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Endgame: The Making Of Season 3


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  • Elders (Admins)

Endgame: The Making of Millennium Season 3

[Transcribed by Libby]

(Jordan: Bless us, Father, for this food, and keep our family safe and together always.)

Chris Carter

Creator/Writer/Exec. Producer

Season three, for me, was a chance to come back to the show and try to remember what it is that I originally wanted to accomplish and see if I could tell stories that I was interested in telling with the show that had been handed to me after season two.

(Catherine's father: If you're so good at what you do, Frank, you'd have caught who did it.)

Chris Carter:

It was a different show by that time. In some ways better, in some ways, I didn't, I wasn't quite understanding how we had gotten to where we got. But we wanted to add some new writers, we wanted to add a new character, we wanted to go back to telling some standalone stories, but using some of the things that had been incorporated into the show during, I guess, the second season. So stepping back in, I wanted to take a strong hand, but I realized that there were certain realities and things that had changed and I had to go with what I was given.

(Watts: So I looked and, behold, a pale horse. And the name of him who sat on it was Death, and Hell followed with him.)

Michael Perry

Writer/Co-Producer

The final episode of season two of Millennium, Jim and Glen destroyed 80% of the world with a virus. So I read that script in March or February, and I said: I'm out of a job come May, 'cos this show's not getting renewed. You can't wipe out the Earth. And so I'd go on job interviews for other shows, 'cos I thought: We're not going to have another season after they've done this. And they killed a major character as well. And it's all on paper and nobody said, 'You can't do that.' So, I was interviewing for all these others shows and they'd go, 'Michael, aren't you under contract to Millennium?' And I'd say: No, they're going to kill everybody. It can't possibly come back. And so then May came and, boom, it's on the Fox schedule, a full year's order.

Robert McLachlan ASC CSC

Cinematographer

Instead of taking a couple of months off to get themselves physically recovered so that they could do another of these eight-month marathons of 70-hour work weeks, everybody went and did a movie or a TV movie or something like that, then the show got picked up and none of us could resist going back. So we all kind of went into it dragging our asses a little bit. In the third season we were kind of back to the original guys, like Chip and Horton and some of those guys. They were in the first season.

Ken Horton

Co-Executive Producer

Year three, we chose to make them – it became much more personal. Now it was: Frank was out of the Group, but he was still doing what he was doing and he was trying to do what he did in year one, which is, he was trying to go back to fight evil on a one-on-one basis. But there were larger issues. We gave him a partner who was incredibly skeptical.

Klea Scott

"Emma Hollis"

They needed a chick and I walked in. I never know, if this is – in the casting process if that was the mind behind not seeing black actresses for this part, but they were pretty certain that they wanted a white actress. This happens a lot in Hollywood. And I have a great agent who saw past the character description and thought, 'Klea would be really right for this.' and campaigned, really lobbied really hard to get me in the door, and guaranteed he would never send this casting director, I think, another actor if she felt it was a waste of time. So very much my gratitude towards my agent for doing that. I remember the other actresses, I think there were two redheads, two blondes, and me. And so, as I went along the casting process, I thought either I'm a token so that they can say they looked and they can cover their butts with the NAACP, or they're thinking about doing something really different.

Chip Johannessen

Writer/Co-Producer

Klea came in and was just so – she's great, she's amazing and she's also physical in a really wonderful way. She is just an amazing physical presence and we just loved her and we knew that maybe in a slow-burn, indie film kind of way, she would catch on and get word of mouth. But she wasn't quite what network was looking for. You know, they wanted Heather Locklear or something to come. That was kind of how that went down.

Klea Scott:

They took a leap outside the box for some reason and cast me. And then I was in Vancouver pretty much – I think I had about a week and a half between the time I started auditioning to being on a plane to Vancouver.

(Episode 1 "The Innocents"

Airdate: 10/02/98

Writer: Michael Duggan / Director: Thomas J Wright

Hollis: Special Agent Emma Hollis, Critical Incident Response group.

