Adam Baldwin Talks Reuniting With His FIREFLY Co-Star Nathan Fillion on CASTLE

Adam Baldwin as Detective Slaughter on "Castle"

Whenever a television show can give a warm nod to the fans that have followed actors from their prior television shows, it is a token of the mutual love between the show and the fans. Fortunately, for fans, the writers of CASTLE delight in tossing FIREFLY fans a little love-note once in a while. This upcoming episode “Headhunters” reunites star Nathan Fillion with his former FIREFLY co-star Adam Baldwin for a bit of light-hearted fun and adventure. In an exclusive interview, Adam Baldwin talked about what it was like working on CASTLE bringing the memorable character of Detective Ethan Slaughter to life along side his long-time friend and co-star Nathan Fillion.

It looks like the double-trouble duo of FIREFLY are back together again with you and Nathan Fillion working on CASTLE.
ADAM: Roger that. We’re up to some thrilling heroics. This time the tables are a bit turned because my character Ethan Slaughter gets to be in charge more than Nathan did on FIREFLY and SERENITY. So I was stoked for that bit of sweet revenge and boss him around a bit.

Did he take that with good humor?
ADAM: Oh absolutely! Nathan Fillion and I have been friends for 10 years now. Working with him is like slipping on an old comfortable brown coat.

Nathan Fillion and Adam Baldwin on "Castle"

I love how you inserted the Browncoat reference there! Speaking of Browncoats, may be you could talk about whether this character was created just for you. It certainly feels like it because it has some shades of Jayne Cobb feeling to it.
ADAM: I don’t know what the initial inspiration was, but I did get a text from Nathan just inquiring after the show I was on before CHUCK ended its run, and it said, “Would you maybe be available for a character that’s coming down the pipe ’cause there’s a guy on the show that might fit you?” And I said, “Absolutely! To work with you again, absolutely!” And so once they heard that I could do it that they were able to craft it more — well, once they got the nod from the producers and the network and all that stuff — to craft it more toward my wheelhouse.

Did they give you the reasoning behind the name “Slaughter”? Detective Slaughter sounds a little daunting.
ADAM: Yeah, but they tempered it with Ethan. Ethan is not a Nick or an Axl. It’s not Axl Slaughter or Ace. It’s decent, so there’s a balance there. But Slaughter is a guy who works for the Gang Unit and he’s a colorful, kind of rogue character who uses unorthodox methods to get results and I think that is something that Castle feels drawn to. He wants to write about that.

"Castle"

Was this more a duo thing, where you worked with Nathan and didn’t really work with the rest of the cast on CASTLE, or do you interact with the other actors as well?
ADAM: Oh, we did scenes with the other characters absolutely. Some of the funniest stuff was with Stana — between Beckett and Slaughter. Just hilarious. It was a couple of interrogation scenes. Actually there’s several interrogation scenes that I’m really proud of and I find are very, very funny — and still dangerous. It was a fine-line to walk, but when you have guys like Nathan, Stana, Jon and Seamus, they’re so multi-dimensional that you can make it funny and dangerous at the same time.

The pairing of Richard Castle and Detective Slaughter seems unusual. Was this perhaps schemed on behalf of Captain Gates?
ADAM: [Laughs] More serendipity I think. Castle is in a bit of a transitional phase with Beckett, figuring things out, and this was an opportunity to see another side of law enforcement, and Slaughter is in turn using Castle for selfish reasons. It’s a partnership of convenience for both.

Was the door left open so that you could reprise the role of Detective Slaughter if it becomes available?
ADAM: Well, that’s above my pay grade. I don’t comment on those things. I did very much love playing that character. So I just wish them well through the next couple of episodes of Season 4 and into Season 5. I just wish them all the best. But, hey, if they say “yes,” I’ll come back.

"Castle"

We’d love that! Perhaps you could describe one of the funny scenes or a memorable scene for you working on CASTLE.
ADAM: There’s a particular interrogation scene where Nathan and I spend quite a bit of time in a car and we have someone that we’re interrogating, like I said, in an unorthodox manner. Nathan and I got to spend some time laughing and chuckling. Fortunately, there was good air conditioning in the car, otherwise it gets a bit hot and sweaty. And there’s a nice scene where I’m able to share some wardrobe with Castle. Plus, some of the scenes between Slaughter and Beckett are hilarious in my view because they don’t see eye-to-eye at all.

Does Slaughter have a pet name for Beckett that just drives her crazy?
ADAM: How about “Sexy”?

