Interview with Simon Barry, Rachel Nichols and Victor Webster of "Continuum" on SYFY - Primetime TV Show Articles From The TV MegaSite

The TV MegaSite, Inc.  TV Is Our Life!

Happy Thanksgiving!

Click here to help fight hunger!
Fight hunger and malnutrition.
Donate to Action Against Hunger today!


MainNewsReviewsOur ShowsEpisode GuidesBuy!CommunityPolls
AutographsPhotosWallpapersPuzzles & GamesLinksStarsVideosOther

Primetime  Articles & Interviews Page

We Love TV!

This is just an unofficial fan page, we have no connection to any shows or networks.

Please click here to vote for our site!
Click Here to Visit!

By Suzanne

Rachel Nichols and Victor Webster

Interview with Simon Barry, Rachel Nichols and Victor Webster of "Continuum" on SYFY 1/9/13

I was on this call, but I didn't get a chance to ask a question. I guess they had too many people on the call. I was very disappointed, too, because I just love Victor Webster. I have followed his career ever since he was on "Days of Our Lives"! Also, I just love this show and had watched some of the episodes before the interview. Oh, well, those are the breaks. Hopefully I will get another chance sometime!

Moderator: Gary Morgenstein
January 9, 2013
1:20 pm CT

Gary Morgenstein: Welcome to the launch of Syfyís new series Continuum which premieres Monday, January 14th at 8:00 pm. Here to talk about the time traveling police drama are stars Rachel Nichols and Victor Webster, and creator and Executive Producer Simon Barry.

Jamie Ruby: There is obviously a lot of great technology on this show. Thereís Kieraís suit, she can review her memory, etc. If you could like take a real version of one of the technologies from the show, what would it be and why?

Rachel Nichols: Thatís the best question for me because I would take my Multi-tool. Itís small. It travels well. It does legitimately anything I could possibly need it to do in any situation. And I've started reading scripts for Season 2, and the Multi-tool does just a whole bunch of new and different things pretty much every time we see it. So I would definitely take my Multi-tool.

Victor Webster: I think I would have to take her super suit. I donít want it tailored. I donít want anything. I just want to hang it up on a wall and look at it.

Rachel Nichols: Oh, I thought you were going to wear it, but okay. Good. I'm glad we cleared that up.

Victor Webster: Maybe every Tuesday. Maybe on a Tuesday night, but thatís it.

Simon Barry: I would definitely take the CMR chip because I have a terrible memory and I need as much help as I can get.

Jamie Ruby: Simon, how did you come up with the idea for this series and how did the rest of you become involved?

Simon Barry: Well, the idea for me came out of a really pragmatic approach to trying to get my love of Sci-Fi really into a pipeline of television production that was feasible. So time travel is a really great vehicle for that because you can have a very large mythology in a big universe, but still be set in the present day world, which obviously is more production-friendly.

So it was a pragmatic decision at the beginning, but then once the mythology and the characters starting coming together, of course it grew beyond that into a much more passionate process for me in terms of the many characters that the show presents, and also just some of the bigger themes that we are trying to explore in the show.

And then the first step was to find a Kiera, and we worked very diligently to find the right person for this part. And when Rachel presented herself as an option, we were thrilled and jumped on the chance to work with her right away.

And once we had cast Rachel, we basically built the cast around her, and Victor was a great fit and I canít really - I'll let the guys tell you about it from their perspective, but it was a very quick.

Rachel Nichols: My story is very long but yet very interesting. One of my best friends in the entire world got the script to me. She was the first person that reached out with a script. She said, ďI have a friend and sheís got this script that sheís casting and I hope I'm not stepping on anyoneís toes, but I think you'd be great for it,Ē and she sent it to me and I loved it. And - which is very unorthodox. Usually you donít get a script from your best friend thatís amazing that you immediately want to do.

And then my team was absolutely completely on board and they loved the script, and they loved the fact that a friend of mine had found it. We just went sort of full steam ahead, and it happened very, very quickly just prior to the holidays last year when we were closing the deal. Suddenly, I was moving to Vancouver for five months on January 5th I think it was last year. So, it was a very interesting process for me. Unorthodox for me, but thrilling at the same time. And very fast, so that was fun as well.

