Episode Report CardGrade It Now!
YOU GRADE IT
RT: Yeah, and honestly, while UPN is very creatively kind to us, you'll hear a lot of voice-overs that are strictly network. "We don't understand why Veronica went to the lumberyard." And then you get that painful voice-over of "I'm going to the lumberyard because..." We try to write it so you don't need verbal exposition. The other thing is that sometimes we'll have to cut a scene for length, so we throw in a voice-over to cover the missing action, and it does become expository. If you read the original pilot script, you'll see how I intended for voice-over to be used. The interesting thing is that we had a long, long conversation at the beginning of the year about what tense to use. The easiest thing to do is use past tense in the voice-overs, but it also takes away the immediacy of it. If the story's over and we've all survived, we're looking back on it and we're not in the moment. CB: Now, the flashbacks. I really like them, even though sometimes it seems like they raise as many questions as they answer. They seem to add to what we've seen from the characters in the present, rather than betraying it, which is a problem I've seen on other shows. RT: I'm using more flashbacks than I originally envisioned when we started the year. I'm not interested in those sort of procedural, C.S.I.-type shows in which you tell the murder investigation based on carbon fibers and blood samples -- I always wanted to create interesting character stuff like motive and jealousy and passion and rage, so using the flashbacks allows me to get to the heart of why characters become what they become. I have to admit, they're fun for us. CB: The one thing about the flashbacks is that they're very...blue. In fact, there's a LOT of color filtering and lighting on the show. Are you going for specific moods or themes? Do you all debate whether it gets excessive? RT: Well, we wanted the flashbacks to have a distinct look just so it would be clear when we were in one. But we gave a different colorization and treatment to the two-day flashbacks in "An Echolls Family Christmas," where it wasn't Veronica's memories. And in the latest episode we've filmed, Veronica manages to get hold of Keith's interrogation tapes, and she's listening to them and flashing back, and that's not her memory, so we gave that a completely different look from the other two. So we are trying to be stylish, and honestly, for me it's the first time I've been on a show that's attempted to have some sort of visual flair.