That’s a good name! You seem to have of the most passionate fans based on your previous work with both FIREFLY and CHUCK, and now you’re entering the world of CASTLE which also has a passionate fan base. What is the secret of your success in getting these shows where you have these fans that cherish and love you and will follow you anywhere?
ADAM: Ah shucks. I just try to return some of the love the fans have shown me. Again, “if its not on the page, it’s not on the stage” somebody famous once said. I’ve been fortunate to work with writers that can give me such rich stuff to play with.

As can be seen, Adam is a gracious and generous guest star who appreciated the wonderful opportunity provided. It is going to be a guaranteed pleasure and a bit of a wild-ride watching this week’s episode of CASTLE, which airs Monday, April 16th at 10:00 p.m. on ABC. Don’t miss a second of it!

Where to find this article:

 

http://www.thetvaddict.com/2012/04/16/adam-baldwin-talks-reuniting-with-his-firefly-co-star-nathan-fillion-on-castle/

 

 

From CASTLE to BONES: Is the MOONLIGHTING Curse Still Relevant Today?

In Hollywood, there is no more dreaded catch phrase than “The Moonlighting Curse.”  For those old enough to remember, MOONLIGHTING was the hot comedy-drama of the 1980’s, starring Cybill Shepherd and Bruce Willis.  The show consistently scored high ratings until one disastrous night – its core characters David and Maddie slept together at the end of the show’s third season.  After achieving its highest ratings ever, it was all downhill from there – at least in the ratings. 

"Moonlighting"

MOONLIGHTING went from 9^thplace the Nielsen list to 14^th  place during its next season, and then was cancelled after limping through one more final season.  Ever since then, shows that are dependent on the “will they or won’t they” hooks to their premise religiously avoid killing the cash-cow and make sure their hot couples never get together, or to postpone it as long as humanly possible (such as waiting until the series finale).   The thought being that popping the “romantic-tension bubble” spells doom for any television show.

Yet, there were a combination of factors that are conveniently forgotten when alluding to “The Moonlighting Curse.”  For one, Cybill Shepherd was pregnant with twins that following season and was unable to work as much as she had before.  In addition, there were cost and scheduling overruns that made the show extremely expensive.  So the show was headed for trouble whether or not its characters ever slept together and became romantically involved, simply due to a collision of outside factors.  Yet all the audience remembers, and which is now a part of Hollywood lore, is that popping the “romantic-tension bubble” will kill a show.

"Bones"

So for the past two decades, everyone has shuddered to imagine what would happen to a TV show if a show allowed its principal couple to take their relationship to the next level.  Daring to flip-the-bird at the alleged “curse,” showrunner and creator Hart Hanson allowed his show’s core characters of Brennan and Booth to consummate their relationship and have a child together on BONES.  It may have seemed risky, but with BONES heading into its 7^th season, the risk was nominal.  Its core fanbase and popularity was rock-solid.  In fact, the ratings barely registered a blip as a result.  (Though the recent move to Mondays has put the show in the ratings spotlight as it is so much harder to secure an audience on Monday nights versus Thursday nights — perhaps explaining why it feels so gun-shy about the “curse.”) 

Despite Hart Hanson’s fortitude and willingness to “go there,” not every show currently on television is ready to tackle the “curse.”  One good example is the detective series CASTLE.  (It is also noteworthy that BONES airs on Fox, whereas CASTLE airs on ABC, the same network that MOONLIGHTING was broadcast.)

"Castle"

On CASTLE, for the better part of four seasons, the show has danced around the romantic-tension between Detective Kate Beckett and Richard Castle.  The dance has been fantastically drawn-out and has left fans panting with anticipation.  So much so that last season, in an episode where Detectives Ryan and Esposito were kidnapped, Beckett and Castle posed as a couple on a date and shared a passionate kiss.  Better make that two passionate kisses.  Rewatch that scene, you’ll see exactly what I mean!  (See my article “CASTLE: A Kiss Is Never Just A Kiss”.)  Anyway, that kiss and the lingering tension finally culminated in last season’s finale with Castle declaring his love to Becket when she was shot by a sniper.  So when the show returned for its fourth season, fans were anxious to see how Beckett would respond.  But for the better part of this current season, all those feelings were left unsatisfied and unresolved as Beckett proclaimed that she did not remember anything after she was shot that fateful day.  It was not until the recent episode “47 Seconds” that we found out that Beckett had lied about that.  She remembered everything and had not said a word to Castle.  Once Richard Castle found out that she remembered his declaration of love but had never said anything, he felt embarrassed and a fool.  He had continued loving Kate while she had tried to pretend that his declaration had never happened.  It has forced the characters to veer off in wildly tangent directions as Castle attempts to move on in his life, which Beckett has noticed and may be attempting to move on herself. The characters seem to be moving on – or are they?

