Others Interviews & AOL Chats
Interviews by various other members of the Production Team
David Nutter, Melinda Metz, Laura Burns, Jonathon Frakes, Kevin Kelly Brown, Ronald D. Moore
I don't have the dates of all the articles, but I tried to put them in roughly the correct order based on content.
(I wasn't always great with saving sources. If I know where and when the article came from it is listed)
Here is a list of the articles and interviews below
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John Doe Interviews John Doe: The Coolest Dad Ever Author: Rick Porter Date: Dec. 24, 2001 Source: Zap2it.com LOS ANGELES (Zap2it.com) - When John Doe released his last solo album, "Freedom Is..." he did a number of appearances in Borders bookstores to promote it. He'd play a few songs, then sign the CDs. Most of the fans who'd come to see him, Doe tells Zap2it.com, were what you might expect: a mix of younger and older folks who knew his work from the landmark Los Angeles punk band X and have since followed his solo career. "But every once in a while, maybe every other one," Doe says, "there would be this little clump of 15-year-old girls. And they of course would want to know ..." How he balances his acting and singing career? If he would be collaborating with the Old 97's again? When X might get together again for a couple of shows? "'Is Shiri cool?', No. 1 -- well, actually it's a close call, with 'How hunky is Jason Behr?'" Doe is in a position to have this information by way of his role on "Roswell," the aliens-in-high-school drama on UPN. He plays Geoff Parker, owner of the Crashdown Cafe and father to Liz Parker (Shiri Appleby), the girlfriend of Behr's brooding alien Max. For the record, Doe says the answer to the first question is yes, and he doesn't feel qualified to answer the second. "I'm also unable to tell them if Jason is a good kisser," he says, laughing. "Shiri says he's pretty good, but I don't have any personal experience. Yet. But you never know -- I did line dance. If they're gonna make a punk-rock guy do line dancing, they may have him french-kissing a man any second." Doe is working more steadily on "Roswell" this season, as the show's adults re-enter the story after being pretty much absent from the second season, its last on The WB before moving, along with "Buffy the Vampire Slayer," to UPN. "I think I worked twice the second season," he says. "This season has been much more family oriented. I think people got a confused with all the plotlines last year. It was a little too 'X-Files.' " That the shift in storytelling and the shift from The WB to UPN occurred at the same time is merely coincidence, Doe believes. "As far as it being more family-oriented [this season], that's just what the first season was about -- the human drama, dealing with the fact that there are aliens in our midst. That's a lot to deal with right there." Doe, who's appeared in about 30 movies since the mid-1980s, says the thing he values most about his work on "Roswell" is "the chance to keep my chops up." "If you go three or six months between jobs, for the first couple days you're flopping around like a fish, thinking 'Do I remember how to do this?'" he says. "Here, there's more time to develop a character, more different situations." He plans to continue his movie work during the show's off time; he recently completed work on an independent thriller called "Jon Good's Wife." "I know I'll be doing more independents because that's what I like, and that's what directors and casting directors like me for," he says. "It's where I'm comfortable. Basically, my take is more money, more bulls---." He's also continuing his music career. X reunites several times a year "for fun, and some profit," and he's working with songwriter-producer Joe Henry on some new tracks. He recently recorded a song with the Old 97's for a tribute album to the Knitters, X's countrified alter ego. "That was very strange, to be on your own tribute record," he says. His song "Totally Yours," from "Freedom Is..." will be featured in the Jan. 8 "Roswell," playing at the end of an episode in which one of the show's couples breaks up. Doe won't say who it is. He will admit, though, that he believes UFOs exist. "I saw one," he says. "It was definitely an unidentified flying object. Whether it was a spaceship or not, I couldn't tell you." He then adds, conspiratorially, "I think that's classified information. I'll have to check with the sources. We have more information than a lot of people. Being on the show 'Roswell,' they tell us stuff." David Nutter Interviews
The Nutter Files Executive Producer Roswell by Linda Lishings Having directed The X-Files, Executive Producer David Nutter sheds light on his vision of Roswell David Nutter knows the truth. "Our job is to make the best show we can make," says Nutter. "It's to hopefully make Roswell a show that has to be seen - undeniably." Having directed some of the most popular X-Files episodes including the Emmy award winning Clyde Bruckman's Final Repose, and the feature film Disturbing Behavior, Nutter has an impressive record to back this promise. Based on the Roswell High books by Melinda Metz, Roswell is the brainchild of Creator and Executive Producer Jason Katims (My So Called Life, Relativity) and Nutter. Those expecting Roswell to have FBI Agents chasing little green men around the world will instead discover aliens who breathe and speak like your average American teenager. Roswell will focus on the lives of high school students struggling with issues like love, popularity and trying to find a place in life. Roswell's primary focus will center on the search for identity from the teenage point of view. Similarly, the teenage extraterrestrials must conceal their pasts while also struggling to find a place for themselves in their new world. "It’s not just about teenagers contemplating their navel," says Nutter, "It’s about kids, about life and death and making very important decisions. It’s those layers of a show that can make something very compelling, very mythical and mystical." Roswell stars Shiri Appleby as the very human Liz, and Jason Behr as the other-worldly Max. William Sadler (Die Hard 2, Bill and Ted's Bogus Journey) also plays the strong-minded Sheriff determined to get to the bottom of the mystery. After graduating from the University of Miami in 1984, Nutter directed the independent film Cease Fire which starred a relatively unknown Don Johnson. Since then, he has established himself as a respected television director having helmed episodes of 21 Jump Street, ER, The Commish and The X-Files. He returned to his cinema roots in 1998 when he directed Disturbing Behavior whose cast included Katie Holmes and Roswell's Brendan Fehr and William Sadler. If The X-Files is where he made his mark. Roswell has given Nutter the opportunity to take the genre to another level. "Chris (Carter, creator of The X-Files) was very good at ending [a story] on a question mark, making the audience lean into the next episode. That’s something Roswell can actually do as well. That kind of sensibility would be very exciting." Nutter and Katims have also set Roswell in a culturally diverse state with strong Native American and Latino communities. Appropriately, they have cast actors from those communities. Majandra Delfino who is Maria De Luca, Liz's best friend; and Michael Horse who plays Sheriff Valenti's Deputy. "Now that we have a platform on The WB, our challenge is to help build the diversity of the show," says Nutter. "We have a real responsibility and challenge to examine diversity - branching out as much as we can - because I think it can be a very exciting show as far as that's concerned." Nutter also relates diversity issues to the themes of the show. "I used to say teenagers were the aliens among us. And I think all teenagers kind of feel that way in many respects sometimes…a lot of people feel that way…and I think that’s our challenge, to kind of embrace those feelings and get the very best people in the parts — and have a lot of fun with it." Jason Katims also adds "Diversity is something that's really important to us - to have the show branch out and reflect a sense of place and such a rich sense of place that you find in the Southwest. There are plans to make sure that the cast represents the place." Another group that Nutter is sensitive about is the Internet audience. "When I was at The X-Files, it was a