Frank: Frank Black

Hollis: I think you were at the Bureau when it was all still called the Behavioral Science Unit.

Frank: Yes, I was.)

Lance Henriksen

"Frank Black"

Another talented actress. She was young and really excited about doing this thing. And again – I watched her go through what I went through in the first year. So she was like: 'Where am I? What do we do now?' We started staring into some of these cases, I think the first show that she did was a plane crash. And they had made the debris feel so real, in the woods. It was just – really you could almost smell it. And that was our first scene together. She was this young cop. (laughs) She's a wonderful person, really. I miss these people. I really do.

(Episode 5 "... Thirteen Years Later"

Airdate: 10/30/98

Writer: Michael L Perry / Director: Thomas J Wright

(Hollis: Bite mark analysis was inconclusive. He was wearing dental prostheses commonly used in motion pictures.

Frank: Whoever is doing this is trying to drive me insane, for the third time in my life.)

Klea Scott:

We did an episode for Hallowe'en where Kiss was on. And we had a blast. Oh, we had a good time. And I just loved his devilish sense of humor. And I wish that there was actually more of that allowed to come through in the writing.

(Frank and Hollis sat on the sofa watching horror videos.

Frank; He's her brother. He kills teenagers. That's it? No twists? No mystery?

Hollis: It's supposed to be scary.)

Michael Perry:

The production of "Thirteen Years Later" was one of the most grueling they ever had. It's filled with stunts. There's people getting hanged. There's tons of gore every place. The whole beginning is crazy. It has references to Psycho in it. I don't know how Tom shot that on our regular schedule. Just the music concert, there's murders in a music hall while there's a Kiss concert going on. It's very elaborately directed. Tons of shots. It doesn't at all look like something from television. It looks like something from a feature film.

(Kiss: "Psycho Circus)

Thomas Wright:

I shot a whole music video with Kiss during that episode. We were going to cut it as a music video. In fact, Kiss wanted it done as a music video for them. The material that we shot – it was terrific.

Lance Henriksen

(1998 interview)

This was a powerhouse show, this one. It really is. Can you imagine these guys being in your show? I mean, it's pretty wild. They even gave me a pick, look.

(He holds up a guitar pick, with "Kiss" written on it.)

Thomas Wright:

We shot it in half a day, their music number, and it was pretty wild, but it was fun. It was a lot of fun. They were great.

(Lance and lead singer of Kiss, the latter in full makeup and costume. He has his arm around Lance, who is laughing.

Singer: Lance is a powerful and attractive man as you can plainly see. And we have an announcement to the world.

Lance laughs.

Singer: Oh, you're not going to tell them?

Lance: No, I'm not going to tell them.

Singer: Ok.

Lance: I'm going on tour with them.

They both laugh.)

Kiss:

We thought it would be a great idea to be seen as the band, Kiss, but then also they said they were crazy enough to let us do cameo roles. And part of the fun of the show is figuring out who we are in the show outside of our characters.

Michael Perry:

I went up for pre-production and stayed for the first four days of production, then came down because it all seemed to be going so well. One night I was at home, having dinner with a friend from out of town and my wife, and Chris called. Chris said, 'Michael, there's a problem up on the set with Kiss. Can you deal with it?' I said, 'Sure, I'd love to.' Then I called the production office and in this episode each member of the band Kiss appears in makeup but they also appear at some other point during the episode as a character.

(Leachman: I'm Hector Leachman. I did it.

Frank: This is not your man.)