Victor Webster: Well I got a call on a Wednesday asking me if I'd like to come to Vancouver to do a chemistry test with Rachel, and I hadnít read the script yet. And I was a little hesitant at first, and then I read the script and I was like, ďAbsolutely.Ē

Got on a plane for a chemistry test with Rachel on Friday and then got a call I think that weekend that I would be moving to Vancouver. And then, I think Monday I was on a plane to Vancouver for six months. So, it all happened really, really fast.

Kyle Nolan: The first season finished airing over six months ago in Canada. Whatís it like for you guys now going into this brand new audience that hasnít seen the show yet?

Rachel Nichols: I think that itís one of the most exciting things because it came out in Canada. It started airing in May and obviously did very, very well and then went to the UK for Syfy and did very well. And then the mechanism of Twitter is fascinating because it just - you have access to all of these people who want to know what you're doing and whatís going on.

And I've had such a response from people all over the world from the show coming out, and especially people in the States saying for so long, ďWhen is it going to be in the States? When is it going to be in the States? We donít want to steal it or burn it or, you know, take it off the Internet. We really want to see it.Ē And now everybodyís getting their wish, including my parents who didnít have cable until a couple days ago when they realized they were going to have to buy it in order to see me.

But, itís something thatís been well received and I obviously think thatís going to happen here in the US. And so, itís really - itís something very exciting to think about. And finally, the fans that have wanted it for so long are getting exactly what they want.

Kyle Nolan: Rachel, in all of your scenes with Victor you guys are always in the same room, but all of your scenes, at least that weíve seen so far with Erik are all separate from each other. Can you talk about the differences in working with your co-stars?

Rachel Nichols: Oh, absolutely. Yes. Victor and I are always together. I mean, I've got to do my own sort of - and sometimes Alec being in my head is also in those scenes with Victor. I'm sure it wonít come as a shock to you that working with an actor actually in the room with you in a scene is easier than working with someone whose voice is just in your head.

But as far as Erik Knudsen is concerned, I've never met an actor who was more of a giver because I work every day, and a lot of - and Alecís voice usually works every day and Erik Knudsen on the days when he was not working would come to set and read all of his lines off camera.

What was really important for both of us because then we can hear how the other person is talking in those scenes, even if we canít see them and itís not just you know a script supervisor just reading the lines. Because you know, Erikís character and my character are very, very connected on an emotional level. Heís the only person really thatís a true ally that knows my story and can understand it, and he is my best friend.

Carlos is another version of a best friend for me, but he is someone that I'm technically lying to every day, and thatís very, very difficult for me. That storyline progresses throughout the season. By the end of Season 1, there are a lot of questions about how I'm going to be able to navigate that very tenuous situation in the next season.

Joshua Maloney: Rachel, a few minutes ago Simon said that the cast was really built around you. What was that sort of like for you as an actress? And, what can you say about this cast?

Rachel Nichols: It was really exciting. I've never been the first person hired on any job ever I donít think. And you know, I loved the script and I loved all of the characters from the very beginning, and they immediately started casting people.

I mean my deal was done just prior to the Christmas holiday last year, so I was home in Maine and they were just going full steam ahead in Vancouver casting Liber8 and the rest of the police force, and Inspector Dillon, and Erik, and Carlos - I met - I think you heard I met Victor for a chemistry read on a Friday and I think Victor was completely moved into Vancouver by Sunday so that he could work on Monday.

It was the first time I'd ever had the opportunity to do a chemistry read with someone who would be playing my sort of best friend, confidant, my leading man. And all the guys that came in and read were great. Very, very different but great, and Victor was my first choice, which he knows now so I'm not talking out of turn at all.

We sort of sat down after I tested with everybody and he was a clear runaway choice. And so then that piece you know was in place.

Then I - you know, I knew who some of the Liber8 characters were, but I didnít certainly do any chemistry reads with them, so I just sort of showed up on set first day and met everybody and thought, ďWow. Theyíve assembled such an impressive cast of characters that thereís no way the show isnít going to work. Itís going to have to because everybody is great.Ē

Itís probably - itís one of the more interesting sort of groups of people I've ever seen cast all at once, so the fact that it was a part of a show that I'm on was great.

