“BUILDING 26”
WARNING: SPOILERS EXIST HERIN!
First of all an apology for getting this blog up late. Presidents’ day and some family stuff prevented it coming on-line on time.
Tonight’s episode was written by Rob Fresco and was directed by Sergio Mimica-Gezzan. Mr. Fresco has been on the HEROES staff all year. This is his second episode. His first was VILLAINS. Rob Fresco's credits This is Sergio’s second full episode for us. He also directed this season’s ONE OF US, ONE OF THEM, as well as what was to be last season’s episode 12, which was begun but never completed and never aired due to the writer’s strike. Sergio Mimica-Gezzan's credits
This marks the third installment in the FUGITIVES arc. As we began prep with Sergio, we familiarized him with some of the stylistic additions we’ve emphasized since episode 14. We are using much more of the handheld, voyeuristic camera style. This is not the style of every storyline, but I pointed out to him, it seemed logical that it follows anything to do with the story of The Hunters and the eponymous BUILDING 26. We also talked at length about the ongoing emotional status of our characters and how, in this volume, the pressure is always on our characters. The emotions are always on simmer and occasionally go to boil!
I think Sergio melded into this style quite well. He was quite familiar with it, having done BATTLESTAR GALACTICA and other feature work with similar looks. The most complex scene he had, and also the most discussed, was the shootout at the diner. We found a little place in San Fernando. It had a naturally interesting layout that afforded numerous advantageous camera angles. In the story, from the time that the Hunters enter and shoot the place up, to the time Sylar escapes, Sergio was only allotted about 8 hours to film the whole thing. These 8 hours were spread out over two days because we were also filming at the time of year when there’s very little daylight and, on both days we were there, when it got dark we had to move to another location (like the inside of the Hunters van.) I think this sequence is a nice compact action scene. Sergio also brought a new color to the sandbox (to mix metaphors) by using a 90-degree shutter on the cameras in the scene after Sylar shatters through the windows and he and Luke run to the car. This technique gives a crisp – non-blurry – look to every frame. I figure he borrowed the idea from when he was an assistant director in SAVING PRIVATE RYAN.
Sylar and Luke is a storyline we’re pursuing for several episodes. Luke is played by Dan Byrd. Dan came in and gave a good read, but when he was brought back to go through lines with Zach - the rapport between the two was really noticeable. They played off each other and responded so well, Dan was the kid for the part. Interestingly, Dan is probably recognized from the sitcom ALIENS IN AMERICA – in which he played someone the complete opposite of his serial killer wanna-be in HEROES. Like Hayden, Dan grew up in the business and can bounce between these two extremes. Writers continue to enjoy exploring this dynamic of Sylar and, essentially a young-wanna-be-Sylar. Zach liked it too. On set there was an easy affability between the two. As always, Sergio worked on pace and performance – but the scenes were well written and seemed to flow very easily between the two. Zach Quinto has always been a lovely and very focused guy on set. But my personal observation was that he seemed even more relaxed on this one and that he enjoyed the scene he played with Dan.
One of the other jobs on this one was to design and build the actual “Building 26.” One of the problems we’ve had on an ongoing basis on HEROES is that, unlike most every other TV show in the world, we don’t really have “standing sets.” A standing set is simply a set that’s always standing on stage that you can shoot for every episode. Yes, we have Suresh’s apartment and The Bennet House, and we still have Isaac’s Loft up… But none of these are sets that are easy to write to every week. And, with the “FUGITIVES” concept – of our heroes on the run, this becomes even harder. So Tim Kring’s concept was to create, at least, one standing set that can work every week to the end of the season. As a film maker you have no idea how valuable this is – to have at least a few scenes that you don’t have to scout and design gives one a bit of breathing room in the hectic prep schedule.