Michael Perry:

Ace Frehley plays one of the two sheriffs. He was furious because Paul Stanley had a lot of lines. He gets killed in the teaser and is covered in blood. He wanted to have parity of lines with the other members of Kiss. So, I said, OK, let's work on it. We'll do this. Not knowing if we'd use him or not, but we've got to get the guy to come out of his trailer. So I start saying, 'Well, we can add this line and add that line.' Then he stops and says, 'You know, I really don't want to play a white southern sheriff at all. I said, 'OK.' He said, 'What I really want to play, I'd like to be a black guy who weighs 300 pounds.' I said, 'OK.' And he said, 'Like Eddie Murphy in The Nutty Professor. I want to be like that.' I'm hearing him slur a bit and I think that either it's late, or there might be an alternative explanation. And I had to get him out of his trailer. And I'm on the phone in LA and they're all up there having another late night on the Millennium set. So I said, 'That's a great idea. I wish we had thought of that a month ago, 'cos it takes a lot of time to make one of those suits. And if only we had talked a while back – but we can't do that because we need to shoot tonight.' So I made up five more lines for him, then faxed them up to the production office. And then they shot them, they got him to come out and he did his extra scene. I think ultimately it doesn't wind up in the show at all, he winds up with the same lines he had before.

(Sheriff #1: Hey, Frank, it's good to see you.

Frank: Thank you.

Sheriff #2: Glad to have you back with us, Frank.

Frank: Thank you.)

Robert McLachlan:

Vancouver probably had the best light in the world for shooting a show like this, because any time you got out in harsh sunlight it was just very contra to the mood that most of the time we were trying to create. So when you have very soft overcast, you can do anything with it. You can make it look like a sunny day if you have to, but it's very easy to pull it down and make it more somber. I remember one particular episode, I think it was called 'Skull and Bones', we had the scene where they're creating a highway and they're digging up all these bones. And it's very grisly, but it was a beautiful sunny day. So we anticipated the sun and we got as many smoke machines out as we could, and we created a very heavy fog to fog the whole thing in and got rid of all the happy, warm sunshine and created this very mysterious, moody atmosphere.

Chip Johannessen:

Episode six was called 'Skull and Bones', that Ken and I did together, that in a way I think for the first time in season three got back to what was so cool about the pilot in a way. It had this really kick-ass, grisly story where they unearth a whole bunch of bodies under a freeway that's under construction, and it leads to kind of a cool place.

(Frank: He witness the murder and it shook him. It changed his life. Since then he's been obsessively recording everything about everybody he's come across.)

Ken Horton:

'Skull and Bones' in year three was defined by people except for myself, like the network, as really being the start of season three. We'd gotten past plagues and things like that and now we had got into how and why. It was the first out-and-out statement that the Millennium Group was bad.

(Frank: Victim 38. Her name was Cheryl Andrews. She was a doctor. Peter Watts is there to find her remains and keep them a secret.

Hollis: From who?

Frank: From me. )

Thomas Wright:

Lance was a little upset about it. He was a little upset. He, Lance likes, you know, the norm, that he knows where he's going. He likes to be quiet and sort of set, and he would get upset once in a while, particularly about the character, because everybody was trying to send the character somewhere else, and he had a definite, fixed, idea on the character that Chris had given him, and that they had talked about long and hard. Lance at times just felt that it was disappearing. And he'd come in sometimes: 'Who is this guy? What is this scene? I can't ... Tom you have to explain this, I can't do this. What is this?'

Episode 6 "Skull and Bones"

Airdate: 11/06/98

Writers: Chip Johannessen & Ken Horton / Director: Paul Shapiro

(Watts: Frank has had a lot of good years, but paranoid delusions reinforce themselves. Every new fact tends to confirm the conviction. I don't care if you're talking about space aliens or JFK or the Millennium Group.)

Lance Henriksen:

When the show changed in the third year, when the Millennium Group became evil, I think it only happened because one of the scripts came in where suddenly Terry O'Quinn's character was no longer my friend. He was, like, 'Something's wrong with our relationship.' And I thought it was a big throwaway. I can't say it was a mistake, I don't know what the fourth year would have brought, but I think it was the beginning of the end, the beginning of the wrap-up of the show, because once you make the Millennium Group – that would be like calling the Academy Group evil all of a sudden after years of devotion. How could they be evil? I think the problem was that they didn't – the Millennium Group was not defined enough, which is different than the Academy Group, the real Academy Group.