Joshua Maloney: When I look at your career and I think of shows like The Inside and Alias, and even with G.I. Joe, you've played a lot of law enforcement types, and I've enjoyed watching you play that role. Is there something about law enforcement thatís particularly appealing to you as an actress?

Rachel Nichols: You know what? I like to carry guns and kick butt, and I get to do a lot of that when I'm a law enforcement officer, whether from the present or the future. I think thereís something really strong and sexy about those female roles and there arenít necessarily a lot of those around.

Also, I consider myself very lucky to have been able to take on so many of those roles and to now have a fan base that finds me completely believable and interesting in those powerful action-oriented roles because theyíre so much fun to play. And, I would like to keep doing them for a long time to come.

Heather McLatchie: Was there any kind of chemistry test as well with Erik? Because as Rachel touched on, thatís a really key relationship because he is the only one thatís pretty much keeping Kiera from going completely out of her mind when she lands in the present.

Simon Barry: Thatís a good question. We never really felt that we needed to do a chemistry read with Erik and with Rachel because when we cast Erik, we immediately recognized how good he was. And, heís an amazing find and an amazing actor and just a great individual. Has a great soul and a great demeanor.

And because there was a disconnect, I think we felt a little bit more confident about them not reading together in that sense because there is that disconnect and this unfamiliarity that we really embraced in the first few episodes because they hadnít met. So from that standpoint, no. The chemistry read we didnít feel was really important.

For Rachel and Victor though, I think it was important on many levels, not the least of which was just Rachelís comfort of knowing that this is going to be someone she was going to be working with hopefully for many years.

And also for our partners at the broadcaster and the studio level who really wanted to sense that there was something going on between the two of them that felt like a good mix. And, thatís something that you can really tell right away in those kinds of chemistry reads. And, it just made decision-making a lot more efficient.

Heather McLatchie:Can you talk a little bit about making the show in Canada and setting it in Canada, and being able to use a lot of ďthe farm teamĒ at home in a show like that? How was that different from shooting a show with Canadians and then pretending you're in the States, and then it gets released in the states? This was really kind of a home grown product.

Simon Barry: Yes. Thatís funny. The process of making the show was interesting because I had originally developed the idea for the American networks. Found an opportunity to do it in Canada. And then to my surprise, was offered the opportunity to keep it in Vancouver, which is where I live.

So I had a built in relationship with a lot of actors in Vancouver having lived here for a long time, and so it was a pleasure for me to really kind of wade into that pool of talent having a familiarity and understanding where a lot of the great actors were hiding.

And so itís been great. I mean, Vancouver, because of the amount of work that comes here, has developed into a really strong talent base on many levels, not just with regards to actors but directors, writers, producers. And so there was - knew that there was a much deeper reservoir than people appreciated, and the fact that we could be set in Canada was just a bonus really.

I never really felt that the setting was ever integral to the show or the story, but it was a very nice bonus to be able to embrace Vancouver for Vancouver and showcase this city, which is a character unto itself.

And so I really couldnít be happier about all of these things coming together. And you know, with Rachel and Victor anchoring the show the way they do, they set the bar high. And anyone who shows up on Continuum knows that they canít sort of phone it in. These guys work harder than anyone else I've ever worked with. And everyone who comes to work with us by seeing their example usually shows up with their best work.

Heather McLatchie: Because of the time travel aspect, what Carlos knows about technology is different from what Kiera knows, and is different from what Alec knows. Is it hard to keep track of what you're supposed to know and what you do know?

Rachel Nichols: For me, I get lucky because I am from the year 2077, so as far as all the future stuff is concerned, I, A, know what it does; B, know when to use it; and C, know that I have to hide it from everybody.

I do love the scenes where it get the opportunity to be a huge dork, like the Bluetooth scene where I think I'm wearing the coolest thing ever and Carlos basically tells me that I'm a nerd.

I love the opportunities for that, even in - thereís an episode where I - it becomes obvious that I've never seen a horse in real life before. I think thatís Episode 6. And for those things, I need Simon to tell me, ďRemember. Youíve never seen this before,Ē or, ďRemember, this is new, or this is your only concept of this thing in the future. And remember, thereís no real clean running water.Ē And, I definitely rely on Simon for everyday stuff, for everything thatís in 2012 that I have never experienced before in 2077.