But what was this building to be? A heated debate went on between the various creative forces behind the scenes. The concept of Building 26 ultimately became that it should be a very anonymous space that this organization moved into quickly and could move out of quickly. Almost like a boiler room where shady phone solicitations could be made from. Arguments were made that the Production design should not even include windows – Building 26 should be purposefully bland. Ruth Ammon (our production designer) and I have joked with each other and called this the “no aesthetic-aesthetic.” Truthfully, because I am a person who approaches things from a visual standpoint, this design goes against my nature. While I absolutely agreed with the concept behind the building – and new that a high tech h.q. would be wrong – in my experience, in order to create dynamic compositions, one needs the elements of angles, and foreground, and light (amongst numerous other things.) I really worried that the squared off corners, low set of desks squared off in the center of the room, and lack of light sources – would hinder our ongoing look. But that was the way it went. Ruth combated this by creating windowed offices at the perimeters of the set, which we could shoot through, and she brought in lots of practical light sources on the desks and mixed and matched them in a way that I think was interesting. A concession was made, because it fit the concept, that we could have tubes of computer wiring and electrical wiring coming down from the ceiling, being twist-tied together as the lines dispersed to the various desks. This provided, at least some, natural foreground.
Sergio and I walked the set along with, director of photography, Nate Goodman – and we discussed where the most dynamic angles could be achieved. Ultimately hand held, long lenses, moving foreground into every frame became the key. We also discussed the idea of having people moving back and forth in front of the lens – creating “wipes.” This is a technique that adds energy, especially when the wipes are used as cut points between shots.
One assignment that was fun to do revolved around the Claire story. The ongoing idea is that Claire hates that she’s been given a “free pass” from the Hunters – and that she wants to do something to help the other specials who are in danger. In this episode, for the first time, and with the help of the mysterious “Rebel,” Claire takes action. One standing set we did have was a comic book store left over from episodes 10 and 11, and the writers came up with the idea of bringing Claire to that to continue her adventures. But, along the way, there were a number of exterior locations – meant to be in the beautiful (but fictitious) Costa Verde California – home of the Bennet family. I really like whenever we get to film California for California on HEROES. We scouted a number of beach communities and landed on Playa del Rey. I really liked this place because it has a funky-freshness that we don’t get to use much. I really impressed upon Sergio – “see the palm trees – see the sand - see the ocean!” We film in Los Angeles, but we are always pretending it’s Washington, or New York or Tokyo. Our first assistant director, Sam Mahony, also seemed to like this selection – as it is where he lives and it meant that he could roll out of bed and go to work that day.
Again, Sergio had a large amount of work to do in a short amount of time. Everything set in Costa Verde (excluding the comic store interiors) had to be done in a day. It meant we had to pick locations that were all (literally) within a block of each other – but still had that California look that I kept pestering him about. This work was all done on the first day of filming, Sergio was very organized and I was proud of him for getting through it so well.
I really like Justin Baldoni who played Alex – the Comic Book Guy. Justin Baldoni's credits He is a big, strong, handsome, guy – but he has a good sense of timing and comedy. Believe it or not, because I have kids, I was familiar with his work on the Disney Channel’s SUITE LIFE OF ZACH AND CODY, where he played a very goofy role. The idea to put glasses on him was the finishing touch - it created a Clark Kent quality to the character. Again, Hayden seemed to have a good time playing her scenes with Justin…. And I am, personally, quite happy with her work and the work we did in this storyline.
There’s so much more I’d like to talk about – Adrian Pasdar and Zeljko Ivanek’s evolving relationship, Ali Larter and the heat lamp sequence – (She was a trooper on this one by the way – the shackles we put her in weighed about 30 pounds.) How we did the Freezing guy effect. Etc. Etc. But my time runs short and the pictures call:
THE PICTURES::