(Episode 8 "Omerta"

Airdate: 12/18/98

Writer: Michael R. Perry / Director: Ken Fink)

Michael Perry:

If season two had a conspiratorial, masonic quality, I would say season three had, because the show was called 'Millennium', 'cos we're dealing with big changes in the world, it should have a kind of hope that isn't specific, but is more of a tone, more of something we're reaching for.

(Eddie: Come on, already.

Mafia men: Aw, hell.

They fire repeatedly at him.)

Michael Perry:

"Omerta" – that's an example of an episode where Chip had some influence on the spiritual, ethereal quality of it. My original pitch was, hit man gets whacked and is found by creatures who not only revive him, but also he has an awakening from what he's done.

(Prosecutor: Your friends pinned 51 murders on you.

Eddie: Those guys! It's more like 27. I made a list for you. I apologize in advance about the spelling.

Prosecutor: Has he been Mirandized?

Sheriff: Several times.

Prosecutor: And you don't want a lawyer?

Eddie: He would just tell me to keep my mouth shut.)

Michael Perry:

The addition Chip said is, you have a little girl who's Mom has died – Frank Black's daughter. You have to have her tied into the story because she's thinking, 'Can we bring Mom back to life if we can bring this guy back to life.'

(Frank: Honey.

Jordan: I told them about Mommy, what happened to her.

Frank: Yeah? What did they say?

Jordan: They don't talk much. I'm not sure they understood. )

Michael Perry:

I thought that was a nice grace note. It was like a nice addition to the whole thing.

(Eddie: I'm going to miss you girls. I really am. )

Michael Perry:

Then you see Jon Polito, who knocks it out of the park. Polito does a great job. We were so thrilled to get him. His agent was playing agent, and so Chip said, 'Let's call him.' So we just called him on the phone and said, 'We really want you for this part.' And that was enough to make him turn around and come up and do the episode.

(Eddie: What do you want?

Frank: Oh.

Eddie: Come on, you can tell me

Frank: The same. I want things to be the way they were. My daughter, my wife, and me.

Eddie: Merry Christmas.

Frank: Maybe it will be.)

Michael Perry:

When you're making a Millennium episode, the very last thing you do is go over to Mark Snow's house. Mark has in his backyard a huge studio. He has all those Emmys and stuff on the walls. And you sit down and he plays you the ten or twelve musical cues. You go through the episode and he plays them for you. And on that one, he said, 'This is a different kind of episode. I'm trying out some things.' He has this whole angelic leitmotif that goes with the two women, who are healers, the two women who live in the woods. And the score really elevates the whole show.

Mark Snow

Composer

That show, there was a sweetness to it, but couched in the Millennium subplot. But I really thought the sweetness really needed to be exaggerated a little bit. I was able to find some samples of solo soprano singers doing, like, 'Aaah, aaah.' And somehow I incorporated it into the scores and it seemed to work just great. I was so excited about that when everyone came over to listen. I just couldn't wait for them to hear it. I turned around and they were just, 'Oh, man, that was just great.' That was very, very satisfying for me and I had a lot of fun with that.

Chip Johannessen:

I had always wondered, like, how would you put Jordan into jeopardy? What's a cool thing to do? So I did one that involved a kind of weird karmic return and an angel and a train going underwater. That she had come near to death, and had been given the grant of additional life from some cosmic force, and now it was coming to take it back.

Episode 10 "Borrowed Time"

Airdate: 01/15/99

Writer: Chip Johannessen / Director: Dwight Little

Chip Johannessen:

And so, Frank Black had to defend her against that kind of thing. That seemed like a cool way to put Jordan into jeopardy and to get to some cosmic place.

(Frank: Stay away from my daughter!

Hollis: It's not him!

Frank: Yes, it is. This is him. You stay away from my daughter!)