But as far as the futuristic tools, thatís sort of the nice, close knit relationship I have with Alec, because heís the creator of awesome. So it is fun, though, the moments where I have to play absolute fish out of water learning to drive a car, having never done that before.

And yes; provided that I have Simon to be my guide, I'm fine.

Simon Barry: Yes, I can - I can just say that it is tricky to track a lot of this stuff. But you know, the great thing is that Victor and Rachel, and Erik to that effect, will always sort of check in and say, ďYou know, is this...Ē - sometimes, theyíre ahead of me. Theyíll go, ďWait a minute. I shouldnít know about this because of where I'm coming from or what my perspective is.Ē And I love that they are so invested in sort of their characterís understanding of where they are and what theyíre doing.

But sometimes, theyíre really as on top of it as the writers are.

Victor Webster: And thatís one thing that is great about the show. Itís such an open line of communication and it like a family where we can come and bring anything up at any time, whether it sounds ridiculous or whatever the discussion is. Itís just bring everything to the table and Simonís always got a very intellectual answer for us, gives us something to think about, and itís really good for us to be able to process all that information and have that sounding board.

Tim Holquinn: I saw on Twitter you went on a helicopter ride?

Rachel Nichols: I did. I've always, always, always wanted to see LA from a helicopter, and a really good friend of mine surprised me. So we took a helicopter ride out of Van Nuys yesterday. And I have to say I've deiced that - well, I just need to get wealthy enough to have a helicopter and someone to fly me everywhere because it only took us seven minutes to get to Malibu from Van Nuys, and then I donít know, five minutes to go down the coast. So I think thatís definitely the way I should travel in the future.

Tim Holquinn: Forget the freeway.

Regarding Continuum, your aptitude and affinity for action roles has become well established now, and a common facet of that is having a recurring go to stunt double that follows you to various projects. Can you share a little bit about your working relationship with Monique Ganderton, who I understand doubled you on Conan, and Continuum, and I believe Raze as well.

Did you bring her on to the show?

Rachel Nichols: I've been very fortunate. Ever since I was Alias I've worked with some incredible and very impressive stunt women. Shauna Duggins doubled me in G.I. Joe. I've worked with Zoe Bell in Raze, but then also when I was on Alias. And I first met Monique - and this speaks to her character.

I first met Monique when I was already in Bulgaria shooting Conan, and her boyfriend was one of the head stunt guys shooting the movie. He played the double for Stephen Lang. And production did not really want to pay for Monique. They wanted to hire someone very inexpensively in Bulgaria. And I hadnít met her, but she thought, ďI would be a good double for Rachel,Ē and just - she flew herself to Bulgaria to stay with Sam in hopes that once she was there they would hire her, which I was just blown away by.

Tim Holquinn: Wow.

Rachel Nichols: It was so impressive.

And the fact that sheís such a great double for me - she got there and worked her butt off, and I'm sure was paid way less than she was used to. But I mean, that kind of show of desire to do a job and to do it well, and to do whatever it takes to make me look good and make the movie look good. I just thought -I've got to take this girl with me everywhere I go.

Then I went to Vancouver and I was speaking with our head stunt coordinator, Kimani, and he said, ďYou know what? I think - I'm thinking of this girl Mo Ganderton. I think sheís going to be great.Ē And I just sent, ďYou got to be kidding me? Sheís the best. Please bring her. Please? Please? Please?Ē

She came and she was up in Van with us and sheís such a great double for me. Because usually, doubles donít necessarily always match my exact body type, but Monique is taller than I am and slenderer than I am so I'm thrilled to have her double me.

So sheís great. And, I'm hoping sheís coming back for Season 2.

Tim Holquinn: It was lucky it worked out so well then just by coincidence.

Rachel Nichols: Oh, yes. It was - it worked out by coincidence. And then even when we were doing Raze, and that was my friend Josh Waller directing it, and Zoe Bell brought Monique on. Itís nice to know that whenever I need a double, even if I'm not putting the name in myself if I donít have the opportunity to, thereís inevitably someone that says, ďCan we get Monique?Ē So thatís great for me.

Tim Holquinn: Victor, in light of your martial arts background, and staying on the subject of stunts, I'm wondering about your working relationship with Kimani Ray Smith, who I understand is your stunt coordinator on the show. Does he let you do as much as you like? Choreograph to your strengths and so on?

