Otherwise, the attraction as an actor to play something different is always there. But I just hope we honored the book and the material and did it right. Do you think Lucas Davenport and Gibbs would actually get along? But I think most of it would have to be involved in the work part. Since you played many cop roles over the years, in what ways did Lucas Davenport give you something new as a character?
I mean just physically, I think Sandford does such a great job of setting that up. And I have the advantage of knowing his background, having read all the books.
But where we pick up this story is ten novels in. And then the other personal side of that is almost the personal path he goes on his own to try to solve these things, to try to push through these cases. And we tried to put that together and cast that accordingly, that these will be characters that should we do more than just one will continue on. Actors are attracted to characters they want to play, and that was true to me with Davenport. Whether I pulled it off or not is going to be up to you when you see it.
MARK: Well, it just was in a room with five or six people sitting there talking about the whole series of books and talking about where do you start. Certainly some of the earlier books have Davenport as a blue shirt, and it would also drive him younger. It was interesting because in this book Davenport is really surrounded by strong women, both heroines and villains, and it really is a case where the spotlight is dominated by these strong female characters.
As the star and executive producer, how you felt about that. Did you find it risky or did you think that was part of the appealing quality of this book? But I think more than that — I mean this provided certain problems for a screenplay just because the first quarter of this book is setting up the two gals and setting them up well. This was so glaringly, the place to start in the room.
People looked at this, looked at the two female lead characters and said for a lot of reasons this is the place we want to start. And should this get a chance to do another then hopefully you get the opportunity to follow Clara and not in a linear fashion like Sandford did because that was four novels later. And we tried very hard to honor the material and honor the author in doing this. And so I hope we pulled that off. And someone like you will be the biggest judge because you know it as well as you do.
MARK: Adversarial. And casting those people and finding the right people to play those people was part of that. But in a day and an age when those kind of roles are rare this project had two of them — and one of them will continue. One of them continues into other books.
So I think the setup for this is the bookend novel to this — John Sandford actually wrote four novels distant from where we would go if we had the opportunity to do a second one, but this is a continuing story. And many of these characters will continue from book to book. It seemed interesting how hands-off John Sandford was about this. Would you have liked him to have been a part of the project? Everybody has a different interpretation. But listen. I hope we from the beginning we went in trying to honor the material.
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Show all 19 episodes. Robert Caldwell - St. AVC: To hear you describe it, it sounds like you were kind of flying by the seat of your pants. MH : Well, listen, a lot of this business is flying by the seat of your pants. Right at that time. And it was an interesting time to be there. I think I did three or four episodes, but I was there for three or four months. And such a great honor and treat to work opposite Allison [Janney]. They had approached me a year before to play a reporter in an episode, and then that role got canceled for whatever reason, but then a year later the Simon Donovan thing came up.
But I was there every day. I survived, and I had the great fortune to follow Michael Caine around every day, along with Karl Malden. I learned a lot from those guys. That was an important stay. There was a lot to learn. I was excited to get that role. That was the very first movie I ever did. It was a chance to work opposite Jimmy [Caan] as well, and it gave me the great gift to work with Alan Pakula.
He was special. I learned a lot on every one of those films. It was a lot to take in. That was two days down in Winslow, Arizona, but it was worthwhile for a lot of very different reasons. AVC: Did you get the impression that it was a knowing wink to one of your previous roles to have you playing a killer? MH : I think it was intended as a wink. Maybe more so when I got down there than I thought before going.
I just adjust. Otherwise that role goes to somebody else. But I was really excited to work with Marvin Chomsky when I got that role. That was definitely a departure for me. MH : I get that. Reading the books and stuff, that car was described as, like, six different colors. It was described as blue, yellow, white… and the art directors on the show were trying to find out what the real color of the car was. And if you parked that tan underneath a streetlight at night, that car looked yellow.
MH : Oh, just a role—just a project that we all wanted to do, including Jodie [Foster] and everybody else who was involved in that. It was a script that you read and just kind of fell in love with. There was no other reason to be part of that project. There was nobody telling any of us that this was a smart move to go do this movie. It was really shot on a shoestring, and we were like a traveling circus.
For the fifth time. But the casting director, who also happened to be casting St. I just got the sides and walked right in. Bruce was there, and Tom Fontana and Mark Tinker were all in the room.
That was good! You want to do this? That was an important experience, to get a chance to work with that body of actors on that show for a number of years. Again, you get a chance to say better words, and you get to play against really talented people.
There was a young group of actors on that show and there was an older group. We all got along, but for us young guys, it was just a constant effort to keep our jobs. That was an important thing, to respect the writing. AVC: Bobby Caldwell also proved to be a groundbreaking television character.
MH : Yeah, he sure was. Or he became that way, anyway. And then they changed it. Are you acceptable with that? Just go for it. That it had the impact that it did at the time… Who knew?
But I did think it was important information in what it was to get out. His final fate was eventually revealed a few seasons later, but had there been any talk of you coming back for a true final episode?
MH : Was there talk at the time? Well, I know there was talk about coming back at one time. Not for the final episode, but… there was talk. If I were available, would I have done it? But I could be wrong. MH : On screen, yeah. A good story. But the plan was not to work opposite my wife from the beginning. But it was interesting for all those reasons.
Fun to do. And different. MH : [Long pause. We played husband and wife in that, and it was a period piece, but… It was fun. It was different. I read for a number of different roles in Earp and then was thrilled to get a call from him, saying that he wanted me to play Behan. We all had different opinions on that. But it was really enjoyable to work with Larry on a Kasdan script, where you have 10 days of rehearsal around a table with the whole cast with a script that does not change.
Those are all hugely important things in this business or any other.
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