We have a follow-up question from the line of (Heather McClaffey). Your line is now open; please proceed with your question.

Christopher Gorham: (Heather) where are you?

Operator: Ms. (McClaffey) your line is open; please proceed with your question.

Heather McClaffey: Hi Christopher. I have a question that you might not be able to answer but Iíll ask. Weíre heading into the back six of the fifth season and we donít know yet whether weíre going to have a sixth, fingers crossed that we will. So are we with this close of the sixth season and you all have wrapped production; do we set up a sixth season if weíre going to get one or does everything kind of wrap up if, you know, unfortunately you donít. But Iím hoping you will.

Christopher Gorham: Listen I tell you I think where we end up at the end of this season I hope itís not the end. I think, you know, we donít end the season on a cliffhanger in the traditional sense. So, you know, it could be the end. But itís not the end that I think the audience would be happy with. And, you know, itís certainly not how we would want to wrap up these charactersí stories.

Heather McClaffey: Great. Well thank you very much. Iím hoping you all are back because Iím not ready to be done with you yet.

(Laughter)

Christopher Gorham: Thank you, yes, me neither.

(Laughter)

Operator: We have a follow-up question from the line of (Tim Holquin). Your line is now open; please proceed with your question.

Tim Holquin: Hey Christopher. In terms of television directing well Covert Affairs has had a lot of awesome directors. Did one of those or perhaps someone other than one of those serve as your directing mentor? And who among them were your biggest inspirations? Like that you might think of when youíre shooting hard scenes.

Christopher Gorham: Oh sure. Thatís an interesting question. Yes, you know, Iíve done a lot of TV shows and Iíve been lucky to work with a lot of really good directors. And I think I kind of draw from a lot of different places. Mark Buckland actually - he hasnít worked on our show but heís a director thatís had a big influence on me; and Victor Nelli Jr.

As far as the Covert directors, Stephen Kay, our executive producing director is certainly a big influence and an amazing supporter. You know, heís been nothing but encouraging and helpful and, you know, Iím always grateful for his input.

And then weíve had directors like a Felix Alcala is one whoís directed a lot on our show who I really steal from visually; Allen Kroekerís another one that I steal liberally from. So yes, I mean itís been quite a few.

Tim Holquin: And now that you have the bug so to speak, would you like to expand your directing into features?

Christopher Gorham: You know, I - yes, yes at some point. You know, right now because really itís a time thing because of how much of the year Covert takes up and how far away from home it takes me. The amount of time that it would take me to do a feature is something that, you know, Iíd just - Iíd rather spend a little bit more time at home with my kids while theyíre small.

But down the road, absolutely. Doing a feature is something thatís definitely on my bucket list. And, you know, I think when I find the right scripts and the right story that Iím passionate about and feel like only I can tell then Iíll jump into that pool.

Tim Holquin: Well a quick follow-up just to add - what do you think, when that time comes, would most likely grab your attention; small independent passion project-type thing or like a Michael Bay blockbuster? And just for fun, like along those lines who are your influences as far as big screen directors? Who do you like the most?

Christopher Gorham: Well listen Iíve got a lot, a lot, a lot to learn before I jump into some giant blockbuster I think. So I think realistically yes, I mean Iím going to be looking at, you know, and if a small budget like in the, you know, an intimate story.

And as far as, you know, directors who have influenced me, God, Inu Ratu is one. (Gale Martatoro) is one. Spielberg obviously. Even Michael Bay, you know, I mean itís funny because he - like film snobs just like hate that guy. But his films, his movies are fun to watch. Like thereís a reason that they make $2 billion. Itís because theyíre fun. And Iím never one to turn my nose up at fun either.

So, you know, I like to think I can learn something from just about any of these successful filmmakers because they all do something well.

Tim Holquin: Thank you so much Christopher.

Operator: Our next question comes from the line of (Jennifer Griffin). Your line is now open; please proceed with your question.

