Noah Wyle is back.
He is returning to series television six years after he hung up his
stethoscope as the beloved Dr. John Carter in the classic series
ER in 2005 Ė though he did guest appearances on that show
periodically until it eventually left the air in 2009.
It would take a pretty special project to lure Wyle back into the
fray, and he found that opportunity in TNTís new alien invasion
series Falling Skies. The show was co-created by
super-producer Steven Spielberg Ė who also was behind the scenes in
the first season of ER before handing the reigns off to
co-creators Michael Crichton and John Wells.
takes place in some undetermined time in the near future, six months
after the Earth has been attacked and decimated by space aliens. The
military has been pretty much destroyed, forcing normal people to
take up arms to fight off the deadly invaders.
Wyle plays Tom Mason, a fortyish former college history professor
whose wife has been killed, one of his sons abducted by the aliens
and he is trying to keep his other two sons safe as they plot to
save the remaining survivors and hopefully release the kidnapped
son. He is drafted into running a new militia of normal citizens
because of his knowledge of the history of war and his ability to
teach young people.
We were recently lucky enough to be one of several websites that had
the chance to speak with Wyle about his return to series television.
Iíve been struggling with the series
V for its current run because thereís too much soap opera drama
that continues to build. What I love most about Falling Skies
is it picks up right in the thick of the madness. Talk about that
aspect of the show where we go right to the meat of the story
instead of having a season or two of build-up?
Yes, itís sort of atypical story telling in the sense that we donít
start with everyday life going on business as usual and then
suddenly everybodyís eyes turn to the heavens and say: ďWhatís that
coming in towards our planet?Ē We pick up six months into what has
been a devastating alien invasion and meet our characters already in
a pretty high state of disarray Ė which is exciting storytelling
because it allows you the opportunity to fill in the back story
through episodic storytelling and also opens up the possibility of
being able to track back in time down the road if it seems
involved is Steven Spielberg in the production of this show?
Heís pretty damn involved. His fingerprints are all over it. He was
instrumental in helping craft the original pilot script and
certainly in casting the pilot. He came out and was on set when we
were shooting the pilot. He made lots of editorial decisions and
even drew some storyboards for the reshoots on the pilot. Then he
helped craft the overreaching story arcs for the season, watched all
the dailyís and made lots of editorial suggestions all along the way
in bringing those shows to their final cut. So I would say heís
Youíve been very active philanthropically about wildlife
preservation so I thought it was interesting that youíre doing a
show about humans facing extinction.
Yeah, weíre the new polar bears, right?
Yes, thatís true. Now, if you were in the position of your character
- what do you think youíd miss the most in the new world and also
what do you think would be the most exciting opportunity about a
civilization to start over?
Iím guessing a variety of diet would be the thing Iíd miss the most.
And hot food. But we tried to pepper each episode with exactly that.
What are the cons and disadvantages to the state weíve been thrown
into but what are the sort of more subtle pros Ė whether itís seeing
a group of kids having to exercise their imaginations at play and
actually relishing in the opportunity to do so or the quality of
relationships between families being that much enriched without all
the other distractions. Thereís a sequence that comes midway through
the season where a woman whoís among our ranks is pregnant and is
throwing a baby shower. Having been to quite a few baby showers this
was unlike any that I had experienced, in the sense that it wasnít
so much about the gifts and the swag and stuff for the impending
birth it was really more about the spiritual aspects of brining a
new life into the world and your responsibilities are as a parent
and what are our collective responsibilities for this new life?
Those I find very rewarding aspects to the storytelling because it
allows us an opportunity to kind of pick and choose between separate
the wheat and chaff Ė whatís important and whatís not.
Iíve been hearing a lot of talk about them saying that
Falling Skies it feels like so epic in the first pilot episode.
Theyíre saying that it almost feels like a feature film. Can you
reflect on that?