Chip Johannessen:

We always, like, on the one hand mass murder, on the other hand redemption, so we're always wrestling with those two things.

Mark Freeborn

Production Designer

The writers' idiosyncrasies brought to us some very interesting potential for sets we could not find elsewhere. For instance, in season three we had an amazing set that Bob Comer, the special effects coordinator, had a major hand in designing, which was a submersed railway car, where a good ten pages of the script took place.

We did a show called 'The Sound of Snow' where there was a situation where a woman is hit by a car. Bob Comer, our practical special effects coordinator, created a situation where we used a mirror, a truck and a car. And at the point of impact, I defy you to find a viewer who wasn't lifted out of their seat.

On the same show, we did a cracking ice field on the stage. We had a problem because it was in the middle of summer and she was supposed to be in a raging blizzard driving down the highway, so we put our heads together and Mike Rennison, my construction coordinator, engineered a roll-up highway that we used roofing paper for. We painted dotted lines on the highway and pulled it up underneath the car. That was fun. From a creative point of view, I could go on for an hour.

Episode 22 "Goodbye to All That"

Airdate: 05/21/99

Writers: K Horton & C Johannessen / Director: J Coblentz

(Frank smashes his way into Peter Watts' house. Points his gun at Watts.

Frank: This is on your head.)

Ken Horton:

The final episode Chip and I wrote together of year three sort of came about, I guess that we came back from Christmas vacation and we were in the office. When you're running a show you have these little boards up there and you have all these names of your episodes, and then there's all of these blanks that add up to 22. And I guess we were somewhere around 13 or 14 and Chip came in and said to me, 'Over the vacation did you come up with any good ideas?' I said, 'Nothing. I was hoping you would.' And he goes, 'I didn't have any thoughts either.'

(Watts: Man has made a mess of Eden. Our greed is only eclipsed by our tribal stupidity and our brutality. We are rushing toward an apocalypse of our own creation.

Frank: This is cult propaganda.

Watts: No, fact, Frank.)

Chip Johannessen:

What we were trying to do later on was go to something that was a little more – we had a secret manifesto, actually. The first one was mankind is racing toward an apocalypse of its own making, so it was going to become more political. And we never got there because, even though it would have made all the sense in the world to have something called 'Millennium' actually get to the millennium, we ended up some months shy of that.

Ken Horton:

We always in the back of our mind knew that it was possibly the end of the series, and we didn't want to do what season two did, which was to absolutely define where you were and where the series was. But at the same time we wanted some closure, we wanted some meaning, if, in fact, that was it.

(Watts: (to Hollis) As regards your father, there are hundreds of thousands of people in the world who share his condition. The difference is, he has a cure available. Our offer still stands. It's up to you.)

Klea Scott:

I was actually a little hurt when I saw that Emma Hollis, personally hurt, that Emma Hollis had accepted membership into the Millennium Group.

(Frank: (to Hollis) What did they promise you?

McClaren: Hey, hey, hey.

Frank: Your father. Is that it? Did they say they could fix him?)

Klea Scott:

We didn't have a lot to say to the creators or writers about what would happen to us. We would read the scripts and find out.

(Hollis: What was I supposed to do? He's my father.

Frank: Do what you have to do. )

Klea Scott:

I was so ashamed! (laughs) You want to talk about feelings of shame just bubbling to the surface. But that was why I loved it, because it was subtle and it was to me very believable and real that this could happen between these two people.

(Hollis: Daddy, are you all right?

Hollis' father: You shouldn't have done it, Emma. You shouldn't have done what they asked. )

Klea Scott:

The man she did it for has no gratitude or acknowledgement for her, and the man she betrayed is gone from her life as a result. So, yeah, it was really, really f***ed. Really f***ed. And, for that reason, interesting and exciting for an actor to get to play all that.

