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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 “1” followed by the “4” on your
telephone.
If at any time during the conference you need to reach an
operator please press the Star, “0”. 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 today’s call with
Christopher to discuss next week’s episode, “Starlings of
the Slipstream.”
Just a quick few things before we start. As many of you’ve
seen the episode in advance, please do not include any
spoilers in your preview pieces from the episode or from
today’s 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 we’ll get started. Thanks everybody.
Operator: Ladies and gentlemen if you’d like to register a
question please press the “1” followed by the “4” on your
telephone. You will hear a three-toned prompt to acknowledge
your request. If your question has been answered and you’d
like to withdraw your registration, please press the “1”
followed by the “3”.
If you’re 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. It’s such a pleasure, thanks.
Tim Holquin: I’m a big fan. I have many questions. I’ll
get in line after this one. But having directed three
episodes now as well as “Sights Unseen”, 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 they’ve 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, I’m proud of this episode. I think this may be the
best one I’ve 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 “Sights Unseen” 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 show’s evolution what’s 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 it’s been a - I’ve
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 we’ve been able to
continue to find new facets to his personality and to his
life. And it’s 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 I’m 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: It’s going to be - it’s tough. He’s got
a hard road the rest of this season, you know, he’s 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.
I’ve been a huge fan of you since the show "Popular".
Christopher Gorham: Oh wow, thanks, I appreciate that.
Ben Lie: It’s no problem at all. My question is, is what
do you enjoy most about directing the episodes?
Christopher Gorham: Well I tell you, it’s , you know, I’ve
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 character’s 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 that’s a real privilege
and very rewarding.
Ben Lie: Thank you so much for doing this, I really
appreciate it.
Christopher Gorham: No, it’s 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, I’m 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 it’s really two very different
skill sets. When, you know, when you’re - when I’m behind
the camera in the director’s chair I have to be thinking big
picture. I have to be thinking, you know, not just the
moment before and what’s happening in front of me but also
where it’s going. And how all the individual pieces fit
together. The individual camera angles, you know, the
wardrobe, the - I mean the everything. You’re in charge of
everything.
And when you’re acting you really can’t 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 it’s 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: I’m good. Thank you, how are you?
Christopher Gorham: Yes, very well thanks.
Vlada Gellman: The (stuff that’s still that’s) 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: I’m 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 it’s - it was nice
to see those guys in Iraq because it’s 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 they’re trying to
navigate it and they’re trying to be gown-ups. And, you
know, they’re trying not to be competitive.
But there’s, you know, some of that bleeds through and you
just can’t help it. So it’s 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 haven’t seen the episode
yet so these are coming from that place of ignorance of not
having seen it yet.
Christopher Gorham: It’s the best of the season. There’s
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 you’ve 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 episode’s not - God I’m trying to
remember now. The guest stars aren’t really the focus of my
episode. You know, it’s really the important parts are what
Annie’s going through and then Auggie’s 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
it’s impossible to pick. We’ve been, you know, we’ve had an
embarrassment of riches with guest stars. You know, Oded
certainly being one of the top of that list. You know, he’s
not only a fan favorite but he’s an on-set favorite. He’s
just, you know, he’s a great guy.
You know, our current guest stars we have, you know, Shawn
Doyle is doing an amazing job as Belenko. Kenny Johnson’s
going to be coming on the show soon who people, you know,
will remember from The Shield and Sons of Anarchy and, you
know, he’s fantastic. Rossif Sutherland who plays Tony has
done an amazing job recently.
Liane Balaban who’s 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 who’s at the top of
that list.
Tim Holquin: Yes. Kenny Johnson especially is awesome in
everything he does.
Christopher Gorham: He’s 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: It’s great.
Tim Holquin: Okay and follow-up question is kind of a
procedural one but besides the instrumental score there’ve
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, it’s both of those
things. You know, the director in the director’s 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 it’s 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 haven’t seen the air cut yet. So I
don’t know how much of the music I chose was kept. But I was
- I guess I’ll 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 it’s still there. But I don’t want to talk about - I
don’t want to tell you what it is in case it’s not.
Tim Holquin: Okay, understandable. Thank you very much.
Operator: Ladies and gentlemen as a reminder to register for
a question press the “1” and the “4”. 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 we’ve had a chance to do press calls with folks
is that there’s such a dichotomy between shooting things at
the agency and then going out and doing the gorilla
film-making where you’re - 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 don’t 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
we’re shooting internationally, you know. And so the run-gun
style of it doesn’t affect how I direct so much. It really
is more of a production question.
So as an actor, you know, look when you’re in the studio or
when we’re shooting in Toronto it’s 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 don’t have when we’re shooting
internationally.
But what you gain shooting internationally is something that
you can’t replace. So it’s 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: I’m good (Joyce), how are you?
Joyce Ang: I’m 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, it’s (into) summer season
he’s 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 we’ve 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 he’s
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 it’s tough. He gets put in a really tough
spot.
Joyce Ang: And you’re 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 it’s funny
because well I can’t talk about the next episode yet, but
it’s difficult mostly because it’s more time-consuming for
me to direct scenes that I’m in because after every take I
have to - I mean unless it’s 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 we’re, you
know, that we’re 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 don’t have to worry
so much about my co-stars, you know, they’re pretty great
and they know what they’re doing.
But, you know, like technical things like, you know, does
Auggie look blind in this scene, you know, things like that
that I can’t 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). I’m good man, how are you?
Rick Bentley: I’m wonderful. Hey can you just break down a
little bit sort of the timeline on this? How far in advance
do you know you’re going to be directing an episode? How far
in advance do you start working on, you know, your shot
selection and how long after you’re done shooting are you
involved with it?