Victor Webster: Well, he is. One thing about Kimani is that I know he has in-depth conversations with everybody and Simon, and really wants to figure out what is right for this particular scene. I mean if you let Kimani go, he will give you four, five, and six in one scene. Heís incredible, you know what I mean? Heís just - his choreography is so interesting and he uses the surroundings around him.

But heís also the type that choreographs to your strengths and he finds the things that you can do well, and he really, really choreographs around that and makes you look really good.

I prefer to do everything I can. Rachel and I, we pretty much do all of the stuff ourselves, and then sometimes the doubles will come in a do a few things. The majority of the fights that I've had with Rachel, itís been her and I. So when you see the actors on camera doing the action, I think it adds a lot of depth to the characters and really draws you in more, rather than just seeing the back of somebodyís head.

Kimani is amazing and such a talented guy, and weíre really lucky to have him.

Tim Holquinn: Yes. The first two episodes looked really good.

Rachel Nichols: Thank you.

Victor Webster: Yes. Then it just gets better from there. Just hold on.

Simon Barry: Yes. We stopped writing action. We just basically say, ďKimani, do your stuff here.Ē And then he always shows up with an amazing, brilliant, inventive fight that we could never have come up with technically. So, itís wonderful having him as such a key part of the team.

Tim Holquinn: Simon, did you have any favorite scenes that you felt just came together most perfectly from those first two episodes that John Cassar directed?

Simon Barry: Thatís a really hard question to answer because I have a lot of favorites. But, I do think that in those first two episodes, one of my favorite scenes, and I think a lot of people would agree with me, is the emotional scene at the end of Episode 2, which is where Kiera is sort of contemplating being stuck in the present and facing the truth of her situation.

I think not only did John do a great job, but Rachel did a great job playing that kind of awful situation of realization.

So for me, I know that that was something that came together really well, but itís really hard to pick one favorite because thereís so many different dimensions to the show to pick one scene that really captures what the show is is really tricky. But, I know that when we watched Episodes 1 and 2, everybody felt like weíd really found something special in not only the story that we sort of cobbled together, but also in Rachelís performance of that beat in particular.

Jamie Steinberg: Rachel and Victor, could you talk about if there was anything to their characters that they added that wasnít originally scripted?

Rachel Nichols: Initially, Kiera was Kyle, so you know I brought some anatomy with me.

Thatís a really interesting question because I started thinking, ďWow? Did I?Ē And then I starting thinking, ďWell, I must have.Ē And then I thought, ďWell, everything is so collaborative that I am not sure which sort of characteristics belong to which creator.

There is a large element, and Simon and Victor can both attest to this. Thereís a large part of me thatís very goofy and kind of clumsy, and I think - I donít necessarily think Kiera was supposed to be that way. But, I think that part of my personality lends itself very well to the fish out of water situation, given the fact that I'm from the future so thereís a lot of stuff that I obviously donít know about 2012.

So, I'd like to think that my own awkwardness is a good add-on. But, thatís sort of the first thing for me that comes to mind anyways, is kind of the goofy aspect of my personality.

Victor Webster: No, but I agree with Rachel. I think that one thing that we had was the relationships were there. The drama was there. Everything was there, and there were definitely some funny moments written in. And I think the only thing really on my end was just bringing up a little bit of that self-depreciating side, like the scene in the elevator when heís locked in there, theyíre so great about letting you really jump into your character and seeing what comes out.

And, I think that thatís something that we all worked on as a family, as a team, is bringing up a little more of the comedy. Other than that, I think that was it. Everything was on the page for my character anyway.

Simon Barry: I think Victorís underselling it, and I think Rachel and he both put their finger on it. I think these characters really did come out of a great collaboration. I love that Victorís giving me credit, but the truth is that - and the other writers.

But the truth is that we kind of found these characters I think in a way together, and it was really fortuitous because as much as we - the writers and I would love to think that we laid it all out, Rachel and Victor absolutely - and Erik to that effect as well - actually all the actors, they really did bring a very special quality to everyone.

I think that because the process moved very quickly and because we all wanted to aim high and succeed, that that creativity really pushed everyone into bringing whatever they could. And we as film makers were very open to it. We wanted it to happen that way. It was very organic and it was fun.