situation where the Internet was really the world where the audience, who got on the Internet and really got into the show, made X-Files a cult hit. I think that's a wonderful group of people to try and win over but it's a very difficult group to win over as well." To that end, Nutter sees the Internet as an invaluable complement to Roswell. "Our goal is to make a show that's smart and compelling enough to have people become fans, get on the Internet and make it even better. It's a wonderful fan base to really spend time and get involved with and it will open us up into a whole different world." It's easy to recognize Nutter as a storyteller at heart with titanic vision. "Roswell is a timeless story about unrequited love, and that’s something that emotionally will bring the audience into making them want to watch the show and get involved with these characters." "To me, everybody wants to fall in love, teenagers and adults. That’s something we all have in common and something that really brings this show to the emotional front for an audience. There’s something very special about it." There are many challenges in producing a successful television series. Given the high hopes and cutthroat competitive nature of network television, finding the successful formula is almost as difficult as locating aliens in the desert. David Nutter has already found the aliens. by Linda Lishings Special to TheWB.com Melinda Metz and Laura Burns Interviews
Graduating From Roswell High Posted on Tuesday, November 27, 2001 From SciFiWire Laura J. Burns and Melinda Metz--the editor and author who created the Roswell High series of youth novels--told SCI FI Wire that it's like entering an alternate universe now that they are staff writers on UPN's teen-alien series Roswell, which is based on the books. Writing partners Burns and Metz recently completed their first Roswell script, "A Tale of Two Parties," which finished production the week of Nov. 19 and is slated for a Jan. 1 air date. The TV show is based on the first of the Roswell High books, but its plot and characters have diverged widely from the book series, the writers said in an interview. "It's sort of that we started in the same places ... and the show went in one direction, and the books went in a different one," Burns said. Burns added, "The characters are on different paths. The show has always been more adult. ... The books were basically aimed at 10-year-olds. ... So it had to be a much younger voice. And it was very much high school. And the show, the characters have just gone through so much, they're sort of wise beyond their years now and much more mature than your average group of 17- and 18-year-olds, and the stories are much more adult. ... But we love it just as much. We were always big fans of the show." Burns and Metz's first episode takes place on New Year's Eve. "We knew what kind of feel we wanted--just kind of a fun, fast-paced, bouncing around," Burns said. "There's a party, kind of a secret party. It's like a treasure hunt, and you follow clues. Everybody knows where the first clue is, and that leads you to the next clue, and the next clue that leads you to the party. And this is an annual thing that's legendary, like a rave, just the best party of all time, called Enigma. And what we thought is that we're going to put them on the road to this party, in various groupings, and follow their adventures as they try to find the party." Metz said she enjoys the collaborative nature of television writing, in which ideas and storylines are developed by a group of writers working together. "That's one of the things that I really like after writing books," Metz said. "I think I'll always like writing books and will always want to do it. But ... I just got tired of being in my apartment all by myself all day. ... I really love it. It's the opposite, but it's still stories. So I get to take that part, which I really love, and combine it with people, which I also love." Roswell airs Tuesdays at 9 p.m. ET/PT. Jonathan Frakes Interviews
Jonathan Frakes' Take on Roswell Posted on Wednesday, October 31, 2001 From Soap Opera Digest By Marc Wilkofsky UPN’s sci-fi soap Roswell hopes to engage brand-new viewers by boldly incorporating the network’s new Star Trek series, Enterprise, into its October 30 episode. Roswell Executive Producer and Star Trek veteran Jonathan Frakes’ directing — and appearing in — this special installment is his latest contribution to the series; however, contrary to popular belief, his wife Genie Francis’ (Laura, General Hospital) ethereal appearance as the alien teens’ mom in the first season wasn’t his idea. "Thania St. John, one of the executive producers in the first season, is a huge fan of hers, and she asked me if I thought Genie would do it," Frakes explains of how the key cameo was conceived. "Genie enjoyed it immensely; it’s always nice to do something different." Aside from hoping she’ll return to his show, he says, "We’re always looking for stuff to do together; we’d like to do a project where I would direct her." Having met on the set of the ’80s soap Bare Essence and married in 1988, they shared the screen again in an 1995 episode of Lois and Clark: The New Adventures of Superman, about which he says, "It’s a blast; it’s a real gift. It’s nice to go to work in one car." For now he has a regular role in her soap life: "I break the [GH] scripts down every night before she goes to work." The former Star Trek: The Next Generation actor (ex-Will Riker) has been connected to Roswell since its inception — "The project was brought to me, as a series of teen novels called Roswell High, since I am the official spokesperson for all things paranormal" — and is very pleased with the Enterprise episode, which he arranged. "I’m obviously in the Star Trek family, so I asked Rick Berman, who’s the arbiter of all things Star Trek, if we could do it, and he said, ‘Sure.’ And the availability allowed us to use [Enterprise’s] Dr. Phlox, John Billingsley." The way Enterprise is involved is far from forced: "Max is on a quest to find his son; the clues lead him to California. He needs to get some information out of some film vaults, which are on a film lot in Paramount, where they’re shooting Enterprise. So he gets himself an audition." Playing himself as the Enterprise director, Frakes tells Max he doesn’t make for a believable alien. Joe Pantoliano (Ralph, The Sopranos) guest stars in the episode as an alien shapeshifter named Kal Langley; look for him to have an important role in Max’s life in the weeks to come. Frakes had his own take on the Enterprise installment: "Roswell is a show in which you can do anything you want stylistically, and I tried to shoot the L.A. version of the episode with a little more pace and quick cutting than the Roswell side of it — part of the story takes place in Roswell, part takes place in L.A. — so I tried to make the two different towns feel different stylistically." The multi-talented actor has nothing but praise for his series, and commented on the reasons for its popularity: "As with most successful shows, certainly the stories are well-told, and that comes from Jason [Katims, co-creator and executive producer] and Ron [Moore, writer/producer], and then we have an attractive and talented cast — that helps. And I think people are really intrigued by the possibility that there are aliens. "Ron is fabulous; he is very gifted," Frakes adds of Moore, who scribed several episodes of Star Trek: TNG, where the two met. "He wrote a wonderful memo in light of the [terrorist-attack] tragedy that he distributed to all of us on Roswell. It was really encouraging and uplifting; he’s one of the genuinely good ones." LA TIMES Monday, April 10, 2000 Frakes to Guide Roswell Toward Older Generation Television Star Trek star hopes an emphasis on science fiction will attract more adults to WB series about teen aliens. By Greg Braxton, LA Times Staff Writer Jonathan Frakes, one of the stars of "Star Trek: The Next Generation," is now heading up the WB's "Roswell: The Next Generation." Actually, he isn't changing the title of "Roswell," the network's first-year drama about alien teens. But Frakes, who is an executive producer of the series, is helping move the show in a new direction as it re-enters the prime-time schedule tonight. It formerly aired on Wednesdays. While "Roswell" has focused on the melodramatic trauma of three alien teenagers as they