Yes, sure. Well, it wasnít intended to be sandwiched together. The
pilot was a stand-alone hour and itís being married to the first
episode which we shot as a first episode for the season to build it
into a two-hour block. It was never scripted to feel like a movie
but I think anytime Mr. Spielbergís name is above the marquee you
canít help but to make a cinema comparison. Itís got a lot of rich
production value. The budget on the pilot was pretty extensive, so
we had a lot of bang for our buck and that wasnít necessarily the
case in every episode so I think getting a sense of what the series
is going to be like comes probably more accurately from the second
half, second hour, than the first. But, yes, itís got a very
cinematic feel to it.
show is clocking in at ten episodes for the first season. Do you
think that the show has enough time to spread its wings in season
Well, I had lunch with Michael Wright whoís Head of TNT and we
discussed if this came to a second season whether he would be
interested in picking it up for more episodes. His philosophy, which
I tend to agree with is, that if youíre writing for ten episodes you
can really write to a focused point and make sure that all of your
Tís have been crossed and your Iís have been dotted. If youíre
trying to slug it out through 15, 17 or on a network 22 to 24 you
run the risk of dissipating the potency of your storytelling and
falling back on sort of hackneyed clichťs. He really didnít want to
do that. He really is very proud and pleased with the show and wants
Ė should the second season come to pass Ė it to have the same kind
of punch that the first season did which I think you really only get
from shooting a truncated season of ten, 12 maximum.
One of the things that Iíve really enjoyed from watching the first
three episodes, is I really enjoy the family dynamic thatís on it. I
was wondering if you could talk to us a bit about how you guys
approached keeping your family together in this broken world?
Well, dramatically that was probably the theme that was most
interesting to me. I havenít had a lot of experience working in the
science fiction genre so that had a certain appeal. I went into this
with the confidence of knowing that the spaceships and the aliens
were going to be just fine with Mr. Spielberg designing them. So my
responsibilities really fell to making sure the human aspects of the
show were as compelling as they could be. I found that dual conflict
that we set up in the pilot to be really provocative of a guy just
trying to keep his family intact and alive being given the larger
responsibility of having to care for 300 veritable strangers and the
conflict between the two; very interesting. Really, I think, whatís
at the core of the show is once the reset button on humanities been
pushed and these characters, should they survive, are going to
become the next founding fathers for the next civilization. What are
the best aspects of the previous civilization that you would want to
retain and what are the more superfluous or esoteric ones that you
wouldnít mind dropping? Certainly the notion of family and the
quality of human relationships comes to the fore and thatís what I
think we pretty successfully explored through the first half of the
After all of your years working on
ER did you ever have to stop yourself from wanting to jump in and
help in any triage type of situations?
I learned enough to know that I didnít really learn very much at
all. (laughs) The best thing to do is be a cheerleader on the
sidelines and say things like ďbreathe.Ē I had the misfortune of
being first on scene at a couple of different accident sites and
fortunately had to do nothing more than call 911 and a little
hand-holding because I donít think I could really have risen too
much more than that.
The dynamic that really touched me was the difference between Tom
and Weaver (played by Will Patton). Weaverís a character who Ė
especially in most of these post-apocalyptic movies, something like
Battle: LA Ė you see the military persona is the one who steps up
to the plate and becomes the default leader. With Tom he really has
no practical experience for military application, but his knowledge
as a professor, you see it coming out in all of these different
situations. What do you think distinguishes Tom as a leader as
opposed to what all of these other projects have that they
automatically show the militaristic personalities step to the
foreground to take charge?
Thatís an interesting question. I would say that when you
traditionally have a character whose career military like Captain
Weaver Ė their strong suit is leading men who have been trained and
focused for the battle and mission in hand. In this particular
scenario most of our military has been eradicated already and itís a
civilian militia that is being trained. Itís exactly Tom Masonís
back-story as having been a teacher that puts him in a little bit
better stead to teach these mostly kids how to arm themselves and
defend themselves than it is for Weaver to fall back on the military
paradigm. Itís looking at the realm of academia and saying thatís a
little dry for what we need right now and looking at the role of
military and saying thatís a little dogmatic for what we need right
now and trying to find a synthesis between the two that I think
makes my character a leader of a different strength.
does seem like somebody who has his act together but, and Iím only
three episodes in, Iím trying to figure out, are we going to see in
the first season Tomís breaking point?