BREA AND JKL - IS HER CHARACTER DEAD???

MASI AND AMRAPALI AMBEGAOKAR ON SET

MS. HAYDEN PANETTIERE

NATHAN KEEPIN' COOL IN THE HOT ROOM

SERGIO DIRECTS THE CAST

SERGIO, TIM KRING AND D.P. NATE GOODMAN
.JPG)
TIM IN INDIA (ON OUR BACK LOT)

TONIGHT'S DIRECTOR SERGIO MIMICA-GEZZAN

ZACH AND DAN BYRD

ZACH BEHAVES BIZARRLY ON SET

MSSRS. QUINTO, GOODMAN AND MIMICA-GEZZAN

ZACH QUINTO SAYS "DON'T HATE ME BECAUSE I'M BEAUTIFUL"
WARNING: SPOILERS EXIST HERIN!
First of all an apology for getting this blog up late. Presidents’ day and some family stuff prevented it coming on-line on time.
Tonight’s episode was written by Rob Fresco and was directed by Sergio Mimica-Gezzan. Mr. Fresco has been on the HEROES staff all year. This is his second episode. His first was VILLAINS. Rob Fresco's credits This is Sergio’s second full episode for us. He also directed this season’s ONE OF US, ONE OF THEM, as well as what was to be last season’s episode 12, which was begun but never completed and never aired due to the writer’s strike. Sergio Mimica-Gezzan's credits
This marks the third installment in the FUGITIVES arc. As we began prep with Sergio, we familiarized him with some of the stylistic additions we’ve emphasized since episode 14. We are using much more of the handheld, voyeuristic camera style. This is not the style of every storyline, but I pointed out to him, it seemed logical that it follows anything to do with the story of The Hunters and the eponymous BUILDING 26. We also talked at length about the ongoing emotional status of our characters and how, in this volume, the pressure is always on our characters. The emotions are always on simmer and occasionally go to boil!
I think Sergio melded into this style quite well. He was quite familiar with it, having done BATTLESTAR GALACTICA and other feature work with similar looks. The most complex scene he had, and also the most discussed, was the shootout at the diner. We found a little place in San Fernando. It had a naturally interesting layout that afforded numerous advantageous camera angles. In the story, from the time that the Hunters enter and shoot the place up, to the time Sylar escapes, Sergio was only allotted about 8 hours to film the whole thing. These 8 hours were spread out over two days because we were also filming at the time of year when there’s very little daylight and, on both days we were there, when it got dark we had to move to another location (like the inside of the Hunters van.) I think this sequence is a nice compact action scene. Sergio also brought a new color to the sandbox (to mix metaphors) by using a 90-degree shutter on the cameras in the scene after Sylar shatters through the windows and he and Luke run to the car. This technique gives a crisp – non-blurry – look to every frame. I figure he borrowed the idea from when he was an assistant director in SAVING PRIVATE RYAN.
Sylar and Luke is a storyline we’re pursuing for several episodes. Luke is played by Dan Byrd. Dan came in and gave a good read, but when he was brought back to go through lines with Zach - the rapport between the two was really noticeable. They played off each other and responded so well, Dan was the kid for the part. Interestingly, Dan is probably recognized from the sitcom ALIENS IN AMERICA – in which he played someone the complete opposite of his serial killer wanna-be in HEROES. Like Hayden, Dan grew up in the business and can bounce between these two extremes. Writers continue to enjoy exploring this dynamic of Sylar and, essentially a young-wanna-be-Sylar. Zach liked it too. On set there was an easy affability between the two. As always, Sergio worked on pace and performance – but the scenes were well written and seemed to flow very easily between the two. Zach Quinto has always been a lovely and very focused guy on set. But my personal observation was that he seemed even more relaxed on this one and that he enjoyed the scene he played with Dan.
One of the other jobs on this one was to design and build the actual “Building 26.” One of the problems we’ve had on an ongoing basis on HEROES is that, unlike most every other TV show in the world, we don’t really have “standing sets.” A standing set is simply a set that’s always standing on stage that you can shoot for every episode. Yes, we have Suresh’s apartment and The Bennet House, and we still have Isaac’s Loft up… But none of these are sets that are easy to write to every week. And, with the “FUGITIVES” concept – of our heroes on the run, this becomes even harder. So Tim Kring’s concept was to create, at least, one standing set that can work every week to the end of the season. As a film maker you have no idea how valuable this is – to have at least a few scenes that you don’t have to scout and design gives one a bit of breathing room in the hectic prep schedule.