Rumors have abounded.  The cast and creator Andrew Marlowe have teased.  Previews have shown Beckett regretting not telling Castle sooner that she knew he loves her.  Will there be a final culmination of the détente of “will they or won’t they”?  Will it finally end?  And if it does, will it be a ratings “death knell”?

"Burn Notice"

20 years has passed since the demise of MOONLIGHTING.  Isn’t it time to stop fearing the myth of such an old “curse” when characters come together romantically?  In the intervening years, so many more shows have avoided the “curse” by simply having their characters connect romantically right away.  One good example is USA Network’s BURN NOTICE.  From the very first episode, Fiona and Michael have been a couple and it has only fueled the fiery passion of both the series and the fans’ amorous love for the show.  Frankly, BURN NOTICE would have suffered greatly but for the sexy hot relationship of Michael and Fiona.  Another USA Network series that has not hesitated to taunt the “curse” is PSYCH.  In a fun turn of events, in the show’s fifth season, it allowed Detective Juliet O’Hara and fake psychic detective Shawn Spencer to have a romantic relationship, which delightfully continues through the show’s sixth season. In fact, a large number of today’s current television shows have avoided the “curse” successfully and have allowed their characters to enjoy wonderful romantic relationships, such as COUGAR TOWN, WHITE COLLAR, NIKITA, GRIMM, FRINGE, THE FINDER, THE SECRET CIRCLE, GREY’S ANATOMY, ROYAL PAINS, GLEE, LOST GIRL, GOSSIP GIRL, PRETTY LITTLE LIARS, HOUSE.  Even shows like THE GOOD WIFE and ONCE UPON A TIME have briefly allowed their core characters a chance at happiness.

The old adage that for “will they or won’t they” type shows that they will wither and die should they burst the “romantic-tension bubble” seems to be crumbling and falling by the wayside as more and more television shows are discovering that audiences and fans are more than willing to allow their favorite couples to explore romantic love. 

"Hart Of Dixie"

After all, what is more intoxicating than watching people who are in love?  Looking across the television landscape, there seem to be more shows than ever before that have broken the “curse.”  There is love blossoming all around.

While there will always be a few hold-out shows that are fearful of “The Moonlighting Curse” and who continue their dance around their core couple (HART OF DIXIE, JANE BY DESIGN, COVERT AFFAIRS, THE VAMPIRE DIARIES and SUITS), we remain hopeful and confident that the day those show’s writers decide it is time to take the leap that we will be on the other side to catch them.

Until then, rest assured that the “curse” is only as powerful as writers chose to believe it is – for as ONCE UPON A TIME has taught us, “true love’s kiss” can break any curse.

Where to find this article:

http://www.thetvaddict.com/2012/04/10/from-castle-to-bones-is-the-moonlighting-curse-still-relevant-today/

Television Composer Kim Planert Talks the Magic of Composing Music for the new series MISSING

Kim Planert (Photo credit: Olivier Staphylas)

As fans of CASTLE can attest, the intro music sets the tone of the show; it is a jaunty, friendly mix that welcomes viewers to each episode.  It’s a fabulous piece composed by Kim Planert’s writing partner Robert Duncan, for which Rob received an Emmy nomination for Best Original Dramatic Score.   Similarly, for the new show MISSING, for which both Kim and Robert co-compose, the music back-dropping each episode unconsciously informs the audience whether a scene is more sinister, dramatic or light-hearted.  Music is frequently the one thing the audience overlooks as they sit back and watch their favorite TV shows; but without it, each show would have a harder time luring viewers into the mood it seeks to create – whether it is to heighten the suspense, draw out a long-awaited romantic moment, or startle the viewer into jumping at the right moment as a big surprise is revealed. Composing music for television is an art form and fortunately in recent years it has gained more recognition and popularity as fans have begun to appreciate how pivotal and influential music is to the shows they love.

In an exclusive interview, composer Kim Planert shared how he got into composing for television and the types of sound that influence him as he brings a scene to life through the magic of music.

How did you come to be a part of the series MISSING?
KIM:  Robert Duncan, who I have been working for on several other TV shows over the last 4 years (The Unit, Castle, Lie To Me, The Gates), asked me to join him writing the score. It’s a fantastic opportunity for me. I started writing for Robert on THE UNIT three weeks after arriving in Los Angeles. That was a jackpot! I learned so much from him over the years. We are very compatible musically.