try to fit in at school while endeavoring to maintain the secret of their identities, Frakes and his fellow executive producer--series creator and head writer Jason Katims ("Relativity," "My So-Called Life")--are hoping to revamp the show, instituting a heavier science-fiction emphasis that they hope will attract a larger and more adult audience. "We're really relaunching the series," said Frakes, who played Comdr. William Riker on the "Star Trek" spin-off and directed the two "Next Generation" films, "First Contact" and "Insurrection." He will be directing the season's last two episodes of "Roswell." "We really want to deal now with the mythology of the aliens," he said. "When the secret that these kids were aliens got out, there was really little for them to do other than stand around their lockers and talk about it. There are certainly enough teen angst shows." Frakes agreed with WB executives who felt that putting more of a sci-fi spin on "Roswell," which is produced by 20th Century Fox Television, would make the show more compatible with other WB youth-oriented series such as "Buffy the Vampire Slayer" and "Angel." Tonight's episode involves an alien hunter who tortures one of the teens. A future installment deals with the birth of the aliens. Twentieth Century Fox Television presidents Dana Walden and Gary Newman expressed confidence in the new direction, saying that Frakes and Katims were a potent combination to blend two distinctive genres. Said Newman: "Jonathan brings a real science-fiction credibility to the show." Added Walden: "Jason has a strong background with relationship-driven TV, and Jonathan has the edge on science-fiction. Together, they lift this show out of either of its individual genres." But Frakes has more than aliens on his mind. He's also working on another pet project--a spoof of "Star Trek." He's signed on to direct "Star Patrol!" a pilot for 20th Century Fox Television. "This is what I've really been waiting to do," Frakes said. He compared the project to Mel Brooks' "Spaceballs" and said the timing for it is right. "With the success of 'Galaxy Quest,' it's been shown that it's healthy to spoof one's self," he said. "We'll shoot it straight, so the dialogue will be really funny." Pointing to William Shatner's recent Internet commercial making fun of his image, Frakes said he didn't think "Star Trek" fans would be turned off by the satire: "The fans are not as blind as we sometimes make them out to be. They are loyal, and we won't be doing a disservice to them. However, if we don't offend someone, we haven't done our jobs." And what about another "Star Trek" movie? "I hear in the rumor mill that there will be a movie for 2001," he said. "I'm thrilled about it if it's true." Although he was pleased with 1998's "Insurrection," he called it a "smaller, romantic movie. I think we should go big again. We want galactic consequences this time!" JONATHAN FRAKES on Roswell's Success From scifi.com: He'll forever be known as Number One to generations of Star Trek: The Next Generation viewers--but actor Jonathan Frakes has branched out to other genre franchises. His successful post-Trek directing and producing career now includes the WB's Roswell, which returns for its sophomore season this fall. The series explores the angst and antics of three survivors of the Roswell, N.M. crash of '47. When we last saw local Roswell high-schooler Liz (Shiri Appleby) and aliens Max (Jason Behr), Isabel (Katherine Heigl) and Michael (Brendan Fehr), the group had opened up a Pandora's box on the aliens' past. That's something Frakes promises will be explored in more detail this coming season. Meanwhile, even as Frakes continues as an executive producer on Roswell's second season, he's readying a genre feature film, Clockstoppers, that he'll direct for Paramount. His duties on that film may limit his opportunities to direct future episodes of Roswell (he directed three in the series' first season). Plus, Frakes is closely following the talks for a 10th Star Trek movie, which he says could be ready by winter 2001. Roswell's renewal was touch-and-go there for a while. Did it really go down to the wire? Frakes: Well, they led us to believe that it went down to the wire. I personally feel that we were in a pretty good position, because the last six shows of our season were so strong, and it was such a new direction [for the series]. But I don't know--I wasn't in the room with the network. Were you taken aback by the support Roswell received from the fans at the end of the season, right down to the Tabasco sauce campaign? Frakes: I thought that was great. I wasn't surprised, because I know that there's been that kind of loyalty about Star Trek, historically, certainly in the original seasons; the original series was picked up partially because of fan support. So I was a cousin to that kind of phenomenon. I must say I was thrilled that that happened for Roswell; that was kind of a treat. What about the rest of the cast and crew? How did they react? Frakes: I think people who had not been around it had been quite amazed by it. First of all, our kids are all new--except for Bill Sadler, they're all relatively new to this whole phenomenon of being TV stars. So they all reacted with excitement, obviously. Some of them, I think, were surprised by how rapidly their lives have changed. Will the positive word of mouth on the show help as you head into the second season? Frakes: There's a nice history of second seasons [being when a show really starts] kicking in. Hill Street Blues certainly comes to mind, [and] The X-Files, and I certainly think that Roswell is going to follow in that lexicon of television. I think people who haven't seen it will catch up with it this summer. There is great word of mouth, and I think it's going to do much better on Monday than it ever did on Wednesday. The competition was too stiff between West Wing, which was arguably the best new show last year, and Voyager, which is a sci-fi audience, which is what part of our audience is now. So that was certainly tapping off some of our potential audience. And now 9 o'clock on Monday is not as brutal. Roswell has actually evolved into a show with a high degree of crossover appeal between sci-fi and straightforward drama. Was that your goal? Frakes: Well, originally the plan was to partner us with Dawson's Creek, because it was perceived as another teen angst drama. And now it's something that's certainly more than that. We're getting a really nice cross section [of viewers]. Metaphorically, you ended the season with a bang. Did you have a plan to end up that way? Frakes: It evolved, in all honesty, into a show much more about the mythology of the aliens than about the angst about teen romance. It's really become, in a lot of ways, about Max, who is, as [creator] Jason Katims likes to refer to him, not unlike Michael Corleone--he tried to get out, but he's always brought back. He is the leader, he is the number-one alien; and it's a great character for that. In the beginning of this coming season, all of the aliens in the show, certainly, are going to have to lead their lives in a different way; their lives have been changed forever. Which is exciting and challenging and I think is going to make for some great stories. There is going to be a great [revelation] of something that I'm not supposed to divulge in the first episode, which will help. And I think, at the end of the last episode, we certainly let them know that our aliens are not the only aliens out there, which is also an appeal--and fuel for a lot of the season next year. What is the path the aliens are on now? Frakes: They have begun to find out where they came from, and they've begun to understand who the character Nacedo is. And in the beginning of the second season, there will be an event that will alter the way our aliens lead their lives. So it's no longer going to be just between humans. We now have human-alien relationships, alien-alien relationships, and the fact that there are other races of aliens here on Earth with us, so it's a pretty cool sci-fi concept, I think. There's a new producer on board this season as well, someone who's quite familiar to genre fans - Ron Moore You encouraged Jason Katims to bring Moore on staff as a co-executive producer? Frakes: Yes. Ron Moore was the leader in creating the Klingon mythology that became such a big part of [Next Generation] and Deep Space Nine. 