But what was this building to be? A heated debate went on between the various creative forces behind the scenes. The concept of Building 26 ultimately became that it should be a very anonymous space that this organization moved into quickly and could move out of quickly. Almost like a boiler room where shady phone solicitations could be made from. Arguments were made that the Production design should not even include windows – Building 26 should be purposefully bland. Ruth Ammon (our production designer) and I have joked with each other and called this the “no aesthetic-aesthetic.” Truthfully, because I am a person who approaches things from a visual standpoint, this design goes against my nature. While I absolutely agreed with the concept behind the building – and new that a high tech h.q. would be wrong – in my experience, in order to create dynamic compositions, one needs the elements of angles, and foreground, and light (amongst numerous other things.) I really worried that the squared off corners, low set of desks squared off in the center of the room, and lack of light sources – would hinder our ongoing look. But that was the way it went. Ruth combated this by creating windowed offices at the perimeters of the set, which we could shoot through, and she brought in lots of practical light sources on the desks and mixed and matched them in a way that I think was interesting. A concession was made, because it fit the concept, that we could have tubes of computer wiring and electrical wiring coming down from the ceiling, being twist-tied together as the lines dispersed to the various desks. This provided, at least some, natural foreground.
Sergio and I walked the set along with, director of photography, Nate Goodman – and we discussed where the most dynamic angles could be achieved. Ultimately hand held, long lenses, moving foreground into every frame became the key. We also discussed the idea of having people moving back and forth in front of the lens – creating “wipes.” This is a technique that adds energy, especially when the wipes are used as cut points between shots.
One assignment that was fun to do revolved around the Claire story. The ongoing idea is that Claire hates that she’s been given a “free pass” from the Hunters – and that she wants to do something to help the other specials who are in danger. In this episode, for the first time, and with the help of the mysterious “Rebel,” Claire takes action. One standing set we did have was a comic book store left over from episodes 10 and 11, and the writers came up with the idea of bringing Claire to that to continue her adventures. But, along the way, there were a number of exterior locations – meant to be in the beautiful (but fictitious) Costa Verde California – home of the Bennet family. I really like whenever we get to film California for California on HEROES. We scouted a number of beach communities and landed on Playa del Rey. I really liked this place because it has a funky-freshness that we don’t get to use much. I really impressed upon Sergio – “see the palm trees – see the sand - see the ocean!” We film in Los Angeles, but we are always pretending it’s Washington, or New York or Tokyo. Our first assistant director, Sam Mahony, also seemed to like this selection – as it is where he lives and it meant that he could roll out of bed and go to work that day.
Again, Sergio had a large amount of work to do in a short amount of time. Everything set in Costa Verde (excluding the comic store interiors) had to be done in a day. It meant we had to pick locations that were all (literally) within a block of each other – but still had that California look that I kept pestering him about. This work was all done on the first day of filming, Sergio was very organized and I was proud of him for getting through it so well.
I really like Justin Baldoni who played Alex – the Comic Book Guy. Justin Baldoni's credits He is a big, strong, handsome, guy – but he has a good sense of timing and comedy. Believe it or not, because I have kids, I was familiar with his work on the Disney Channel’s SUITE LIFE OF ZACH AND CODY, where he played a very goofy role. The idea to put glasses on him was the finishing touch - it created a Clark Kent quality to the character. Again, Hayden seemed to have a good time playing her scenes with Justin…. And I am, personally, quite happy with her work and the work we did in this storyline.
There’s so much more I’d like to talk about – Adrian Pasdar and Zeljko Ivanek’s evolving relationship, Ali Larter and the heat lamp sequence – (She was a trooper on this one by the way – the shackles we put her in weighed about 30 pounds.) How we did the Freezing guy effect. Etc. Etc. But my time runs short and the pictures call:
THE PICTURES::
BREA AND JKL - IS HER CHARACTER DEAD???
MASI AND AMRAPALI AMBEGAOKAR ON SET
MS. HAYDEN PANETTIERE
NATHAN KEEPIN' COOL IN THE HOT ROOM
SERGIO DIRECTS THE CAST
SERGIO, TIM KRING AND D.P. NATE GOODMAN
TIM IN INDIA (ON OUR BACK LOT)

