Joel Keller starts us off:
Here's a Friday Question for you, Ken, something that has had me curious for almost 40 years (I saw these episodes in reruns):
Did Mike Farrell grow a mustache on his own between seasons 6 and 7 or did you and David ask him to do it? It seems to have come with a change in BJ's character, where the clean-cut guy from Mill Valley is showing cracks in the armor due to all the horrors he's seen since he came to Korea. So it could have been part of a purposeful shift in his character.
Or he grew the 'stache over the break, didn't want to shave it, and you and the staff found an opportunity there. The irony is that Mike was stuck with the lip hair until the end of the series, even though it got fainter and shorter as time went on.
He was requested to grow the ‘stache to give him a different look. We had read in research that lots of folks in MASH units grew mustaches and beards out of boredom. And you're right, since Mike was so clean-cut, we all thought it might be fun. And he could cut it at any time.
But like I said, it was just a request. Mike could have said no and the issue would have been dropped. As always, Mike was a good sport. And it looked good on him.
From Steve:
Is there a point in a series where lead actors/actresses are expected to take control of their characters? (For example, whether their character would say—or react to—something as written in the script.) Is it a source of frustration when they start exerting that control? Conversely, are there situations where showrunners / writing staff feel the need to encourage feedback from an actor to ensure they are capturing the essence of the character properly?
Steven Bochco used to say, “The first year the actors work for you, the second year you work together, and the third year you work for them.”
The actual answer is it depends on the actor and the character. I’ve mostly been very lucky in that I’ve worked in collaborative environments. The actors’ input is invaluable. They’re the ones playing the character, they generally gave way more thought to them. Good actors can bring things to the characters and their lines that you never thought of. On the other hand, characters are the vision of the writer.
But with mutual respect you can usually come up with a script that incorporates the best of both camps. Again, I’ve been verrrry lucky. There are a lot of contentious actor-writer situations. I've been in very few.
Brian asks:
Have you ever written or thought about writing a play for radio?
No. Very few radio plays are performed in front of an audience and since I write comedies, I prefer to hear the laughter. I have featured some of my plays on my podcast, and a number of my short plays could easily be adapted to radio (they’re very dialogue heavy), but I’ve never set out to write a “radio” play.
I wish there were more done here (with an audience). This still seems to be a viable in the UK. And of course, longtime readers know I love all forms of radio.
And finally, from jcs:
I recently watched a blooper reel from "THAT '70S SHOW". Ashton Kutcher was shown having several small onstage accidents. Kutcher - to his credit - ignored the pain, stayed in character and played right through them.
Did you ever a witness an unforseen event onstage that resulted in a decent take which was later aired?
When I was directing LATELINE, starring Al Franken we had a scene we shot in Griffith Park where Al and Robert Foxworth ride horses. It was one shot, they each had a couple of lines.
Robert had been in Westerns and was very adept at riding. Al, to be charitable, was not.
We rehearsed the scene a couple of times then shot it.
On the first take, just after he got out of camera range, Foxworth screamed. His back went out on him. We had to have paramedics physically lift him off the horse onto a gurney.
Fortunately we got the shot because there was no way we’d ever get a retake.
What’s your Friday Question?
from By Ken Levine
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