gateworld.net January 2007

A Kaleidoscope of McKay

by David Read for Gateworld.net

For GateWorld.net, I am David Read, and I am on the telephone with Mr. David Hewlett who is trying to get through Christmas as best he can. How you doing, David?
The Davids are surviving, it seems!

Yes, we are getting there! [Laughter]
I keep being asked, "Just say something for the fans for Christmas," and it usually goes something like "Bah, Humbug." And I just leave it at that. Here's a dime, go buy a turkey.

Production on Season Three has wrapped earlier this year. What are your thoughts looking back?
It was a killer McKay season! Season Three was, not season of the witch, it was season of McKay. He just seemed to be everywhere, doing everything, all the time. The scheduling was very funny. You tend to sort of look ahead and try to plan some kind of a life, which I should know by now to give up on, and just get a sense of what days you were going to be working, what days you were going to be working hard. And there [were] a couple of episodes where I was scheduled for eight days out of a six day shoot.

You're kidding.
They're already two days into the next episode and I'm still shooting second unit stuff for the episode before. That said, there were definitely some of the most fun I've ever had doing, doing episodes in the past. I've done everything from super powers to splitting into double personalities to sisters. We did everything in Season Three.

[A] kaleidoscope of McKay.
Exactly. I'm a little concerned that maybe next year McKay might be at home doing nothing. They've pretty well covered me. I don't know what else they could possibly do to me. I'm waiting to become a Replicator, and then I'm really screwed. [Laughter]

What do you feel were some of your most powerful performances this year, and what would you have liked to make better if given more time?
Wow. [My] most powerful performance is probably just trying to be polite in the morning when I'm still not awake. That's when the best acting happens. Trying to care what happened to people the night before when it's six o'clock in the morning and they want you in makeup and hair. I think without a doubt, the most challenging episode for me in that was "McKay and Mrs. Miller"

The first time you did split screen.

The split screen thing. And the computer-controlled camera stuff is unbelievably technical. I've always considered myself a fairly technical actor. I've been doing it long enough I get a sense of roughly how to hit your mark and all that kind of stuff. People will tell you otherwise, I'm sure. In my books the technical side of it, to me, is one of the things I pride myself on. That will throw you for a loop so quickly. You literally go into robot mode. You have to hit the right marks at the right time, say the right lines at the right timing. They play back the lines that you've just said to yourself, so you have to get your timing right.

So the first day I went up to Martin Wood and I was like "You've got to stop this!" And then once I got a sense of it, because I've never done that before -- once I got the sense of it I kind of started enjoying it. Because you think "Well, who else? The opportunity of working with David Hewlett comes along so rarely." I get to play opposite myself, so I can't really complain about it.

And maybe somewhere in there you'll get to act a little bit instead of just hitting marks.
Exactly. Well that's what's funny! At some point you go "Oh, my God. This is supposed to sound like I mean it, too!" You're talking to a tennis ball with a little -- the crew was nice enough to put a little smiley face on. And you've got your little sister there looking at you, because it's her first experience on Stargate. And she met with the grumpiest McKay you could ever come across. [Laughter] And she was sweet. She came up to me and said "I can't believe you can do that!" I was, like, "Shut up and go away!"

Jane may have told you about my film that I did for my final.
Yeah, now I'm curious about this. What's the deal on that?
 

It took months of planning. We sat down, and one of the scenes we were going to do is split screen. But I don't have any computer-controlled cameras, so any time we did a split screen we had to lock the camera down, and it was one of the most difficult things that I have ever attempted.
Well that's the classic way of doing it, right? That's the old-school way. And it can be incredibly effective! And we use some of that in the show as well. It is very difficult.

As long as you keep a distraction going.
Well, and eye lines. The biggest thing is eye lines. Because that's the killer. If you're off just even a tiny bit, you're like "Who's he talking to?" Sometimes it's not even a noticeable "Oh, they're not looking at him." It's just that sense of where they are. The hardest thing for me, when you're acting one of the roles, is remembering in time where the other character is. Martin Wood, he's such a bastard. He's always moving the camera. And it's like he went out of his way to move it more during this one. There's lots of camera trickery things where it can't be two people. Oh yes it is! That kind of stuff.