What intrigued you about MISSING that made you want to be a part of it?
KIM:  MISSING has a lot more emotional depth to it than other TV shows of the same genre. Besides the action scenes it still boils down to a mother (Ashley Judd) looking for her abducted son. The producer Gina Matthews always encouraged us to go all out on the emotions. Prior to MISSING, we had been working with Gina on THE GATES and were familiar with her preferences although that was a quiet different vampire show. Both fun for different reasons!

Do you compose for each scene based on scenes provided to you on script, or do you wait until you see the edited scenes to compose for each of scene?
KIM:  TV productions are very fast paced. Usually we are getting the video when we are just finishing the previous episode. Then we start writing right away. So we don’t know what will happen next until the next video arrives. It keeps it interesting and exciting just as it would be for any other TV viewer.  I have been writing to script on other projects. On a short called “Nest of Spiders”, I had finished the main themes by the time filming started. Some scenes where shot while my music played on set. I was told that everybody felt inspired and even the cameraman paced his moves after the music. I love this kind of creative process. The music received a gold medal at the Park City Film Music Festival in 2008.

Do you have a “go to” type of sound that you use for certain types of scenes, like a specific sound for an action sequence versus a quieter scene with characters just talking to each other?
KIM:  If I would do [it so] that all shows would sound the same; rather than a specific sound for different scenes we develop a soundscape and musical vocabulary for each project. It’s a bit like creating a fashion line. In one, you don’t use any red and the other has a lot of the trendy cuts.

Kim Planert (Photo credit: Olivier Staphylas)

Do you also compose specific themes for each character to create an audio cue to the audience?
KIM:  The MISSING score has little motives.  For example, a mother-theme mostly played on piano and a chase-and-action driving motive in the strings amongst others. I enjoy the process a lot of using relatively simple but effect-full ideas and develop them through the whole season. The engaged listener will definitely be able to spot these.

What is your general approach to composing for television compared to film?
KIM:  My job is the same. As a composer, I am framing a story and supporting actions, characters and emotions. The time you are given to write a TV score is a lot shorter though. You don’t have the luxury of second guessing yourself. In that sense, my hobby skydiving is very helpful training. It puts me in the same frame of mind. Many people call it “flow”. It feels the same in the sky or in my studio when the music flows effortlessly. That’s not always the case of course but my aim every day!  The other difference is pace. On TV, you hardly ever drop-the-ball; the music has to drive the show forward. Film can breathe a little more on it’s own.

Are you currently composing for any other TV shows or films, which ones? And how is composing for those shows different than for MISSING?
KIM:  I have been writing with Robert for CASTLE for the last 4 seasons. The music is very different and includes a lot of comedy. We can also quote on different styles and time periods, which is fun. For example, for a recent episode we did a film noir score with some bebop cues. The following episode was full of modern synth sounds. Changing hats every week keeps it fresh!  There are other projects on the horizon. One of them is a movie set in Bali, which I am looking forward to very much. I will definitely have to do a research visit!

Who and/or what kind of music, artists, composers did you grow up listening to?  Which were the most inspiring to you?
KIM:  I started out as a drummer. I had my first gig one week after getting a kit. One of my first bands was a Van Halen cover band. Very rough and ready! It progressed to playing in a Toto cover band and the college Big Band in which we played a lot of Jimmy Hendrix, strangely enough. During that time I started writing for some of the bands as well. There was also the city youth orchestra. I was introduced to a wide variety of styles during those years.

Who and/or what kind of music and artists do you like to listen to now?
KIM:  I actually don’t listen to a lot of music when I am off. I am writing most days for 10 hours, sometimes more. So I just like it quiet. When I am driving to the drop-zone to go skydiving, I listen to Daft Punk’s “Tron” recently. It’s great for prepping me mentally.

What is your favorite type of music, both for casual listening and to compose? And who are some of your favorite composers?
KIM:  There is no favorite type of music. It just needs to offer something emotionally and exciting. I draw my influences from all over the place. It’s all just great music to me, like Sigur Rós, J. S. Bach, Samuel Barber, Eva Cassidy, Trent Reznor, Craig Armstrong. I got to know Craig in Scotland when I had a small session with him on “The Bone Collector.” That really sparked my interest in film music. His music was always a great inspiration to me. We met through the years again. I always remember when he said to me: “Your limitations help make and create your sound.” That took some of the fear away when I moved to Hollywood to try and get into the industry.  When I write for myself it’s often slow, calm, ambient music. I like slowing the world down because it’s so fast paced.