Ken Horton:

We ended up doing that, and that was the start of it, and then it just picked up from there and eventually, we felt, put Frank in an interesting place. Not good, not bad. He was safe with his daughter, she was safe with him. And we thought that was an undefined safe. We didn't know whether, when they went over that hill and there was a little valley over there, you didn't know whether there was more Millennium people waiting for them, or that they were going to start a new life. You didn't know exactly. But you got the feeling that they were going to do something and that they were happy with each other, and that was – I don't want to speak for Chip, but I think he wanted that same kind of feeling, I know I did too. He wanted to leave the characters in a difficult but good place.

Klea Scott:

And then we were cancelled. (laughs) You know, again I have no idea. I don't know what was going on. But I just thought, 'Give us 13 more and take us to New Year's Eve.

Frank Spotnitz

Writer/Co-Producer

In its final season the show ratings-wise had plateaud. And I think that while it wasn't doing badly, it was clearly not going to be a monster hit for the network. And I think it was a calculation on their part: 'Do we bring the show back? It's got a certain audience, it's got a certain level of critical estimation. Or do we roll the dice and hope we're going to come up with a big hit in that time slot?' And I actually think, looking back now, we realize that the audiences for network television were in the process of eroding, and nobody was quite aware of it yet. And the fact that 'Millennium' was able to hold its audience to the degree it was, was in fact quite a success. But nobody, at that time, really saw it that way, so I can't really blame them for hoping they could do better with something else.

Six months later ....

The X-Files Episode 7 "Millennium"

Airdate: 11/28/99 Season 5

Writers: V Gilligan & F Spotnitz / Director: T J Wright

(Skinner: This magic circle you mentioned, what if it looked something like this?

Mulder: It's an ouroboros, possibly. Definitely a mystical symbol. The alchemists favored it. They believed that it represented all of existence.

Skinner: I'm thinking more the Millennium Group. It was their symbol as well. Are you familiar with them?)

Thomas Wright:

I remember we'd been away a while after the show went down, and I was doing an X-Files which had Lance in it as Frank Black.

(Mulder: Well, if there's anybody that can tell us about the Millennium Group, it's him. He used to consult for them. Later, he fought to bring them down at the expense of his own career and reputation.

Scully: Single-minded. Sounds like someone I know.

Mulder: Frank Black? Hi, my name is Fox Mulder. This is my partner, Dana Scully. It's a pleasure to meet you. Do you mind if we sit down?)

Frank Spotnitz:

When Millennium shot its final episode, no one knew for sure whether it was the end of the series. We had not officially gotten the cancellation. And so there was no sense of closure. And so, very badly, I wanted to bring back Frank Black and Lance Henriksen for a farewell, for a goodbye. And I sort of sold everybody on the idea and then found myself in the deeply uncomfortable position of trying to figure out how to make that work, because it was only when I actually sat down to break the story - and, again, I wanted to bring Frank Black back for the millennium, which he had not made in the series, had not reached it since the show got cancelled before the turn of the millennium. And it proved to be extremely difficult because not only was the mythology of Millennium something completely apart from the mythology of The X-Files, but you had three heroes you had to service. And ultimately you had to make it work as an X-Files episode, because that's the series you were servicing, that was the audience you were servicing.

(Mulder: Shoot for the head. That seems to stop them.)

Chris Carter:

Frank Black appeared in The X-Files after Millennium's demise, and really it was done with a wink. I don't think it was a reason or a chance to give his character closure. And you don't want to say that when you create a character - you never want to give your character closure. But it was a chance to work with Lance again, to do it in an interesting way. And with X-Files we were always tying to figure out new ways to tell stories. It was bold in a certain respect in that it was asking X-Files viewers to accept this sort of hybrid idea that you could - maybe they didn't watch Millennium, I don't know - accept this character into The X-Files as a kind of equal in the story that was told.

(Frank: What?

Scully: There's someone here to see you.

Jordan: Hi, Daddy!

Frank: Hiya, little one.

They hug.

Frank: Oh, I missed you, sweetheart.