I discovered myself, we were doing some long shots, and I decided to take advantage of depth of field. But something like "McKay and Mrs. Miller," far more sophisticated, actually have a budget. It was much better than anything we could've done!
You know what? It's so much fun, though. When we can do everything digitally -- there's still something about optical effects. There's something slightly more real to use optical effects. The digital stuff is fantastic, brilliant, and when used sparingly, perfect. But there's something about being forced to --Sam Raimi said this. He had just done "Darkman." He had just done all his "Evil Dead" movies. "Evil Dead," they were made for nothing. "Darkman" was his big-budget film. All those years doing "Evil Dead" movies, it's like "You need to get someone to fly." You're like, "OK, where can we put ropes? Or we don't have ropes." So he just sort of "Holds himself here." All these ways of working around himself. In "Darkman," he needs to fly, and he's like "Great, go build a flying machine."

Millions of dollars later they come back and they've got something that may or may not work. It becomes a logic puzzle when you have no money. And I truly believe that it leads to better filmmaking. There's an honesty to that kind of stuff. Even if, technically, your stuff doesn't pull off as well as computer-controlled cameras and all that nonsense, the reality is if the intention is there and there's an honesty to it, I think that people will forgive.

And the simplest explanation usually equals the better one.
Yeah, exactly.

If you try to go fancy, it may not work.
And you know what? Mistakes are the most beautiful thing on film. The biggest thing I learned in making "Dog's Breakfast" was those little fortuitous accidents are the things that, all of a sudden, just make a scene, make a shot. You're screwed for time and you're like "How the hell are we going to shoot?" Well, you've seen the film. "How the hell are we going to shoot a scene where we have three scenes to shoot and we have an hour to do it?" All the sudden it becomes one scene and we've shot inside and outside, and then you've shot three scenes.

Yeah but in that timing issue where things are tight, it's amazing how something will come out to make that sequence so much more real than had ever been put on script.
Right. Well I think the biggest thing -- I've worked with many different types of directors, and went into this thinking "Oh, my God, I'm just assuming I can do this. I have no idea if I can or not." The biggest thing for me just was "You know what, when things go wrong, you solve them." That's it. You can't possibly hope to have plans for every possible outcome. You just have to laugh and go "Okay, what do we do instead?"

You're right. Back to "McKay and Mrs. Miller." When we met you on set you mentioned concern about playing a cool McKay. Was it indeed difficult to play "hip" for once instead of the geek? By your own admission you are more comfortable with McKay as he currently stands.
Oh God, yeah. I always get nervous. Any time I have to play suave I'm far more nervous about that than nerdy, because for years and years and years I played cool. When I was a kid growing up, acting from ages like 18, anything you see from me play from 18 to 26, I played the cool but slimy drug dealer, or the bully at school. Which was ridiculous. I was pencil thin in the most un-terrorizing-looking individual. And the best realization I had as an actor was suddenly going "Wait a second, I can drive around on motorcycles. I can wear leather boots and all that kind of stuff."

But the reality is I'm just not cool. I'm just not a cool person. And getting rid of that was the coolest experience for me, because all of a sudden you are who you are. If you walk into a room and you trip and fall or you spill a drink down your front you can either get angry and fight it or you can just go 'That's me."

Make it a part of the character.
That's it. The Rod character, I actually originally wanted to go even cooler with him. The Martins [Wood and Gero] were concerned about it being too forced, I think. But I wanted to go full on, Flanigan meets Jason Momoa. A deeper voice and all that kind of stuff. The weird thing is [though] he is a cooler version of McKay, he's still not the Fonz.

Yeah, he's still a McKay!
He's less a cooler version of McKay than he is just a nicer version of McKay. Or a secure version of McKay, maybe. Whereas McKay has all these insecurities, in a strange way Rod is like me discovering that it's okay to be not cool. Whereas McKay is still frantically trying to be cool in his own way without realizing what a complete nerd and idiot he's making himself on many occasions.