Kevin Kelly Brown Interviews An Interview with Roswell's Kevin Kelly Brown Popgurls by Amy The tobasco was mailed. The e-mails were sent. TheWB.com posting boards were inundated with desperate pleas to keep Roswell alive for another year. Varying internet critics engaged in a battle of gossip: "The show is being canceled," "No, it's not, TheWB will pick it up," "No, it's dead in the water. Give up now and find a new cause." Fans praised the ones that gave them hope and avoided the naysayers. But when Tuesday, May 15th rolled around, Roswell's fate was sealed - there would be no final reprieve. Or would there? The rumblings of a UPN pick-up grew louder in the two days between the channel's new season presentations. The Wednesday between was filled with much trepidation and came with a satisfying payoff: an eleventh hour agreement by UPN saved Roswell from the brink of cancellation - the second time the series was saved at the last minute. Ushered into a cushy post-Buffy spot, Roswell has yet another chance to tell its story to a potentially larger audience. For the fans, this has been a bit of a mixed blessing. To say that this last season has been a little unfocused is putting it mildly. Undeveloped plot arcs, inconsistent character development and questionable writing have put a damper on even the brighter episodes this season. The characters that many fell in love with last season are now little more than a shell of what they once were Ü and the entire premise of the show has been shot full of so many holes that it's surprising that it's still managed to appear coherent. (Appear being the operative word.) But then something very interesting happened on the evening of May 21st. It was as if someone had taken a good, hard look at the series and realized that it had gone terribly awry. They swept out the hazy fog which had apparently taken up residence in the production office for the past year and wrote a finale that not only attempted to clear up some of the really fractured plotlines but also reminded the viewers why we loved the show in the first place Ü the delicate and powerful relationships of the few who vowed to keep a secret to the very end. The morning after the UPN upfronts, Executive Producer Kevin Kelly Brown graciously indulged popgurls with an interview. A fellow Buffy the Vampire Slayer fan, we chatted about the upcoming netlet jump, the struggles of the show: past and present, and the, uh, passionate fans. As any good fangurl would do, I tried to get Kevin to dish on the upcoming season. Somehow he managed to resist my charms. Congratulations on the pick-up. Yesterday, Dean Valentine said they realize "it's a terrific show with a fanatical audience." Do you think that had anything to do with the decision to pick up Roswell? Kevin Kelly Brown: Yes, in fact, I think that was even more critical than at TheWB. Because UPN is taking a risk that Buffy and Roswell do have a large female audience that UPN has not courted. I think a critical factor in their decision to pick up the show was the loyalty of the audience, knowing that the audience will come with the show, that they won't need to find an audience for the show. Also, it was very important to [UPN] to build a night. Buffy would be this oasis of female viewers that didn't pay off for them in any other time period. So they couldn't follow Buffy with a show that didn't have an equally broad appeal. I do not believe that anything they had in development would have gone well with Buffy, which is why they were willing to buy the show. UPN has such a male audience, while TheWB has pretty much stayed with the female audience. How do you think that demo-specific targeting will play into their respective successes? KKB: Here's what happened. UPN and TheWB started at the same time. It was predicted that UPN would be successful and TheWB would fail because UPN was launching with a new "Star Trek" show that would not be syndicated. From the get-go, UPN seemed to have the momentum. Their next show that hit just happened to be wrestling. So, probably not planned, but nevertheless somehow preordained, they ended up with this young male audience. Meanwhile, TheWB was finding itself pretty unsuccessful until Buffy, and Buffy delivered this huge female audience which Fox had abdicated. In Fox's efforts to become a broader-base channel, they abandoned these young audiences to TheWB and UPN. [The availability of these audiences] was instrumental in the creation of these two networks. Eventually, but I don't think intentionally, TheWB and UPN ended up splitting the audience. As a result, I don't think either network has been able to get much past the other in terms of ratings or total viewers. In demos, one network will do better [with the demo they're targeting]. But in terms of total audience, they have been about equal in the past two years. So, in my opinion, the network that manages to snatch more of the other guy's viewers will be the network that will be successful. I believe that UPN has a better chance of doing that because of [their] buying of Buffy and Roswell. Think about this, in a month, the netlet world [will] be completely transformed. Suddenly, UPN not only has the momentum but a huge chunk of that female teen audience. I think [TheWB] runs the risk of being left behind unless something like "Smallville" turns into a monster hit. UPN is owned by Paramount which is owned by Viacom. And Viacom also ownsMTV which last year shared "Celebrity Deathmatch" with UPN. Personally, I think it would be ideal to use the same plan to promote "Roswell" which is ideal for the MTV audience. KKB: The music is really great. Everybody forgets that Dido was nothing when we picked that song - nobody had even heard of her. And a couple of episodes we used that Fisher song, which was just perfect. I think that they should have added runs of "Roswell" on MTV on the weekend. Twice, this year and last year, the show has been brought back from the brink of death. KKB: I would say that's an understatement. (laughs) Have there been any last-minute plot changes and about faces that you've done because you thought you were going to be canceled? KKB: This is one of the most intriguing, yet odd questions I get from the fans. (laughs) Somehow you people are under the impression that we have the time or the money to just arbitrarily go out and shoot new endings or change scenes, or "Hey, this person didn't work out so let's recast them and re-shoot the whole episode." We barely make every show in eight days, let alone have time to re-shoot. If there was some kind of disaster, like an actor dies before you finish that's different. But we don't have any time or money to do that. Every once in a while, you may need to re-shoot something because the sound was off. In series television, you may have stuff left over from a previous episode, so you just jam it into the next episode. But, in terms of changing stuff Ü no. Besides, by the time [whether or not we're going to be canceled] becomes an issue - we're done. We're in post. Alright, spoilers. What is the general take on spoilers and do you take precautions to get fake spoilers out there? KKB: Yes, we do it all the time. We constantly throw fake spoilers out there - and by the way, 90% of what's on the spoiler board is wrong. Really? KKB: Fans will put out spoilers that are not really spoilers at all - but are their wishful thinking, their fantasizing, their speculating. But they put it on as if it's a spoiler. That stuff, we just look at and go, "Huh? There's no way that came from our camp." Have there been any plot lines that you've dropped due to budget constraints? KKB: It doesn't work that way. You don't write them if you know you can't afford them. What will happen is this: early on, before anything is