And the truth is Rachelís right. She does bring her personality in ways to the character that we never wrote on the page, but that really brings it to life. And Victor does have a genuine sense of self-depreciation and humor, and also a kindness and a straightforwardness that we really appreciated him bringing because it - I donít think it was as clear on the page.

And, they really have defined the characters now in a way that in writing the show we think of - more about what they bring to the table necessarily than what we as writers have brought to the table. And, weíre embracing those things that I think we love and I think hopefully the audience loves as well or weíll love.

Jamie Steinberg: Could you talk about what do you think it is about the show that will really capture viewers?

Simon Barry: I think thereís a lot of ideas in the show that are relevant to today, but that weíve kind of repurposed through the prism of someone from the future. We do see the world, our world, through Rachelís characterís eyes, through Kieraís eyes.

And I think thereís something interesting about someone who has a perspective thatís different who knows whatís going to happen. And seeing our world through those eyes can sometimes be a fascinating way to relook at our world. So, thatís one element that I think is definitely intriguing.

I think audiences will also like just the straight up thriller aspect of the show and the character dynamics of the show. Thereís a real intimacy between the good guys and the bad guys on this show thatís very special. And because the time travel component links everyone, there is this awareness that all of the characters share regardless of which side theyíre on that really helps keep the show kind of connected within the varying factions.

Also, I think Rachel and Victor have a point of view about this too.

Victor Webster: Well, the one thing that I personally - one of the reasons that I would tune is I like a show that makes you think. I like to make a show that after the show ends, you could sit there with your friends and you can discuss the possibilities and where a show could go, and what did they mean by that? And you know what if this happened? And, I think we explore a lot of those in this. We answer a lot of questions as much as we leave a lot of questions for the audience to ponder.

And of course, me coming from an action background and growing up doing martial arts, I love the fact that this is a fast-paced, action-driven show thatís relatable. Itís not too far out there, even though it is a sci-fi show. All of this is within the realm of possibility. And, itís incredible characters.

So itís got aspects from so many different genres compiled together and mixed up that thereís a little bit of something for everybody.

Rachel Nichols: Yes. I completely agree with Victor and with Simon. You get everything you want. Thereís that procedural element. Thereís the sci-fi element. Then itís a heavily character-driven show, and that sort of trifecta is very hard to come by.

Plus the sci-fi genre is fascinating and wonderful because it allows us to do so many different things, whether itís something like a social commentary like whether weíre talking about corporations and governments and things like that. Sci-fi really kind of lets us as storytellers get away with a lot. And, the built in sci-fi audience that always enjoys that will love Continuum.

But the audiences from other types of shows I think will also find something that theyíre looking for as well, and thatís hard to do. I think Continuum does it very well.

Tony Tellado: I think whatís really interesting is that both characters - both Victorís and your character, Rachel, both have family elements. Could you talk about that part of the dynamic of these two and how you will use that going forward in the series?

Rachel Nichols: Well for me, the complicated thing with the fact that I have a family is that I canít really talk about my family. If I'm in a scene with Carlos and heís talking about his family, Kiera canít exactly say, ďI know. You know, my husband and son in 2077, I really want to get back to them.Ē I mean, thatís not something that I can ever say.

And so, thereís definitely an element of scenes when for Kiera when she hears Carlos, or anybody for that matter, talking about family, especially Alec with everything that he dealt with with his family. Obviously, Alec knows that I have a husband and son in the future, but Carlos or anyone from the year 2012 whoís not Alec, hearing them talk about their family is - itís very hard for Kiera.

I think itís also very important that family is a big element to the show because I donít want Kiera to be wallowed in sadness of missing her family every episode, but sheís got to think about them at least once in every episode because that is the driving force. She may have realized it and started to understand that she is probably in 2012 for a purpose, but that never for one second means that her number one goal isnít getting home. Thatís what - thatís where she wants to go.

So I think the family aspect is very important because it allows us to get to know the other characters and it also allows Kiera to reflect on what her goal is at the same time.

Tony Tellado: And for Victor?

Victor Webster: Well, we havenít touched a lot about my family, but thereís definitely hints and thereís things that I've had to deal with myself as Carlos from where I've been from, where I came, and my family situation that obviously plays a big role in the reason that I became a police officer and the driving force behind a lot of decisions that I make in my profession on the show.