We talked with Kate, as you know.
Well don't believe a word she says. [Laughter] The woman's a liar. I'm not even convinced she's related. Apparently we have "Hewlettisms." That's what Gero called them. We have certain Hewlettisms, which means we'll be doomed to play brother and sister for the rest of our days.

How was it working with Kate on Stargate? I mean, you'd already worked with her in "A Dog's Breakfast."
It was such a treat because having done ... "A Dog's Breakfast," part of the reason -- other than just the fact that Kate's a very good actress -- part of the reason for putting her in "Dog's Breakfast" was I really wanted to give her an opportunity to have something to do that the Stargate people might end up seeing. I thought it's not going to hurt that she's got a feature film or two under her belt by the time she came in to start auditioning. I just assumed, at some point, she'd be able to audition for Stargate. Hopefully. Doesn't need to make it sound conniving, but it just seemed smart.

And frankly, like her brother, she's very cheap. We got her on the "Dog" pretty quick without having to pay her that much. But the problem with "A Dog's Breakfast" was I was obviously rather preoccupied, because I had to direct and we were still working on the script, and of course the acting side of stuff as well. And wrangling the dog, and just the general things that go along with making the film. Obviously [producer] Jane looked after anything I didn't get to. Although she pretty-well handled everything, come to think of it.

Jane Loughman: Not the directing!

DH: Not the directing or the acting! So in the scenes where I didn't have too much of the Rod McKay stuff going on, it was just really nice to act with Kate. For example, my favorite scene with Kate was Flanigan, Kate and myself at the very end there. And it was just one of those scenes where I think it was near the end of the shoot, actually. I don't think there was much more Rod stuff to do.

Right, Martin [Wood] saved that. That whole scene with "Letters from Pegasus."
Yeah. He saved that till the end? Was that on purpose?

Yes, he did.

Oh, good for him. It worked out nicely because there was a sense of relief. I was like "Oh, thank God." Well, you saw it. Pages and pages. I do all the talking half the time anyways. I was now doing the other half as well. So it was just such a relief to go in and get to act with Kate, and of course tease her mercilessly. The first time she did the scene she totally broke down. I was like, "Oh, my God, she's good!"

Right, she'd never seen that before. The clip.
Well she'd never seen the clip before, and she's an emotional wreck anyway. And as she said, she probably said this to you -- she said it to me and I thought it was kind of cute -- she said "I just got caught up in the whole thing. Here we are working together on a TV show, which is kind of a nice thing." Of course Kate -- I know she told you -- the first take she did she started crying. She got embarrassed and dropped out of frame.

Yes!
They're like, "And cut." And I'm like, "Yep! Good instincts there, Kate! You do this brilliant piece of acting and then you disappear out of the shot for it."

It's a tricky balance, one of the things I always wonder about, when you do something that's unexpected on a take, if you can hold it together they may be able to save it and that may be the best one there is. But you have to keep all your ducks in a row!
You walk a fine line. If things are going really badly I will goof around. It's very easy to build up a lot of tension on set. The set itself can get very tense. I think, in a strange way, one of the actors' job is, I think, to keep things moving and to keep things light. Obviously when they need to be dark they need to be dark, but I think there is a responsibility as an actor -- you can come onto set as an actor and you can either exude tension or you can come in and relax. There are some actors who will walk on set and you can feel the crew getting a little tense about stuff.

Yeah, "What's this guy got up his butt?" Yeah.
And what to do and what to say. And then other people will come in and there's this great sense of warmth, and people are happy to be there. Mitch Pileggi is a perfect example. The guy comes on set. He plays the biggest ***holes on the planet. On set it's just this fantastic personality to have around. Actually I would say all of our cast. You get the odd guest star now and again that's terrifying. The cast themselves are really pretty good about keeping things nice and light. I probably get more chances than everyone.