written, when you are just breaking stories you'll float an idea. Perfect example Ü "Summer of '47." Everybody was like, "Are we going to be able to actually do that?" So, you send the line producer out there to see if it's actually possible to shoot a big chunk of an episode that's going to require period costumes and cars, make-up and hair... It's possible that story ideas are killed - but you don't go out and just write a whole episode [then kill it]. So, the Maria intros. Is this something that is going to be continuous? KKB: Ah, the now-infamous blackboards. No, it was done for two reasons. First, we lost six weeks and we felt that we absolutely had to bring the fans up-to-date, so to speak. Not only them, but anyone tuning in for the first time. More importantly, it was predicated on the fact that we had switched the order of the episodes, and we had to set up a device by which we could explain why "Off The Menu" was showing up when it was showing up. So, we could have either done it as a one-shot thing but that seemed rather risky. There seem to be a few people on Fanforum that seemed to be obsessed (my commentary) about taking every.little.thing. and blowing it up to some insane degree of symbolism. Like, there is this Liz-and-a-horse theory-- KKB: Wait, wait. Liz, and a horse? I'm not too up on it, to be honest. But apparently there's a sect of them that believes that Liz is represented by a horse throughout the episodes. Like, sometimes she has horse stickers on her mirror. KKB: I don't know Ü the horse thing, that's a new one on me. I've never really gotten it. But is there any sort of underlying symbolism that you try to keep in consideration? KKB: Some of the stuff, of course. The alien symbol and all that kind of stuff. Maybe sometimes the production department is having a little fun without telling us about it. For the most part, I think that the fans pick up on [things] that means something to them. [For example], the whole strawberry applesauce thing - because of the teaser in "Sexual Healing." It's not just our fans - there's entire religions built around the movie Blade Runner, for God's sake. But some of it, of course, can be quite humorous to us because we didn't intend it that way. My personal favorite is the 'infamous nod' at the end of "Max in the City," where [Max] asks [Liz] if she slept with Kyle. She didn't answer, but they said: "Is that a nod - or did she shake her head?" For weeks, they went on. They still ask me about it. What direction would you like to see the show to take? KKB: I think the show's great. I think we need to be more consistent in our storytelling, in particular with the emotional lives with the characters. I think that's the biggest issue that I have - but that's also a function of the fact that it's virtually impossible to do 22 episodes of a series. It's an insane regimen to begin with. You're just lucky to find enough storylines. I think one of the things that Joss Whedon does so well on his shows is that the emotional lives of the characters are often very consistent. If something affects a character in one episode, it's not just dropped. We should be better [at that], I think the actors in particular would like that. I think sometimes they begin to feel like pawns who are just being moved around a board. "Go to spot A and cry this week." For them, it's very important that if their character is being affected in an emotional way, that should be reflected in subsequent episodes. One nice thing is that you don't have the 'Buffy crying' scene every week. KKB: Thank you. I think you've mixed in the humour quite well. Definitely with capitalizing on Kyle. KKB: I personally think we have much more humour we can do. Now that we're on UPN, I think it would be hilarious to see aliens watching "Star Trek." I want to know what these characters are thinking - it'll either be "This is silly," or "That could be my father." (laughs) There are so many implications. It's funny - but it could also be "What are they/the world going to think of me?" KKB: Exactly. When you talk about consistency - the one thing about Isabel is her need to be "normal." I was talking to someone and they explained that this whole season has been about them reacting to their 'destiny.' That they've all tried to do a complete 180Á from what they had been doing all through their lives because they didn't want to be told what to do. And I think that part of Isabel's reaction was to seek out that 'normality' even more - and that tied in really nicely. KKB: Something that actually got dropped [from the book] that I was disappointed about, was that the Isabel character was obsessed with order. When she'd get upset, she'd go up to her room and she will dump all of her lipsticks onto her bed and rearrange them. Because they are all in perfect order all of the time. I thought that was a really interesting character trait, and I'm sorry we lost that. Another big thing that got dropped that was really cool was that Liz had a sister who had died of a drug overdose, which is why her parents were so protective of her. I always thought that we should at least tease [that idea], so we could bring it in at some point. How closely did you want to tie in with the book? KKB: It's not a question of how closely. The book is a template and you turn the book over to somebody like Jason [Katims] and he [adapts] it and makes it filmable for this medium. By design, 60 or 70 percent of what's in the book isn't going to make it in the one-hour pilot. As most people know, Jason completely changed the ending of the pilot. At first, I definitely resisted that, but then we never came up with anything that was as good until we came up with the festival idea. I thought that was absolutely the most brilliant choice that was made about the pilot. Back to my pet project, "Isabel the Lesbian." KKB: Yeah, what's up with that? Like I've said before, they've yet to create a strong male counterpart for Isabel. But more than that Ü there is no wrong. Guys would love it, and I have yet to find a woman - straight or otherwise - who is opposed to the idea. And I've expounded this to many a-folk. KKB: Hmm... And! And! The underlying tension in "Four Square" between Isabel and Tess. KKB: Oh yeah, even I was sitting back and looking at those dailies [and thinking], "Well, this is interesting. This could get very, very cool." Especially when they hugged at the end. (Much conspiratorial, agreeing laughter ensued) KKB: I think the problem has been that Katherine is so stunning and she is such a powerful actor Ü you can't simply throw up her up against somebody. Even when we started pairing her up with Colin, it was never supposed to go beyond a flirtation. But they just had so much chemistry together. I think a lot of people, including myself, are disappointed that it did not continue. That would have been a great relationship, but it would not have been an equal relationship. Alex would have always been at a disadvantage - we could have played that for laughs or we could have played it for sympathy, but we could have never played it for real. So, in order to hook her up with somebody they've really got to be a strong character. What have been a couple of your favorite episodes? KKB: I love every episode - some worked better than others. I would say that my favorites other than the pilot... the episodes that worked best for me are the episodes that worked best for the show: the relationships astride with sci-fi: Like, "End of the World" or "Summer of '47." "Toy House" is one of my favorites - it's amazing. "A Roswell Christmas Carol." The final six from last year. Those episodes, to me, are the ones where the show works best and frankly, if we can go there on a regular basis - then the show would be one of the great shows of all time. 