He comes damn close to it. He comes very, very close to it. Yes, I
would say episodeÖ in the four or five rangeÖ thatís where he starts
to wear a little thin. Although, there was an adage that we used to
say a lot on my other show where you really didnít have time to feel
sorry for yourself during the course of the day because you had
another patient to treat or two or three. So you really had to earn
whatever private moments you allowed yourself to reveal, whatever
inner life was going on. The same holds true for this show is that
thereís such a constant and eminent threat underneath each and every
scene that these characters who probably if they had a week off
would develop all sorts of the hallmarks of PTSD [post-traumatic
stress disorder] and go through all sorts of debilitating grief
donít have the luxury of doing so because thereís just too many
other things that need to be done. So I would say that the
big breakdown is still coming but we definitely show glimpses of
If I had to compare it to another show Iíd actually put it up with
another great series in
Walking Dead, only replacing zombies with aliens and obviously
itís a little less violent because itís on TNT. With this
post-apocalyptic story, how are you, as an actor, able to really get
in the character where you believe and you translate that belief to
the audience as far as just being isolated in a sense of dire
Iím in a bit of a disadvantage. I havenít seen Walking Dead
yet so the comparisons that Iíve heard I canít say whether theyíre
well-founded or not. From my own preparation, nothing could be more
isolating then pulling a guy away from his family and sequestering
him and throwing him to Ontario for five months. (laughs)
Thatís the tongue-in-cheek answer. The straight answer is we watched
a lot of movies, we red a lot of books, we passed stuff around from
trailer to trailer trying to get everybody on the same page. In
terms of trying to find a level of continuity between everybodyís
performance so that we were all playing relatively the same stakes
but individualizing them. We talked a lot about encounters with the
aliens serving as metaphors for encountering the worst aspects of
our own personalities. So if you stop thinking of them as scary
alien creatures which would force you into the limited choices of
acting like Fay Wray in a King Kong movie and tried to
personalize it a lot more and having them represent something that
you really did not want to encounter at all costs. Then the level of
threats always existent but itís very specific to character. And I
think we accomplished that pretty well.
I was wondering because you havenít done too many big action roles
other than really the
Librarian series which was great, what did you have to do to
prepare for the action involved in the show compared to the previous
work that youíve done?
Oh, I probably should have done a lot more. I showed up and we all
had a couple of days of running around the sound stage and learning
gun safety. But in terms of physical preparation I found myself at a
disadvantage trying to keep up with Drew Roy who is part springbok,
Iím deciding. He plays my oldest son. Very early on in the pilot we
had to sort of run and jump and dive and whirl and roll and do all
these crazy things. All of which, eventually, I got more comfortable
at. But itís certainly not wearing the white coat everyday.
you find that you were able to do a lot of your own stunts or was a
lot of it done by a stunt team?
Kind of both. I mean, there are stunts but theyíre not real stunts.
I mean, running and jumping and sliding and diving all that stuff
looks so much better when the actorís doing it. So I did a lot of
that kind of thing. There was one sequence where Iím fighting one of
the aliens in a steam tunnel and I did all of that fight with the
exception of one throw where the alien sort of chucks me. That
required some wirework to get thrown high up against a wall. So,
thatís the one I farmed out to the double. And I had to learn how to
ride a motorcycle for this show which Iím still kind of terrified
by. So I can start one and I can stop one and I can kind of coast
through a scene on one but anything requiring any more acrobatics
than that I give to the double as well. Things like that.
Going back to the question of family for a moment, it seems like
thereís a good setup for some brother-related themes that are going
throughout various different stories with Captain Weaver and
the Band of Brothers mentality that he has with the
soldiers versus the civilians. Youíve got the Mason brothers and the
question of what theyíll do for each other in this situation. And it
almost seems like Mason and Pope might have the beginnings of
something setup for that discussion there in the theater. Is this
something thatís been discussed and planned or is it just coming out
in the performances as just a natural outgrowth of the story?
I think kind of both Ė not to give too non-specific an answer.
Relationships, especially when youíre starting up a new show, itís a
lot like testing spaghetti. You throw a bunch of stuff on the wall
and see what sticks. Certain relationships have greater resonance
than others and certain themes become more pronounced than others
and oftentimes theyíre not the ones that you expect to pop.
Certainly when we started it was pretty black and white that I was
coming from the humanist angle and Will Patton was coming from the
militarist angle and that we were going to butt heads continually.