Well I think it's just a shining example that RDA's model holds true to its form. It's something that's continued.
RDA is very good at that. Yeah, it's true. And you know what? I think you do yourself a disservice to come in too uptight, too. Well, "uptight" -- I can't get rid of that. The camera picks up everything. The camera picks up stuff that you don't see in person. And I think there's a looseness that you need to forget that the camera's there, that really helps a performance. If you get the sense that people are playing to camera or hamming it up for the camera, or even just aware of it, it can ruin a scene. The more relaxed you can be in front of the camera, and thus around the camera, the better I think.

Let's move on to a fan question here from "TheXym." I think I pronounced that right. "The X-Y-M."
What is it? How is it spelled?

T-H-E-X-Y-M.
Nice.

"What particular scene interaction has been the most personally and professionally satisfying for David Hewlett the actor. Or which scene do you feel gives the most insight into the workings of David Hewlett the person?" ... Ouch.
Boy, they're not holding any punches there, eh? I think McKay-wise ... There's two big ones. Obviously the first one we were just talking about. The one with Kate and Joe and myself at the end of "McKay and Mrs. Miller." Just because it's a side of McKay you haven't seen before. There's two episodes that do that, I think, in Season Three.

"Tao of Rodney"
The "Tao of Rodney," yeah exactly. "The [dow] of Rodney." I've got to start saying that right. It is "dow," isn't it? The whole point of that script was to break down the McKay character and see how he ticks.

Wasn't that refreshing? That was something I was waiting for.
It was great! It was fantastic. And it's unfortunate -- because it was running long there was a scene with Paul McGillion that we didn't end up shooting. Which I was really disappointed we didn't do. I was like, "Just shoot it anyways. We'll put it on the DVDs or something."
 

Exactly.
Because I really get to connect with all of the characters in a way that McKay's never done before. I thought the stuff with Joe -- and again it proves how funny Joe can be. Joe is the best straight man you can have on something like this. He just sits there and just keeps that completely nonplussed face as you ramble and rant and babble. Again it's that RDA thing. Just being able to knock in those lines. So that stuff was great to do. The stuff with Torri, I thought, was really interesting. You've got Weir and McKay on this whole other level that they've never really dealt with before. You know what I mean? He starts hinting at this love thing going on. What is that? It's just kind of neat. So that was definitely, without a doubt that is the most you're ever going to find out about McKay.

I think you hit it on the head there. One of the things I think is interesting with that episode is the focus on utilizing McKay, not as he currently is, but going out of his way to utilize the character in ways that he is uncomfortable with. Spirituality. Friendship.
The nature of drama is tension. Conflict, right? You don't want people in comfortable situations. Another one that I absolutely love is the one with Ronon. The scene with Ronon. To me that's beautiful sci-fi to me.

We needed that.
You do! Poor old Jason, when he gets an episode it's more about his history than it is about himself. If that makes sense. And the reality is the guy studies films. He watches films all the time. Old classics. Looks at actors. Looks at acting. It's nice to do scenes with him where he's not having to shoot and be cool.

And we were expecting that scene ever since "Sateda" with the scene with you and Paul, where Beckett asks you, "Have you even talked to the man? Have you even sat down with him?
Buddies. It's the "cool by association" thing for McKay. But most like Hewlett? I think the most like Hewlett I'd probably have to go back to "Grace Under Pressure." The neat stuff about "Grace Under Pressure" to me was actually being able to act like a human, not like a hero. Again, you put me in that situation, and I would not be able to solve the things that McKay can solve, but my reactions to those things would be very similar to that. The combination of complaining and feeling sorry for yourself and then having to "Buck up, little soldier. We've got to fix this."

And that's a real compliment to Martin Gero.

It is. Well it's so funny, because Gero's not really a science fiction writer. He's on a science fiction show writing science fiction, yes, but his strength and his interest is in characters.

Look at what he's writing right now!
Well look at that movie. Exactly. And that is only about the characters. And the characters without clothes on. Or more so. Sci fi, like anything else, is all about the characters. Firefly. Firefly, yeah, it's a science fiction show, but I almost forget that compared to the characters you're dealing with. So there you go. I think I covered -- what was your name again?