Jennifer Griffin: Thank you. Hi, Christopher. I have a preview question for you rather than a post-mortem question. And so weíve been seeing some feedback, Iíve been seeing some feedback on Twitter today from fans who are talking about how much they love the episodes that youíve directed previously. And Iím just wondering how would you set up or describe, you know, this episode, this upcoming episode of what itís about for them?

Christopher Gorham: Let me think. You know, I guess, thatís so funny itís like how do you describe it without giving away all the good stuff.

(Laughter)

Jennifer Griffin: Yes.

Christopher Gorham: Itís - I think itís about discover, you know, Itís about discovery and sometimes finding things that you donít want to find. Itís about the search; which then, you know, really I think planted, you know, this episode is a catalyst for what happens the rest of the season.

There are pieces in this episode that payoff later. So itís an episode that you have to pay attention to. But really itís about discovery.

Jennifer Griffin: Okay. Okay, thatís great, thank you.

Operator: We have a follow-up question from the line of (Heather McClaffey). Your line is now open; please proceed with your question.

Heather McClaffey: Hi Christopher. Itís come up on the call today that this is the longest role that youíve had playing one character. So is there one moment or one arc for Auggie that has stood out for you over the course of the show?

Christopher Gorham: Well, you know, I think - listen - I mean I think the obvious one is the Annie/Auggie relationship. You know, I mean thatís the heart of the show, right? Itís the, you know, itís been the most consistent. I think itís the emotional arc that gets the most attention. And itís been - I feel like a fairly realistic portrayal of a relationship between a man and a woman in a workplace. So that would be my favorite.

As far as, you know, like mini-arcs like I always enjoy the Auggie flashback episodes where we get to, you know, see a bit more of not only who he is now but who he was and, you know, what made him. Those are always fun. And we have another one of those coming up in a couple of weeks.

Heather McClaffey: Great. Thank you very much.

Christopher Gorham: Yes, you bet.

Operator: Ladies and gentlemen we have just a few minutes left for final questions. We have a follow-up question from the line of (Krista Chain). Your line is now open; please proceed with your question.

Krista Chain: Hi Christopher. I just wanted to ask since you had directed the episodes, what was different about the last episode that you directed compared to the other ones that you have directed?

Christopher Gorham: Well I tell you theyíre all different and unique beasts. They all have different requirements. I would say the one similarity in this episode - there was a similarity between this episode and the first one that I directed in that I had a really strong female guest-star character who really was vital.

You know, thereís a performance in this episode, you know, thereís a death that happens and itís one of those things that can make or break, you know, a scene or a moment, you know, if the actor whoís coming in just for a couple of days has a hard time. But we were very fortunate that our actress just did a fantastic job and you just believe every moment.

So that was a similarity. You know, I felt like we did a really good job with casting which then made my job as a director so much easier. But technically this time I had - the trick that I had to do was, you know, a big chunk of my episode takes place in Germany.

But for once this season we werenít going there so I had to find places in Toronto that could believably be somewhere in Germany and then find ways to shoot it to hide the bits that look like Toronto. So technically that was a new challenge for me; which I think we pulled off all right. It looked okay.

In fact we - far fewer visual effects shots than were expected. We were able to do it mostly with set dressing and shot selection.

Krista Chain: Okay great. I look forward to seeing the rest of the season.

Christopher Gorham: Great, thank you.

Operator: Mr. Radloff there are no further questions at this time. I will now turn the call back to you.

Scott Radloff: Thanks everybody for dialing in today. I really appreciate everyoneís time and especially you Christopher for taking the time this morning to talk to us.

Just a friendly reminder to have everyone turn in next Thursday at 10:00 oíclock to watch Christopherís episode. Weíre all excited for you Christopher.

Christopher Gorham: Great. Thanks Scott and thanks everyone, I really appreciate it. And just as a small personal note Iíd like to extend my condolences to Auggieís watch which Iíve been very attached to and was very sad to see crushed under the wheel of a van.

(Laughter)

Scott Radloff: Funny. Thanks everybody. Thanks again Christopher. Take care guys, bye, thank you. Bye-bye guys.

Operator: Ladies and gentlemen that does conclude the conference call for today. We thank you for your participation and ask that you please disconnect your lines.

END

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