But I think we deal with family a lot on the show. Liber8 is kind of a dysfunctional family in itself. We have our own little family at the precinct with Inspector Dillon and Rachel, and with Betty. In a way, itís almost like a few different aspects of the way that we all deal with each other, the way we would deal with families, and it reflects you know our relationships.

But definitely, I think one of the biggest things is Rachelís quest to get back to her family. And, itís such a driving force - yes.

Simon Barry: Well said, Victor.

John Soltes: Simon, could you give an idea of you know how far ahead you've thought about the mythology and the timeline for the series? For example in the development stage, you probably were really focused on the first season, but now you have the second season. Are you really keeping track of everything so everything fits in line?

Simon Barry: Yes. Itís certainly a full-time job managing just all of the many threads of the showís mythology introduces. And thatís half the fun too, I got to say.

When we started the process on the first day of the writing room, we as a group all made the decision that we needed to know two things off the top. We needed to know the rules of at least our version of time travel, which was important. And also, we needed to know where the show was going to end.

Because of the nature of television, you canít really pinpoint that to an X number of hours or years, but you can certainly aim high. And I'm an optimistic person by nature, so I certainly built in the possibility that there would be many years worth of mythology elements set up at the beginning that could play out. But you donít want to get ahead of yourself too far.

So itís this fine balance of knowing that the universe and the mythology and the stories that you have, have many, many stories within them. And at the same time, you want to keep it contained so that the focus is on one major component that is manageable.

So certainly into Season 2ís announcement, we started opening that up in a way, which I think makes the show better. But weíre always trying to stay focused on our central characterís goals and obstacles. And, thatís sort of where we can I think feel like the show is in a very safe place, but also you know, gives us permission to expand beyond that.

John Soltes: Are there any sort of inspirations or some sci-fi that you've enjoyed before you signed up for Continuum?

Victor Webster: I'm a huge sci-fi fan. I love all of the Star Wars movies. I've watched TV shows since I was a kid like Manimal, dating back to when I was in my early teens. I'm a big kid now and my imagination is very vivid, so I love shows that let me explore that and let me go out and see all of that.

So anything to deal with sci-fi, space, technological gadgets, super powers, I'm in.

John Soltes: This vision of the future in 2077 is pretty dystopian and a little bleak, with the corporations and such. Kind of Orwellian almost. Do you think that thatís kind of where weíre headed?

Rachel Nichols: I think thatís one of the really interesting things about the show. And the fact that the sci-fi genre allows you to go to these places and have this idea of the future and people accept it, and then they do ask that question, ďIs this where we are headed?Ē

I hope not because I happen to really enjoy food, and running water, and live animals. The future looks pretty bleak as far as I'm concerned.

But you know, thereís a lot to be said for some of the different events and issues that we take on in the first ten episodes of the show, and I'm sure in Season 2 weíll dive into even more.

But yes. There definitely is that recurring question of, ď is this really where we are headed?Ē And what could we possibly do to prevent that from happening?

Barbara Barnett: Can you describe the dystopic world that you've created politically, atmospherically, for the year 2077?

Simon Barry: I'll start by saying that you know I think that dystopia is often a relative term, and so in trying to create 2077, I didnít want to create something that was abjectly - you know, kind of oppressive in an obvious way.

I think that if you were to ask Rachelís character if she lived in an oppressive society, she would say no. And I think thatís kind of the point. Our Liber8 freedom fighters/terrorists, if you will, have a different opinion. And I think one of the great things that weíre trying to infuse the show with is that you can have a gray area in almost anything in the world as far as opinions go. And that perspective has a lot to do with how we make judgments.

So as much as itís easy to paint the future with one brush of dystopia, I think that thereís also a point of view that thereís a process of evolution with society that tends to develop on its own way that we as a society either allow to happen or donít allow to happen. And when you're living in it, you donít necessarily see it for what it is.

I imagine if someone from 1930 were to come to 2013, they might find our world quite dystopic in its own way as well. Because in a weird way, weíve kind of gone backwards from the freedoms of the days of the Ď30s and the flappers in Paris.