"TheXym." I'm just calling him "TheXym."
Xym! Alright.

User "teknikal," otherwise known as Tina. "If they were making a movie based on your life, and you could have any actor in the world, apart from yourself playing the part of you, who would it be and why?"
Who would play me and why? Like a contemporary, you think? Who would I love to see play me? I tell you who I would love to see play me. What's his name? Lukas Haas. Lukas Haas. The kid from "Witness." He's grown up now, and he's done -- I just keep seeing him in things. These interesting things that he does. Most recently I saw a film called "Brick." Have you seen that?

I have not.
As a filmmaker, you should see that. He's a young -- I don't know how young he is, the guy who made it. Just an interesting film. It's a film noir set in a high school. I think it's brilliant. Absolutely brilliant. But Lukas Haas plays this drug dealer who lives in his mother's basement. Does business out of his mother's basement. He's so nerdy-cool. The guy is threatening to kill a guy across the kitchen table from him, and his mom comes in and starts serving them, asking them if they want coffee or tea or orange juice, cereal. I don't know. He's one of my favorite young actors right now. Whether he's right to play me -- he's how I feel, if that makes sense. When I see him I feel, inside, that's what I feel like.

That' probably coming from the truest place, then. He may not have to look like you, but whatever you guys do comes out, it's coming from the same place.
And for everyone else's sake, Jane says it would be Daniel Craig.

OK! [Laughter]
I wish I thought of that before Lukas Haas, but yeah.

Paul -- his role has been moved from regular to recurring in Season Four. What are your thoughts on this, and how does this make you feel?

This is one of those weird things where, honestly, it's in such limbo right now, I don't know what I can and can't say. I loved having Paul around every day. Forget Beckett for a bit. Just McGillion himself. He loved the show. He loves the people. He is one of those people who walks on set and the crew just loves him. The crew's going to miss him more than we will, because McGillion and I have had a lot of scenes together, but I loved the fact that there was this, as him being a part of the cohesive team, if that makes sense. Last season it's been less of that and more about us having a scene here and a scene there. It's kind of fun just having him around. From a purely selfish level.

Well I was there on set and was like "This is as it should be. This guy here, with the group." We sat down and talked with him in his trailer. It was like, "He perfectly belongs." And now what the hell happened? I'm sure that will be revealed. But this is not a good decision.
I said this before. One of the things about a television show is that it mimics life in many ways. When we joined the Stargate franchise, for want of a better word -- the franchise universe -- we got a social scene. We had friends. It's like an instant life. You have friends, then eventually you end up meeting the fans. It becomes this giant sci fi party. But along with a series comes these unexpected things. Like life, you don't know when things are gong to change and when things are going to stop, when people are going to die. When people are going to move on or go somewhere else. The thing about sci fi, and I stress this over and over again, [is] no one dies in sci fi. There's always a way to bring people back. We've seen that numerous times on Stargate already. I hold out a lot of hope on that front.

But still, you have relationships that have actually been made, that are subject to the storyline, and being hurt and being damaged as a result. Not that anything happened between you guys, but you are subject to the story. In terms of your relationships.
We are subject to the stories in the same way that us as people are subject to life. The decisions that get made upstairs, I think, come from a lot of different places. Part of good television is keeping people guessing. To do that you can't keep the status quo all the time. It's got to change. Things have to change. Personally, I think it's unfortunate. I don't think it's the last we'll be seeing of Paul. I'm sure of that. But I'm also not the guys making the decisions. But again, on the other side of stuff you don't want to get to a point where you know what's going to happen. If people don't die then there's no peril.

Or a risk of death, at the very least.
Exactly. You're right.

What from this show did you take away with you as being the source of the most growth for this character?
I think him meeting himself in another universe will probably lead to the biggest changes in McKay. More important than seeing himself, from the outside, he saw someone who he could be with the people who are important to him. The most telling stuff in "McKay and Mrs. Miller," I think, is McKay seeing what he cold be to his sister and what he could be to Sheppard, to Teyla, all those guys. That's the stuff that's going to have, I think, the most resounding impact on McKay. I think it's going to make him a nicer person. I think he's going to have yet more stuff to feel guilty about afterwards.
 