TONIGHT'S DIRECTOR SERGIO MIMICA-GEZZAN

ZACH AND DAN BYRD
ZACH BEHAVES BIZARRLY ON SET

MSSRS. QUINTO, GOODMAN AND MIMICA-GEZZAN
ZACH QUINTO SAYS "DON'T HATE ME BECAUSE I'M BEAUTIFUL"
Comments
I watched this episode, there is the scenes of HRG so much BUT NOT HRG PICS??? NOT HRG PHOTOS PROMOS???
I WANT MORE HRG PICS! PLEASE?!
Nothing that happens on this show any longer has any dramatic impact or interest because NOTHING THAT HAPPENS MATTERS TO ME AS A VIEWER.
It's a treat to read a little behind the scenes as each new episode comes out.
I'm from Sweden and I must say that the show has made quite the mark here.
Personaly I really enjoy the third season. It's really fresh.
It is also nice that you have toned down the heavy hitters a bit. It's good to see the characters thinking about the application of their powers and not just unleashing them at random.
Thank you very much.
//Alexander
I'm really starting to see a more humane side of Sylar...<3333
Why is it I always got a thing for the bad guy?....
oh yea and hayden and milio spit...awkarrddddddd set much? =]
Effects were FANTASTIC in this episode. Very impressed~ It's directors like you that keep people like me glued to the television all night and forgetting to study for her Bio102 exam...=[
I thought I'd post to counterbalance the poo-poo-ing from other posters.
Love your blog, love the show!
I am in agreement that the India story line reeked of the Feudal Japan story line (re: drawn out and utterly useless).
I am also in agreement with the idea that Heroes has lost its MoJo because the stories have strayed too far from the original concept of ordinary people discovering that they have extraordinary talents (or at least being dragged into situations they dont want to be in). It is so disheartening to hear that the writers dont know what to do with their most talented actor, i.e. Adrian or that it is a struggle to write for Ali.
Honestly guys, go back and watch Season 1. Look at the way Hiro continually was continually dragged into things, despite his best efforts not to be, or the way each of the characters lives intersected periodically by fate.
ya, the india deal was pointless and its time to either kill hiro or let him grow up
and if rebel isnt either hana or micah, then i will be dissapointed
and enough of the "comics are only for guys" thing
more and more girls are getting into comics everyday
love the last scene with sylar and luke in the car. he definitely has some kindness in him. i hope he doesnt kill luke.
love the scene where noah met claire before he left. that was emotional.
and love the alex character! he's so good looking! another cast for me to drool over, besides sylar. ^^
Great, great episode. It flowed so naturally. Everything tied together so well. There was so much wonderfulness I don't know where to begin.
Ashley Crow's Sandra and HRG finally having it out; Luke and Sylar and Luke playing him--dangerous that;Clair and Alex; Ali Larter's Tracy; Nathan and Abby; the Hunter's manipulations; and the great ending of HRG being drugged and Peter, Matt and Mohinder taking him "home".
The song, and the look on Zach's face had me cracking me up.
Keep it up. Yes. Luke can be a bit annoying IMO. India Arc "you saved me, now I deliver this fax to you!"
Seriously? That part was really weak.
-Chris
i see most intresting photos on it.
and konw a lot of thing behind the drama.
it is a wonderful work,
thank for all.
but,if there give more photos,i wish.
the story line from HIRO seem weakly.
i feel there is little broken between HIRO and ANDO,maybe this will make the good friends to enemies?
wait for the next story.
Fugatives is great. I love the fact that the cast is interacting with real people again and that not everyone they meet has an ability. They are freaks again (as Claire puts is) and that is the story dynamic that works best.
The scenes with Sylar and Luke flow perfectly and those between Nathan and the Hunter really shine. Nathan is back!
Thanks!
True that 'Heroes' always wanted to be universal('Heroes World Tour'a long-gone concept), and now that the scripts are circling closer to the main characters, we've got americans, americans and white americans again(except Momo...)Anyway, nice scene between HRG and her daughter. I (as usual) loved Sylar and the way it's hard for him to deal with this new companion.(with his own feelings mostly)
The only thing is that I wasn't surprised at all in that zode: Even when Tracy escaped, it seemed obvious it was on purpose...I still prefer 'Villains' which was constantly roller-coastering me...
I really enjoyed the Sylar and Luke thing thusfar, it's good to see them on the road and getting into trouble, but also relating to one another...it's so cool, this whole thing along with Claire and the new guy, it reminds me more of season one. :) Which is nice.