Ronald D. Moore Interviews Moore's Laws RONALD D. MOORE - THE WB He has explored new worlds in Star Trek - going where no one has gone before - and has helped elevate Roswell to another level. With the chance to bring Anne McCaffrey's Dragonriders of Pern to television, Ronald D. Moore has become synonymous with quality science fiction. In an interview with The WB, Ron shares his vision of Pern, his year in Roswell, and what the future may hold. The WB: How did you become interested in developing the Dragonriders of Pern as a pilot for television? Ron: Well, I read the books in college and they stuck with me through the years. I just sort of always enjoyed them, and they were in the back of my mind. As I approached the end of my tenure at Star Trek, I thought about what I wanted to develop on my own and what could be potential science fiction franchises, and Anne McCaffrey's books came to mind. The WB: Were the rights available? Ron: I tracked down the rights to Eric Weimuller, who had purchases rights from Anne McCaffrey with a Canadian production company to do a first run syndication version. I started talking to them seriously about running the show and doing the pilot, but the deal just never happened and it kind of went away. The WB: But you didn't give up? Ron: Years later, after I had left Star Trek and I was with Roswell, I spoke with Eric Weimuller again. The original deal had come to an end and they never developed the project further. He and I decided to take it out together and the natural place to go first was where Roswell was produced - Regency and The WB. I developed relationships with those people and they responded really well to it. That's sort of how I came to do a pilot for The WB. The WB: What are the challenges for visually transplanting Anne McCaffrey's books? Ron: The first challenge is deciding what to include because the world being created is large - there are something on the order of 17 or 18 books that cover quite a span of time. She goes 100 years into the past and how the planet was originally colonised. The story has many different characters and all kinds of different tales scattered across the planet. So, the challenge is to decide where to begin, and what would be the home of the series. The character that had always spoken the most strongly to me is Lessa. Lessa was in the very first book, called Dragonfight, and it was sort of her story - they journey of this girl whose family is slaughtered and who was then chosen by the Dragonriders to return with Benden Weyr. That, to me, was the perfect place to begin because she is sort of the eye of the audience as she goes from this sort of hard place to their world. Through Lessa's world we sort of explore the world of the Dragonriders. So, that was the crucial decision. Lessa is the star of the series; it's her journey and the audience is going to view the world of Pern through her. The WB: Has Anne McCaffrey been involved at all? Ron: I've spoken with Anne and so has Eric. I had a conversation with Anne just a couple of months ago when the pilot was getting picked up. We certainly value her input. The WB: What can fans of the books expect from Ron Moore's vision? Ron: I think they will recognize it...it will definitely be an interpretation of Anne's work. Bringing it to the screen has sort of required changing some elements, translating others, and moving characters around to sort of make it comprehensible to a new television audience. In a novel form, you have the luxury to have more freedom to sort of play around with things. In television you have to have the characters speak for themselves and the audience has to click into the series a lot faster. For the fans of the Pern books, it's not going to be the way they envisioned her, but if you watch the series you will recognize it. You'll go, "Yes, that is Pern. It's not exactly the way I envisioned it, but it's recognizable." The heart and soul of what made the book special is definitely there and the characters are there. It's a legitimate translation of the book. The WB: How would you compare the experiences between Star Trek, Roswell and developing the Pern pilot? Ron: They have all been very distinct experiences. The biggest thing is that you're dealing with different groups of characters because as a writer/producer, I'm telling stories about these distinct group of regulars every week and everything that I do is towards this goal. So, because the characters and the settings and the shows are so different, that's what makes it so unique and exciting. It has never been dull and it has never been the same challenge twice. To produce a show I've learned a lot and those skills translate from show to show. The challenges of writing the characters and delivering the episodes each week is very different for each of the shows because they have different rhythms and they have different styles of story telling and the characters themselves were distinct. The WB: Jason Katims (Executive Producer, Roswell) has said you've "brought a kind of fearlessness with [you] about the science fiction aspects of Roswell. It's been a wonderful working relationship between us because I think our strengths really complement each other..." Could you speak to what he said? Ron: It's been a wonderful working relationship. It has been one of the best working relationships I've ever had. Jason had tremendous writing talent and is an exceptional writer. He has great insight into the characters and he loves telling stories. Sitting in a room with him and just talking about characters and what we can do has just been an amazing and wonderful experience and it has been one of the highlights of my career. The WB: Then in both Pern and Roswell get picked up, would you consider writing and producing for both shows? Ron: I would love to do both in some capacity. Pern would be my primary - I'd be the show runner and essentially that would be my job. But, I would also like very much to still be involved with Roswell in some capacity. I think Jason has expressed some desire for me to do that too - God willing both shows are picked up and on the air. I love Roswell. I love the characters, the cast, the crew, the production team and the writers. I would love to keep my hand in there in some way. Fandom-Ron Moore Interview The STAR TREK alumni talks about the first episode of his new gig, airing Monday October 9th. Author: Anna L. Kaplan Date: 10/9/00 Ronald D. Moore, speaking from his new office where he works as co-executive producer on ROSWELL, is happy to talk about his job. After leaving STAR TREK and working for a stint on the short-lived series GOOD VS. EVIL, Moore was approached to see whether he was interested in joining the ROSWELL team. "My agents called me," recalls Moore. "I knew that Jonathan Frakes was working on it, but I had never actually seen the show. So I said, 'Why don't you send me some episodes?' They sent over about a half dozen from the first year. I watched, and I started to really like it. I found it to be endearing and smart. Then I met with [executive producer] Jason Katims. He asked what I wanted to do and what was important to me on a show. It was very important to me that I worked on something that I could be proud of, and that I felt that I could do good work on, and that was what I really liked about working at STAR TREK. I wanted a close writing staff. Those were my two primary objectives. That dovetailed pretty nicely into what he was looking for. At that point I hadn't seen the last couple of episodes of the season, and he said, 'You should definitely watch them, because the