Well we already see that growth later on in the year. He's just a little bit more open, a little bit more willing. A little bit softer, a little bit more tender around the edges. Not much! [Laughter]

And at the same time, it's a habit that dies hard. It'll slam shut when it needs to. Again, it's like anything. You can't remove that tension entirely. If we all got along then it's going to be the dullest show in the world. I think the fun comes from the difference of opinions and the difference of approaches. I'm very-much looking forward to seeing what's going to happen to that dynamic. And with Amanda [Tapping] and Jewel [Staite] and Micahel Beach and all that kind of stuff. We've got new characters in the mix as well. I'm dying to see how that stuff's going to play. Obviously Amanda being the big one for me just because Samantha and McKay have such a great past.

Right. From a writer's standpoint that will probably be where they will be most interested to go straight to as of Season Four. Let's continue on, on that front. What are your hopes for next season?
Well definitely I'm dying to see the power struggle with Samantha and McKay. That's going to be very interesting, because they do play very similar roles.

Yeah, not only from a casting standpoint will that be interesting, but also from their own perspectives as scientists. This should be a conflict.
Oh, completely. I mean, given the choice of who you want to work with, you going to work with McKay or you going to work with Samantha?

I'm not going to answer that question.
Very wise. This interview is over! [Laughter] But I'm with you! The thing about Samantha is she's been doing this for a long time. She knows her stuff. She's got all the smarts and she's actually nice about it. Why the hell would you want to work with McKay? What would I hope to see? I hope to see that insecurity in McKay, because he's not an idiot. You know what I mean? And again, who knows how she's -- I don't know how she's going to be a part of next season. We, like you guys, are pretty well left in the dark ... Hey, forget this "left in the dark!" You know more than I do, judging by reading GateWorld this morning! I didn't know there's a third series! What the hell's that? Who told you that? Don't disclose your sources. I was like, "I'm doing an interview with a guy who knows more about the show than I do! The future of the show." You tell me what's in store for McKay, mister!

Well -- you know, we're just going to find out.
I heard rumors about it. You hear stuff like that all the time. I never know what's legit and what's not. I'd be very curious to see what they do with that. There's so many opportunities for where to go with this kind of story. I look forward to it.

What do you think is Atlantis's greatest strength, and what is the show's greatest weakness, in all honesty?
Interesting. I would say the greatest strength, without a doubt, is the humor. A fantastic sense of humor -- there you go -- I've got an interesting answer for you. I would say the humor is both its strength and its weakness. I am not a huge fan of very serious sci fi. I think there is definitely room for it. I think there is room for the "Blade Runners" in the world. I'm hooked on Battlestar now. That's not a happy show.

And again, I love it, but I need some levity. I don't believe that people are only serious with each other all the time. I need something that lightens it up, that makes it my life. In my life, Jane and I laugh all the time. And so I identify more with that. And I think Stargate -- not even Stargate Atlantis. Stargate in general has always been very, very good at looking at itself and laughing at itself, and laughing with itself. It's just very good at pointing out the ludicrousness of these situations that they're in.

Well in addition to that it's built very much like "Indiana Jones." You have this tension, you have this adventure, but sometimes you're just laughing like crazy. The way that it's designed lends to that. But in the same respect as that, you don't want to have "Three Stooges."
Exactly. So that's why I would say that it's both its strength and its weakness. I think there's always the danger of going too far into comedy that you loose track of the peril that you need to keep the conflict going. If Sheppard and I only have goofy banter then it's like you might as well just play the silly music every time we show up. [We're going to] have one of those conversations. And I think there's always that danger that that could happen. It got to a point where every time we walked through a field we'd have some inane conversation about something. Which I think was a lot of fun, as a flavor within the show. Had they continued with that I think it could've gotten very tiring very quickly.