So the last couple of episodes were AWESOME, thanks for keeping us updated! And we can never have too many pictures of Zach, just remember that. ;) Hehe.
I loved the scene in the diner. The look on Sylar's face when Luke sucking his drink up the straw cracked me up.
I loved Hiro been an hero without his powers, but I hope he gets them back soon. Good story line.
Keep up the good work.
DFG
Episode simply remarkable. Zak becomes on the sly kinder, even became the quite good instructor of the Hatch. Good fellows continue in the same spirit!
From Russia with love)))
I still liked the episode as a whole though. Sylar's story was fantastic, and it had been far too long since Mr. Muggles was on screen. ^_^
I am such a fan and love getting swept along the adventures, and might I add i was very into this new aquaman character! I'm wondering how his power will come into play and I cannot wait to see how things unravel! He is QUITE the stud and...if i may so so myself, i must admit that him and Claire would look pretty good together! Ahh, especially that last scene where he was in the closet- oyyy, im on the edge of my seat!
Can't wait for next week.. thanks for the updates!!!
By the way- I'm expecting beautiful photos of Sendhil, Jack and Milo next week, and great Grunny pics.
Like the story in India, I actually liked it. It was a nice little subplot for Hiro and Ando ^^
And Sylar and Luke's scenes were awesome! How badass was Sylar carrying Luke over his shoulder and walking away in slow motion? Very. Hehehe
Like Nathan's coments in season one about how flying by itself makes for a lousy hero. And Claire shows again and again, and HRG tells her again and again, that not being able to die doesn't mean that you can do that much that a normal person couldn't do. Hiro traveling through time is great, but if you cannot change anything when you get there because you are a weak japanese nerd than it isn't very useful.
On that note I love the new power for Alex. Breathing underwater is neat, but not "save the day" useful. I love it. I've been rooting for this power to make it on the show since season 1.
Not a problem. There's plenty of other reasons to hate him.
Indeed it was amazingly paced and gave strong line for next episodes.
No other show apart from Heroes came so close to fans and it is greatly credited to your Blog.
Please rectify it as he is my (and millions of others's) favourite hero, I hate seeing him be a douche especially after the first two episodes when it seemed he was being redeemed for volume 3 (where he was equally idiotic). Please return him to his season 1 and 2 maturity and common sense, it's heartbreaking otherwise. The India subplot was pointless (although I loved him punching that guy) and seemed to serve no purpose other than show off that you guys can make it look like the heroes are globally anywhere (even when they are supposed to be hiding from the government but seem to be able to fly on planes using passports?!). We love you guys but please sort this stuff out, people are starting to say Lost is better than Heroes and that is laughable!
first of all - WOOT MOIRA KELLY!!!! :D:D:D:D i just love her and was SO pleasantly surprised to see her on the show <3<3<3
and MR. MUGGLES!!!! :D:D:D i speak for all my Heroes-wathcing friends when i say that we missed him so much! it was so exciting to see him again as well :)
i still really enjoy the scenes between Luke and Sylar, the chemistry they have off-screen is evident in their performances. it's also refreshing to see that Sylar has somewhat of a soft spot for Luke; as Luke says, he could have simply left him behind.
i feel like nothing would have been missed if the India plot had been dropped, but i understand that Hiro needs to come to terms with not having his powers any more. is he going to get them back soon? having them gives him a sense of responsibility and a dynamic as a character that he has been lacking lately.
thanks again for your blog and pics and i'm looking forward to next week's episode! MORE MR MUGGLES PLEASE!!!! :D:D:D
I get that you're not happy with the show, that's completely up to you. What I don't get is why you keep watching of it's hurting your good memories of the earlier seasons. You don't have to watch, you know, and then the memories won't get tarnished.
There are plenty of us who still enjoy Heroes, and it's kind of bringing me down that people who don't like at all keep watching just so they can flame it (I'm not saying that's necessarily the case with you).
I think real discussions are good and very interesting to read, but pure flaming does noone any good.
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