What, in life, inspires you to write and/or compose music? Do you have a favorite atmosphere to write/compose in?
KIM:  For me, it’s an expression of truth. Those pieces of art or music that speak the emotional truth to me and encapsulate what life is really like fascinate me. There is nothing to be said but: “Yes, that’s it!” Not just by one person but by everybody. For music, the universal language, that is especially true.  The emotional turmoil the characters are in is usually plenty of inspiration. I am stepping totally into their shoes. So it’s tricky sometimes to come back from that zone after a day of writing.  It’s too rare that I write a piece just for myself. My dog died a while ago. On that day I improvised on the piano and recorded it. That improve became a large piece that I recorded with orchestra last year. It helped me getting over the loss of Bruce and giving up my “previous” life in Scotland. I spent 10 years over there with him.  I like the atmosphere I am in now. Last year I moved into a new high rise in North Hollywood that has a studio high up overlooking the city. The windows are huge and let a lot of light in. For too many years I had worked in studios without windows.

Do you usually write/compose a song all at once or over a span of time?
KIM:  Usually I have to do it all at once, but I prefer to look at it again the next day if the schedule allows for that luxury.

What type of scenes do you most like to write/compose for?
KIM:  Scenes for which I have to dig deep emotionally. Where I have to ask myself what that pain or happiness feels like for the characters. It can be scary! When I find the right notes it’s instantly obvious, very powerful and magic.

Is there an artist/person you would like to work with?  Or do you have a dream show or type of show you’d love to compose for?
KIM:   I’d love to do an album with a singer named Lisbeth Scott (The voice of “Avatar,” “Munich”). I have worked with her on pieces for CASTLE. She blows me away every time.  I have been playing with the idea of also writing for a counter tenor. I love these pure voices. Maybe the opportunity presents itself at some point in the future. A dream show or movie would be one that allows me to work with live musicians more. There is so much amazing talent in this town. On current shows we do have soloists joining us on occasion but the schedule is so tight that mostly I have to play it all myself. The one-man band! I also love nature programs. I might even be able to use a major chord in there . Drama can be very dark.

What is it like composing with a partner?  Do you divvy up the responsibilities or do you share in the entire creative process?
KIM:  It’s for sure more fun then doing it on your own! Robert and I know each other blindly by now. So it’s a very easy and fluent collaboration. The cues (pieces of music) are divided up by story lines and how much time we have got available. Then we go into our studios and start writing. We cross-reference a bit, but the tone and themes of the show are set so at the end, a few days later, when we put the over 30 minutes of music together it just fits every time. That still amazes me!

What has been your favorite part of composing for MISSING and what should viewers keep an eye out for  (or rather an ear out for) as they watch and listen to the show?  Any particular scenes that they should anticipate that you are excited about?
KIM:  Maybe the old typewriter we used as a percussion instrument mostly for action scenes. Rob found it in a junkyard. It’s a little processed, but if you listen close, you can still hear what it once was.  My favorite part was the really deep bond the mother has with her son. It was great to “dig deep” for that emotion. Coincidentally, while I was writing most of the music my mother was staying with me on holiday, which was really
nice. I kind of wrote the score for her and played her new music every evening. She really got into the show as well. I would love to tell you about my favorite scenes but I can’t spoil it. Every episode has a treat in it.

Are there any unique challenges to composing, or is it just the best job ever?
KIM:  Of course there is the time pressure, but if it weren’t for that I’d probably not have written 23 hours of music in the last 4 years. I worked many years as a sound engineer supporting other composers’ visions. Now I am sitting in the driver’s seat. It’s pretty magical what happens if you finally do what you all along felt deep inside was “your calling”. It’s obvious how the universe has aligned perfect events to bring me to this point, since I made the decision to only write music and move to the U.S.  I wonder what’s in store next!

Finally, what recommendations can you give to aspiring television composers?
KIM:  Develop your instincts and write, write and write!

To hear more of Kim’s talents and share in his joyous passion in creating the rich music for each episode, be sure to catch new episodes of MISSING on Thursday nights at 8:00 p.m. on ABC, and CASTLE on Monday nights at 10:00 p.m. on ABC.

Where to find this article:

 

http://www.thetvaddict.com/2012/03/22/television-composer-kim-planert-talks-the-magic-of-composing-music-for-missing/.

Photo credit: Nikalas Daniel