Jordan: I missed you too, Daddy.)

Thomas Wright:

Brittany came back to be in one of the scenes, and of course she'd grown, like, another two feet or something. And it was really kind of fun seeing her again and working with her, really grown-up.

(Mulder: Good luck with everything.

Frank: Agent Mulder, Agent Scully. I guess this is it.

Scully: You're not going to stay and watch?

Frank: No, just want to go home. Take care of yourselves.)

Frank Spotnitz:

It ended up not in fact owing very much at all to what had happened in the Millennium TV series. It ended up being an excuse for bringing Frank back and for seeing him with his daughter, and for telling people what became of him after the show ended. But that was really all it did in terms of bringing closure to Millennium. I think maybe that was enough, but I'm sure that, for Lance and for die-hard fans of the show, it wasn't answering all the questions they might have had.

Chip Johannessen:

Honestly, I must say, Fox was so supportive about this show and there were a lot of people loved this show. I think it frustrated them in the same way it was kind of frustrating to us that the audience was not as big as we were hoping, ultimately. Especially because some of the episodes were so great.

Frank Spotnitz:

It was very, very dark, and I think to the extent people really loved Millennium, those are the people who really connected with that darkness and wanted to be scared on that level. I think that's a very specific certain audience, which is why Millennium worked with a core audience and then didn't reach a lot of other people who didn't want to watch that in their homes.

Chris Carter:

The network and the studio got frightened that we were too scary, too dark, too frightening. And I think now when you see shows that are succeeding on television now - this is six, seven, eight years later - they are what Millennium should probably have aspired to be, which was really good murder mysteries that stood alone, that had, in this case, a millennial quality, which was, I think, the signature aspect of the show.

Lance Henriksen:

I just think that Chris Carter is sitting right on the edge of a gold mine to do a Millennium film. Me too. I mean, it would be an incredible thing. I've done a lot of movies over the years, but that one just still haunts me. It really does.

Mark Freeborn:

I think that ... I think that ... (laughs)

John Peter Kousakis

Co-Executive Producer

(appears from stage left and puts his arm around Mark Freeborn)

All we'd like say is we had the best years of our lives on a show like Millennium.

Mark Freeborn:

We did.

Klea Scott:

It was a family experience for me that I haven't – you know, it was unusual because it was intense just to be with Lance and myself, just one actor. And if that was a bad combination, that could have been a really miserable experience. But - I speak for myself - I really liked working with Lance and respected him.

John Kousakis:

I think the most rewarding thing about the show for me, is that it brings back some great memories. It brings back some not-so-great memories. It brings back a sense of working on something that, as again I've said ad nauseam, something that I can be so proud of and something that stands up today to, I would say very, very safely and confidently, 90% of the feature films in the same genre.

Thomas Wright:

Of all the shows I've done - and I've done quite a few - to be on a series, do a series day in and day out, it's been my most enjoyable and, I feel, some of my best work.

(Frank and Jordan running down the school corridor.)

Thomas Wright:

Everybody I know that worked on the show - it was always fun. It was just a great experience.

Klea Scott:

If you get the combination of: you like doing it and people like it - wow. Those are gems. They don't come along very often. And then you use them as a golden mean by which you measure all the things that come along after that. And Millennium was one of the ones - I could have done Millennium for a very long time.

Lance Henriksen:

Looking back at it again, I could have gone on another year and see where it led. But I do know that I needed ... I had some ... Listen, I had some ideas about how that show could have gone on. But again, it's like talking about a romance that you had five years ago and how you could have made that work, you know? It's all second-guessing and it's all what you've learned from it. I wouldn't change anything. I was very proud to have done that show.

(Jordan: Which side wins, Daddy?

Frank: That's what I'm saying. It's up to us.

Jordan: We are all shepherds.

Frank: Yes, honey. Yes, we are.)

-end-

Libby

"Humans need fantasy to be human. To be the place where the falling angel meets the rising ape." Terry Pratchett

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