Then as we got into the playing of it, Will brings such an
interesting complexity to his character and a lot of humanity to
what could easily be perceived as a two-dimensional character that
it became a lot more interesting to kind of explore the areas of
commonality between these two characters as opposed to the areas of
conflict and to see how under different circumstances these men
actually might like each other but are forced into opposite camps
because of their dueling ideologies. The same holds true with
characters like Pope where you know itís this notion of who your
allegiance is to. Obviously when you have an external threat from
another planet suddenly the divisions between black, white, rich,
poor, old and young get erased immediately against common enemy. But
if you take that enemy off the table for a moment and are allowed to
take a little bit of breathing room, what are the lessons weíve
learned? Or do we revert back to our own kind of pettiness and
clannishness? These are all themes that are worthy of exploring as
we go on.
talk about breathing room. It seems like your characters are
actually getting some of that where a comparison was made to
V earlier. It seemed like in that series it was really a lot of
slam, bang and no character development. Are you guys consciously
aware of being able to spend time with these characters before you
go in to just doing action sequences? Is that something that youíre
being careful about?
Well, you have to be careful about it even just from a production
standpoint because obviously action sequences require the most money
of an episode budget. If youíre going to give a little action
sequence in every show youíll get a little action sequence in every
show. But if you can buy yourself a couple of episodes by saving on
your post-production budget and focusing the drama on interpersonal
and character conflict then suddenly on the fourth episode youíve
got quite a large war chest to work with and you can stage something
pretty epic. So thereís a financial necessity that goes into it. But
also itís much more compelling to have the threat come, not as a
constant, but in waves. To have it start off as a huge wave and then
be able to get a lull and reflect a little bit and synthesize some
information and then to have another wave come and also the
anticipation of that wave coming is great dramatic tension.
What are the lessons learned after an encounter before the
next wave comes? I think that for this particular show it works much
better than having it be a constant threat.
I donít know if youíre a big fan of
Jason and The Argonauts like I am but I noticed that it had kind
of a feel of very Harryhausen feel to the aliens here with very sort
of mechanical and stop motion a little bit. I wonder what - did you
know anything about that if that was intended to make it look a
little different from what we see today or do you have any thoughts
I donít. I hope youíre not suggesting that ours looks like that kind
No, no, no, no. No. I donít know if you saw
Jason and The Argonauts, the old one but...
Yes, no. I saw it, yes.
I was thinking, is this a very - to me itís kind of scarier.
I donít know if that was predetermined or not. I donít say it
flippantly when I say I left the post-production to the
post-production people. My level of involvement really extended up
and through the writing of the scripts and the shooting of the
episodes and then we turned it over to the real technicians to flush
out this world. So I had nothing to do with it really.
can I ask you about the target audience for this is it going to be
more for families you think or how edgy is it going to get? How
violent do you think itís going to get? Will it be more like
Battlestar Galactica or more like...
Itís a really fine line to walk because you donítÖ You know, Iíll
use as an example the sort of budding love story between my
character and Moon Bloodgoodís character. We tee it up that thereís
an initial interest between these two and it starts the clock
ticking in the audiences mind about when this is going to get
consummated. As we were shooting the episodes we were always
conscious of the fact that we hadnít really advanced this
relationship at all. So weíd write sceneís where I would be on guard
duty and sheíd bring me a sandwich and weíd start talking about
whatever and suddenly it would get a little romantic. As we
rehearsed them or talked them through it seems like it immediately
dissipated the tension and level of credibility for the world that
we were trying to establish and that we hadnít earned that moment
yet. Then it stuck out like a sore thumb as an obvious beat in the
television show so we cut it. Instead we would play it out probably
more closer to the way it would realistically play out which is,
yes, thereís an interest from opposite sides of the room but these
are two very busy people who have to get back to work. As the season
progressed and we finally got into the final episode there was a
moment that seemed truly earned, very kind of romantic and I think
it became incredibly satisfying to have it pace out that way. Does
that answer your question at all?
Yes. But I was just wondering about like how edgy it was going to
be, how kind of...
Oh yes, that was the parallel I was trying to draw (laughs)
which is itís a fine line to walk because you want to create a world
where threat is very present but you donít want it to be so bleak
that it turns off viewers who are tuning in to watch more of a drama
than a genre show. By the same token thereís a science fiction
audience out there that I think the network would very much like to
attract that is coming with the expectation that this is going to
have a lot of epic battle sequences and be a fairly dark and violent
show. So itís going back and forth between the two. Itís having
moments of humanity and hope and humor punctuated by moments of
terror and action and then how we move on from there and get back to
the moments of humanity, hope and humor before the next attack
comes. I donít think itís going to get much more gratuitously
violent than episodes weíve already shot. I donít think that thatís
in the works but I donít think we really want to paint the rosier
picture of the world prematurely either.