But they were smart enough to have me blow up a solar system and lose his trust, and all of the sudden that adds a whole different dimension to the relationship. Which is a serious thing. It's not funny. There were funny elements about going up and apologizing to him about destroying a solar system, but the nature of it was there was a loss at the end of that show. Not just obviously an entire solar system, but of a trust and a friendship that's been jeopardized there. They're very, very good at doing it. I'm curious to see. We've got Joe and Paul taking the reigns next year, and they're really eager to get in there. I love how outspoken and opinionated Joe is about all this stuff. He loves it. I'm curious to see how those two make their mark on the show.

"A Dog's Breakfast." We have a question from "Willow'sCat." Was it harder than you thought it would be to direct yourself, and why?
No. You know what's funny? I had less difficulty directing myself than I did acting. Because all of a sudden I forgot that I had to act in the film, which sounds silly, but you get so swept up in the stuff that you don't know. I did so much research about directing. Grabbing films to see and books and everything I could possibly find. I'm a big "manual" fan on that kind of stuff. If I want to do something I want to know everything about it before I get involved. So I spent a lot of time focusing on that. Then I got on set and suddenly went "Oh, God, I have lines!"

I knew what I wanted the character to do. The hardest thing I found was as the character, going "Oh, right!" I felt like I was letting the director side of me down because I found myself incapable of doing some of the things that I wanted to do, that I knew that as a director I wanted me to do. I got them, eventually, but there were things that I was, like, "Nope, that's not what I wanted." The best discovery I made about he directing was directing is less about telling people what you want than letting them interpret what you want. There's definitely a kind of instinct to start telling people "No, this needs to be this color with that and all of these kinds of very specific things." The reality is you've got a huge group of people working with you, and that's the difference. Working with you as opposed to working for you. If you try to micromanage everything -- hey, I'm just not that good. I'm sure there are people who can do that and who do very well by that. [Robert] Cooper is a perfect example of that.

But I prefer, and again I'm usually pleasantly surprised -- or hideously disappointed -- with what people bring to the table themselves. You know what I mean? You and I don't design wardrobe. That's not what we've done for periods of time. If you can get someone to come in who is going to do that, that is their only focus. If you can listen to what they have in mind it's often quite surprising. If I told them exactly what I wanted Kate to wear then it would not have looked half as good as what they came up with for me. Because I never would have known to pick half the stuff that they picked. And of course you let Jane actually decide at the end.

Are you pleased with how the film has been received, and the screening that you attended at Burbank?

I just couldn't believe it. I didn't want to do the screening because I just didn't think we'd have time to get enough people there, and let people know about it, and do it properly, and all that kind of jazz. That screening's a testament to Jane. She was the force behind that. It's so funny because it's already a million times better than what I ever thought it was going to be. Originally it was going to be just a little handycam. We were literally going to shoot it with a prosumer camera, and shoot it on weekends.

Again, it was going to be an experiment to see what it's like directing, and we ended up making a real film. I'm thrilled with it. The most important thing for me, again, is I wanted to make a film that as a family you can sit down and laugh with. I didn't want to make something that was going to alienate. I love horror films. I love sci fi. I love all those things. But I know they can be rather marginalized in their audiences. I wanted a film that my dad would laugh at, effectively. I thought it was very cute, and quite telling, that you got your father to look at the film.
 

 Yes. He won't laugh at anything!
Well that's my dad! I read that review and I was thrilled, because that's exactly it for me. I wanted one of those old Pink Panther movies, or one of those silly, "Airplane!" comedies that my dad would laugh at, because there's not swearing or violence or explicit sex or any of that kind of stuff, but it's all hinted at.

Right. Well, one of the things that I was sitting there and did not expect, and I may have mentioned it, was the suspense. I was not expecting to start getting goose bumps while sitting there. I was, "Ooh, okay!"
The music was very helpful in that. I think Tim [Williams] did a fantastic job with the music. And that really sells a lot of those creepy moments. But again, the comedy comes out of a release of tension. You need those moments of tension, I think, to get to the laughter. And the laughter is just so much bigger when there's an element that things could go horribly wrong first.