show changed in tone and direction towards the end of the year.' They sent those to me. I saw where they were going, and I liked the direction. Then it was just a matter of making the deal." Moore joined the staff in May of 2000. He was back at the Paramount lot where ROSWELL is filmed, although not in the same building as the STAR TREK offices. For the second season, Katims assembled a new team. Moore says, "There is a brand new writing staff. Jason obviously created the show and he is back. Toni Graphia, who is a consulting producer this is year, is also back, but she is just on a consulting basis. I am co-executive producer, the number two guy. The rest of the writing staff is all new. There's Fred Golan, a co-producer. Then there is a team, Gretchen Berg and Aaron Harberts, and they are co-producers. They used to be on 90210. There is Breen Frazier, who is a staff writer. He was the script coordinator last season. It was all of us getting together, and getting to know each other, and establishing a working relationship. It was a very promising beginning to the season." As Moore explains, the writers have settled on a direction for season two, following the finale of season one. He says, "There is a balance between the relationship aspect of the show and the science fiction elements, and when those elements are in balance, the show really has hit its stride. If you watch the first season, you can see them, like any show in its first year, feeling their way and deciding what direction the series is going to go. Eventually, they realized that they needed to bring more science fiction into the series. Where we are right now is just in a really good place, where the heart and soul of the show is still the relationships among the characters, and especially the relationship between Max [Jason Behr] and Liz [Shiri Appleby]. But now the stakes are higher. There is a stronger alien presence going on. There's a bigger canvas to tell stories upon, and it just makes everything, all the relationships, even more important and more crucial. It's like there is this little group of teenagers in Roswell that share a secret, and they are thrust into these situations. Because only they know the secret, it strengthens the bonds between them, and it makes those relationships more complicated when things aren't working out." Days & Nights of Roswell From Starlog, December 2001 "It's back to school as Ron Moore enrolls the teen aliens in a third year of human adventure." Despite the dramatic plot developments and behind-the-scenes uncertainty surrounding its final episodes last season, "Roswell" is back for a third year. Yet fans can hardly know what to expect this season, after "Roswell" switched gears between seasons one and two from being a teenage drama with science fiction trappings to a bona fide SF adventure with teen heroes. Where is Roswell going this year? Pose that question to series writer and co-executive producer Ron Moore, and you get a simple, yet telling answer: "It's going to UPN." "Roswell"'s move from the WB to UPN is significant in several ways. First, UPN gave the series a full-season order of 22 episodes, which frees the cast and crew to relax a bit while exploring new, creative roads for teen aliens, Max, Michael and Isabel and their human friends Liz, Maria, Kyle, and Valenti. Second, UPN is allowing "Roswell"'s producers and writers to push the show more toward character relationships, while backing off last year's plethora of SF plot threads. According to Moore, "The WB had decided they wanted the show to go in a more hard-core SF direction. We began playing that note at the end of the first season, and the second season was devoted to figuring out how comfortably the show could live in that environment. That's why we tried to do so many long-running plotlines. Many more aliens came into the picture, and we had more special effects and bigger SF ideas. But ultimately, we realized last year that we prefer to do something SMALLER with "Roswell." "So," he continues, "by the time we got to those last half-dozen episodes at the second season's end, after Alex died, "Roswell" became all about the internal workings of these characters and their relationships to each other. That's what we like to do, and that's where we think the show lives best and most comfortably. Going to UPN gives us the chance to keep it there." ALIEN TRANSFORMATIONS The overriding theme this year, Moore says, is change. "That's what the third season is all about. Last year ended with Tess getting into the granolith and leaving Earth, and basically closing off some plotlines – not to mention the kids' way home," Moore notes. "All the evil aliens that they battled through the course of the second season have been taken care of. They don't have a reason to fight with them anymore. The kids are marooned here on Earth, and with that in mind, they must face the reality that they're actually stuck here. What will they do with their lives? This sends them all in different directions." The change in networks also provides Moore and company with a way to unveil "Roswell" to new viewers, airing Tuesdays at 9 p.m., now following "Buffy the Vampire Slayer." "UPN is relaunching Buffy and Roswell as a night, together," Moore explains. "That gives us the opportunity to introduce the show to a whole new audience. With that in mind, our opening episode this year is almost like a new pilot. It says, 'Here are the characters, here's where they are and here's where they're going.' Then we will keep moving forward, revisiting plotlines from last year as little as possible. It's not like we'll be completely dropping things from last year, but we want to bring in a new audience and say, 'You like Buffy? Stick around!' Our demographics and Buffy's are almost identical, so that show is the perfect lead-in for us. Their audience is bigger, and hopefully if their viewers stick around, they'll enjoy our show as well." Written by executive producer Jason Katims and entitled, "Busted!," the third season premiere begins typically enough, with Max and Liz sitting in a car outside a convenience store, making out. Then they reach into the back seat and pull out ski masks and guns, and proceed to hold up the store. The reason? Beneath the store is a secret government facility containing the original ship that the kids crashed in. "At the end of the teaser, they're busted by the police," Moore grins, "The episode goes back and forth between the present, as they deal with the fallout of their actions, and the past, concerning what happened over the summer to bring Max and Liz to this point. They start this 'Bonnie and Clyde' storyline, where they're ripping off things and stealing clues, leading them ultimately to the convenience store robbery." "By the episode's end," he adds, "the charges are dropped because they expose this government operation, and the government doesn't want anybody to know what was REALLY down there. But Max and Liz are forbidden to see each other by their parents. So we introduce the element of families in conflict. It's becoming more of a true 'Romeo and Juliet' thing." Meanwhile, Michael decides he DOES want to graduate high school after all. "He's struggling because he has been a complete slacker all his life, and now he's like, 'Oh, I really have to make a life here.'" The greatest change of all has been saved for Isabel. She has been secretly seeing a lawyer, Jesse Ramirez (new cast member Adam Rodriguez), who works in her father's firm, all summer long. Now she is engulfed in a torrid romance, which will blossom over the first six