And thereís a funny thing about perspective that is always fascinating to me. So weíve kind of tried to create at least a future that has one foot in storytelling and one foot in a potential reality, and I think thatís what SyFy tries to do always is to make people consider their world and look at their world through hopefully a different prism.

Barbara Barnett: Absolutely. Things get very incremental. And when you're in the moment, it doesnít - when you add up those moments, I get that. I like the...

You had mentioned, or someone had, that you guys cover a lot of different themes. Can you touch on what some of those things are? It sounds like itís a very thought-provoking show. The little bits I've seen of it certainly do seem that way.

But for people whoíve not seen the show what are some of those things that you explore in that first season?

Simon Barry: I'll start and then I'll pass it on to the guys because I know they have good perspectives about this.

But I think we just try to look at the world that we live in - on every level. I think that society, breaking it down into things like politics on a macro level, on a larger level when you talk about social rules, behavior of expectation, even love - even relationships. Technology is influenced on all of those things. Politics in general are all covered in ways, but always through a character perspective. Itís never about one point of view. Itís always trying to look at both sides of the argument and itís a debate.

And I'll let Rachel and Victor take it from here.

Rachel Nichols: Itís interesting because there are many different themes and some of them - I've said it before; itís why I love the sci-fi genre is because weíre allowed to get away with a lot more than you are on a mainstream political show or an action show. Itís the built-in audience has this skill set for belief of things that we say might happen. Like we say might happen in the future. And, they donít judge us or say that weíre being completely political about it.

Weíre allowed to get away with just making guesstimates about what the future is to become and who the people are in 2012 versus who the people are in 2077. And you know like Simon said, people that would be back 65 years prior to 2012, if they ended up in 2012, what would they think of our world?

And, I think the theme is obviously things are always changing, and sometimes for better and sometimes for worse, and sometimes for much worse. But, thereís this theme of family. And, that also is important for me because itís a big part of my character as well.

And, thatís something that doesnít change. My whole goal is to get home. Is to get back where I'm from.

But - yes. I think Simon puts it best, but - Victor, do you have anything else you'd like to add?

Victor Webster: So one key thing that Simon mentioned is that we may bring something up thatís thought-provoking and we give the audience an opportunity to have their own opinion because we give both sides of the coin. Thatís one of the things that I like most about the show.

And like I said earlier, that I can sit back afterwards and discuss with my friends is thereís a pro and thereís a con to everything that we kind of bring up, and thatís what I really appreciate.

Barbara Barnett: This organization Liber8, which are the terrorists in 2077, why do they go back to 2012? What is Liber8ís perspective? What are they trying to do?

Simon Barry: What we learn in the pilot is that Liber8 in the future are a terrorist organization from the perspective of the future, and theyíve been condemned to death. Itís an execution actually that sort of opens the show.

And what Liber8 manages to do through a conspiracy is put together a prison break, if you will, but itís not the kind of prison break that goes through a wall or a tunnel. They are given the kind of technology - experimental technology that allows them to basically set off a bomb that creates a wormhole - a time travel portal if you will.

And so their escape is on the one hand a planned event, but they arenít supposed to end up in 2012. They were only supposed to end up kind of at the tipping point of their future revolution. So itís a bit of a mistake, but they realize very quickly that they can still change history from the perspective of 2012.

And Kiera, Rachelís character, is accidently thrown back with them.

Rachel Nichols: Right.

Simon Barry: So she realizes that their goals - as much as she wants to get back, her ability to get home is inextricably tied to stopping this group of people from executing their mission, which is to change history.

Barbara Barnett: In the first scene I noticed William B. Davis, the cigarette smoking man - he will always be the cigarette smoking man to me, with a little smile on his face. What is his role in the show with his character?

Simon Barry: I'm going to pass on that question because it is kind of a great reveal in the first episode and I donít want to spoil it for anyone.

Read my review of Continuum

Back to the Main Articles Page

Back to the Main Primetime TV Page

We need more episode guide recap writers, article writers, MS FrontPage and Web Expression users, graphics designers, and more, so please email us if you can help out!  More volunteers always needed!  Thanks!

Page updated 4/14/15

ComedyDramaSci fi and FantasySoap OperasCompetition

Bookmark this section!
HomeDaytimePrimetimeTradingSite MapBuy!What's New!
Join UsAbout UsContactContestsBlogHelpCommunity