Christopher Gorham: I find out which episode I’m 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 I’d 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 can’t 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 don’t get the
script until you’re 2, 3, 4 days into prep.
But our show’s 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, I’m shooting on the, you know, I was
shooting the prior episode at the same time so I lose a
couple of days prep because I’m acting.
So, you know, let’s 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 director’s cut has
I think three scenes missing because we lost a location;
which was the first that’s 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 didn’t 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 we’re like
swapping places, you know, like he’d direct - he’s working
on his episode and I would come in and direct a scene on
mine. And then I’d 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 I’m done.
Rick Bentley: Wow, long process.
Christopher Gorham: Yes, it’s long but I tell you - I mean
compared to film it’s half...
((Crosstalk))
Rick Bentley: Yes.
Christopher Gorham: ...blink of an eye. It’s one of the
things that I love about directing TV actually is how fast
the turnaround is. Because you’re 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. It’s 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 Auggie’s story and what
Auggie’s 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 we’re on set, you
know, and I say, “Listen Piper I’m thinking you could come
in this door and come in and sit down on the couch.” And
Piper goes, “Why would I do that?” I’ve got an answer for
why I think, you know, that would happen.
And then it goes - and then aside from, you know, all the
characters’ emotional arcs and dealing with the acting stuff
then it’s, 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 I’ll 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 “1”, “4”.
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 it’s 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 haven’t
worked with that you would like to work with in the future?
Christopher Gorham: Oh my God, there’s like the list is as
long as my leg - yes, sure. I mean, you know, there’s so
many - I don’t even know where to begin. We’re - there’s so
many talented people. Let me - boy, let me think. Like who -
well let me guess we’ll talk, you know what it’s 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
Auggie’s brother and we’ll 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 he’s changed other than, you know, his hair
grew out a little bit especially since that
(unintelligible).
Landon Gereese: Right.
(Laughter)
Christopher Gorham: It’s, you know, I think he’s found
someone in Annie who - I think Annie is the first person
since the guys he served with in the military with whom he’s
felt a real kinship, you know, with whom he’s felt like he’s
found a true like peer and a true friend; someone who can
really understand what he’s 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
it’s 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 that’s probably part of what’s caused the tension that
clearly exists now. You know, and then lately, you know,
Auggie’s just been losing a lot of friends and that’s really
hard because I think, you know, his friends especially, you
know, his military brothers are really his family.
I mean I think there’s a reason why we’ve never met his
extended family, you know, and that’s 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 “1”, “4”.
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 director’s chair?
Or do you prefer just to do acting?
Christopher Gorham: No, no I definitely want to continue
directing. It’s - I mean not only is it something that I
truly enjoy, you know, I’m getting better at it every time I
do it. So yes, I think directing is something that I’ll
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 I’ll ask. We’re heading
into the back six of the fifth season and we don’t know yet
whether we’re 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
we’re going to get one or does everything kind of wrap up
if, you know, unfortunately you don’t. But I’m hoping you
will.
Christopher Gorham: Listen I tell you I think where we end
up at the end of this season I hope it’s not the end. I
think, you know, we don’t end the season on a cliffhanger in
the traditional sense. So, you know, it could be the end.
But it’s not the end that I think the audience would be
happy with. And, you know, it’s certainly not how we would
want to wrap up these characters’ stories.
Heather McClaffey: Great. Well thank you very much. I’m
hoping you all are back because I’m 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 you’re shooting hard scenes.
Christopher Gorham: Oh sure. That’s an interesting question.
Yes, you know, I’ve done a lot of TV shows and I’ve 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 hasn’t worked on our show but he’s a
director that’s 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, he’s been nothing but
encouraging and helpful and, you know, I’m always grateful
for his input.
And then we’ve had directors like a Felix Alcala is one
who’s directed a lot on our show who I really steal from
visually; Allen Kroeker’s another one that I steal liberally
from. So yes, I mean it’s 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 it’s 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, I’d just -
I’d rather spend a little bit more time at home with my kids
while they’re small.
But down the road, absolutely. Doing a feature is something
that’s definitely on my bucket list. And, you know, I think
when I find the right scripts and the right story that I’m
passionate about and feel like only I can tell then I’ll
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 I’ve 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 I’m 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 it’s funny
because he - like film snobs just like hate that guy. But
his films, his movies are fun to watch. Like there’s a
reason that they make $2 billion. It’s because they’re fun.
And I’m 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 we’ve been seeing some feedback, I’ve been seeing
some feedback on Twitter today from fans who are talking
about how much they love the episodes that you’ve directed
previously. And I’m just wondering how would you set up or
describe, you know, this episode, this upcoming episode of
what it’s about for them?
Christopher Gorham: Let me think. You know, I guess, that’s
so funny it’s like how do you describe it without giving
away all the good stuff.
(Laughter)
Jennifer Griffin: Yes.
Christopher Gorham: It’s - I think it’s about discover, you
know, It’s about discovery and sometimes finding things that
you don’t want to find. It’s 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 it’s
an episode that you have to pay attention to. But really
it’s about discovery.
Jennifer Griffin: Okay. Okay, that’s 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. It’s come up on the
call today that this is the longest role that you’ve 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 that’s the heart of the show,
right? It’s the, you know, it’s been the most consistent. I
think it’s the emotional arc that gets the most attention.
And it’s 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 they’re 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, there’s a performance in this episode, you know,
there’s a death that happens and it’s one of those things
that can make or break, you know, a scene or a moment, you
know, if the actor who’s 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 weren’t 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 everyone’s 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 o’clock to watch Christopher’s episode.
We’re all excited for you Christopher.
Christopher Gorham: Great. Thanks Scott and thanks everyone,
I really appreciate it. And just as a small personal note
I’d like to extend my condolences to Auggie’s watch which
I’ve 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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