episodes, culminating in a major event for Isabel – who does NOT tell her boy friend that she's an alien. "We sort of have 'Bewitched' in reverse," Moore chuckles. The writers had plenty of characters to choose from in deciding who should undergo the greatest development this year. Moore says they selected Isabel because "she's the one who seemed to need it the most. We had done some interesting things with Katherine Heigl's character, and we gave her a backstory on the other planet, but here in this world she wasn't developing as much as we wanted her to. We graduated her from high school early, and then it became a question of, 'What would be interesting? What would be the best thing to do for Isabel?' And at some point in a writers' meeting, someone said, 'What if she gets married?' And I replied, 'Whoa! She doesn't even have a boy friend yet!' But that's the cool part. Isabel is young and impetuous. She wants to firm up her life here on Earth, and she falls for this guy." In the second episode, Valenti – who lost his job as sheriff last year – starts hinting that he has a new way to make money. Kyle, who can't wait to quit his job, presses his father to know what it is – and learns that Valenti has gotten his old band back together in hopes of becoming a country & western music star. "Kyle and his father are going in new directions as well," Moore reveals. "Valenti has been doing nothing, watching TV and screwing around on the Internet. Kyle's the one who has gone out and gotten a job, so it's like the roles of parent and son have been reversed." Written by Moore himself, the episode's main focus is on Michael. He gets a second job working as night watchman at a pharmaceutical plant outside of town, and his coworkers are "a bunch of idiots," Moore describes. "They all get fired for stealing Snapple from the company, but Michael sneaks back to try to make it all right and discovers that the head of security is actually involved in corporate espionage. So, he gets the guys together and tries to bust their boss." The show is called, "Michael, the Guys and the Great Snapple Caper." HUMAN MODIFICATION Clearly, the "Roswell" recipe for success has been modified to include more laughs this year. "Year, it'll have a better sense of humor," Moore promised. "We're going to play things a little lighter in some instances. But the relationships are still going to carry forward, because they are the heart and soul of the show. The Liz-Max relationship is front and center, right from the first episode. The Michael-Maria relationship is ongoing, and Isabel has a whole new relationship to deal with." Fans of Colin Hanks will be treated to the actor's ghostly return, as the tries to counsel Isabel through the romantic troubles in the third episode. "The apparition of Alex appears, and Isabel talks to him as the tries to figure out what to do with her new relationship," Moore explains. "At first, Alex says, 'You can't go any further with this guy. You have to let it go, because everyone you get involved with dies!' But she's in love with Jesse." The exit of Alex and Tess at the end of last year will continue to impact the series, at least for a while. "Alex still haunts Isabel. She talks to him in her mind and in her dreams. He may make additional appearances later," Moore offers. "As for Tess, she has Max's baby, and that's DEFINITELY on Max's mind. We've talked about ways of seeing Tess before this season is over." Although Emilie de Ravin seemed to think she would be around for the third season as Tess (Starlog #287), Moore claims that her departure was "something that came up over the course of the second season. We started talking early on about the idea that she was actually working against the others. As the season went on, we started to think more seriously about how that would work and what the circumstances would be. It was not until we started focusing on Alex's death as a catalyst for all those plotlines that we realized Max's emotional upheaval would cause him to sleep with Tess." Viewer resentment of the Tess-Max relationship was strong, but Moore insists it was NOT a factor in the decision to part ways with Tess. "We know that people were up in arms about that relationship, and we were fine with that," he maintains. "As long as people care enough to keep watching, that's great! It wasn't like we were writing Liz out of the show. We always knew we were going to bring [the core relationship] back to Liz and Max. But we decided to give them a season apart, and give them some problems, so that when they did hook up again, it wouldn't be simple or easy. Their relationship will continue to be complicated." The Max-Liz connection works so well, as is so popular with "Roswell"'s fans, because, in Moore's opinion, "It's very romantic in the classic sense of the word. Max is a young man from another planet, with secrets. He saved her life in the first episode, and they became soulmates across time and space. It's a classic set-up. Beyond that, the appeal of their relationship has a great deal to do with the chemistry between Shiri Appleby and Jason Behr." Of all the episodes last year, Moore especially liked "The End of the World," in which a future Max comes to Liz with a desperate plea, and "A Roswell Christmas Carol," where Max heals a ward full of sick children. " 'The End of the World' was an outstanding show. It presented the series as best as it could be done, and in many ways. It was a great science fiction idea married to a very strong character relationship story. The Christmas episode was really sweet and nice, too." Among his own episodes, Moore feels "Cry Your Name" and "Ask Not" turned out best. "They were interesting shows," he believes, "and they came off pretty well." One criticism leveled at "Roswell" last year was that the series became too complicated for anyone who didn't tune in every week. Miss an episode, and suddenly you were lost. Moore admits that was a concern last season, which prompted the addition of Majandra Delfino's explanatory introductions. Those won't be back this year. "We don't want that perception to be out there, that we were too complicated," Moore reasons. "That's why we will make the episodes this season as accessible as possible to new viewers. The relationships will continue from episode to episode, because viewers expect that. On the other hand, plotlines will be more stand-alone. We will resolve them by the end of each episode." Melinda Metz, who created the original "Roswell High" concept in her series of novels, has joined the writing staff with her partner, Laura Burns. "They give us another voice, another perspective in the room," says Moore. "They're really talented and energetic young writers, and it's nice to have them here." [section about Moore's previous involvement with Star Trek and his pilot "The Dragonrider's of Pern" that fell through with the WB] Given the whole Pern debacle, it's easy to see that Moore is especially glad that "Roswell" is now on UPN. "It does help," he laughs. "I wasn't really looking forward to sticking around [on the WB]." Right now, he IS looking forward to a third year of "Roswell." "I can hardly wait to take these kids in new directions," Ron Moore enthuses. "We closed some doors at the end of last season, and that means we have to open new ones. That's an exciting thing. We have a really good, interesting show. If you tune in, you'll be drawn into "Roswell." We have a strong, likable cast, and if you give it a chance, you WILL fall in love with these kids the way we have." | ||||||||
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