People laugh out of relief that there isn't a mangled body outside. The funny thing, and I'm sure you'll probably find the same thing, you go through so many stages with the directing. You hate it, you love it, you hate it, you love it. The only thing that I need to work on for that film, if I can, I'd like to play with the sound mix a bit more. In hindsight I would play with the sound mix a bit more. We did that in a very short period of time. We did, like, a TV mix for a feature film. I'd love to do it proper. The levels and such make all the difference.

And the other one -- I love the music so much, I wish there was more music. In fact, Tim and I have been talking and we're even thinking about trying to get a little more music in there. Again, I think Tim is very smart about where he picked to use music and where he picked to use silence and sound effects. I had a very specific idea for the soundscape. I love sound in films. I think it's, in a strange way, more important than images in a lot of ways. Especially with comedy.

There's a classic Pink Panther moment with Peter Sellers. It's a wide shot, and he gets sent into the bathroom to get a glass of water and an aspirin for his wife. You don't see any of it. You just see him leave from the right hand side of the screen and he walks off the left hand side of the screen. You hear the water and then you hear the pills all hit the floor. And you don't have to see it. You know what's happened. You can see his face without hearing anything other than a million pills hitting the floor, and the crunching sound as he obviously has left them and just decided to not clean them up. He walked over them to get back into the room again. And in order to do that you need a lot of time to play with the various different levels. A little too loud, a little too soft, and you just don't get the same kind of comedy out of it.

Last fan question.
Yes.
 

 "Cat the Alien," this is her question, and she is the winner of a Stargate mouse pad!
Nice!

The Atlantis cast are a very diverse bunch, which is uncommon in major American shows. What sort of elements, if any, would you say that this adds to the experience of working with the Atlantis set? The diversity.
Well the smart thing about it is it's built into the plot. We're supposed to be a diverse bunch of people. The nature of our mission is it's an Earth mission. It's not an American mission or a British mission. We are representatives of the entire world. So that's why we have Canadians and Americans. I think we pretty-well cover -- most of the world is covered now.

Pretty-much every free nation. You're right.
And that's the point. That's smart television. It's not done for political correctness or for cultural flavor in the show. It's built into the plot of the show. The countries of the world have got together and gone on a mission to a new galaxy. Look, you've got Paul McGillion. David Nykl. If those guys were all just Americans it's a very different feel to the show. There's so much room for misunderstanding if you all come from different backgrounds. Different race, religions. Actually that's an interesting thing to explore in the future.

Yeah. It's one of the things I hope they use more.
Yeah. Because it definitely is neat. Stargate SG-1's been very good about building up the whole religious-like culture around the Stargate. That whole angle on things. They're always big on their god-like figures.

That was built in from the beginning.
Exactly, yeah. What was the name of the movie? Something "of the Gods?"

"Children of the Gods." The pilot, yeah.

It's an interesting question. There's a tendency with television today is to go "Okay, we've go to have a black actor, an Asian actor, and we just cover all our bases and we know we've got fans from all over the world." It's just so hokey. The industry tends to ghettoize actors anyways just by looks alone when you get into racial issues as well. The nice thing about Atlantis is it covers the whole gamut and it also opens up plot points because there's so much stuff to explore. Not just about the characters, but where they came from and what they believe in.

What has Meredith taught you about yourself? [Laughter]
Be very careful what your name is -- [that's what he's] taught me about myself. I think the thing I've learned from McKay is it's not about being right. It's not just about being right. There's so much more to life than just getting the answers right. It's getting there as well. I think that's the big thing I've got from him. I always wanted to be the guy who was the first person to finish a crossword puzzle. The first person to figure out the tip on the restaurant bill. All that kind of stuff. It's good to know your stuff but it's not necessarily the most important thing.
 

It's one of the things I think I'm seeing the character develop too -- there's more to life than academics.
Exactly! Indeed! Yeah, that's the whole thing. You learn something in a book. We're doing renovations right now. It all looks easy in a book. As soon as you get into actually sitting down and doing it changes it all entirely. That would be what I've learned.


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