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"Interview with Executive Producer Dan Owen" by Howard Wen
Q: As the Executive Producers now, virtually, for Millennium, is one of you or both playing the "spiritual role" of Chris Carter?
A: No, we're not actively trying to do things as we think Carter would have done them, necessarily. VS4 is a blending of what we thought were the best elements of Millennium; the reality-based characters and plots of season 3, and the supernaturally-themed episodes from season 2.
Q: Where does your personal knowledge of TV scriptwriting come from? (I noticed that you even appear to have Writer's Guild crediting assigned appropriately on the scripts.)
A: I'm a self-taught screenwriter, so my knowledge comes from reading real scripts and how-to books. For VS4 we simplified the script formatting slightly, allowed for greater description within scenes, and made sure every writer was aware of the fundamental basics regarding layout and length.
Q: Each season of Millennium was different in format from one another, either slightly or, as with Season 3, radically. This series had a difficult to pin-down format throughout its brief history. If I were a FOX programming exec and I wanted you to pitch to me quickly what kind of series and format it would be now under your reign, you would say: Or, say I'm an Entertainment Weekly reporter skeptical of yet another season of Millennium, what would you tell me to convince viewers to see your series now - why should viewers come back or check out Millennium now?
A: I'd say that unlike season 3 we've tried to remember what's come before and actually build upon it. Season 3 radically changed the show's format, as you say, but in so doing they took away all the best aspects of season 2. So VS4 has attempted to mould itself into a cross-breed of all the seasons. Every script is carefully checked incase it steps on the toes of existing episodes.
What people can expect is a faithful continuation of the show, which has picked up where season 3's finale left off, and has definitely not sacrificed too much continuity. Basically, VS4's restructured the show to appeal to fans' favorite elements.
Q: Had the series been renewed, what do you think Season 4 would have been really like, compared to what you devised? Or, do you feel that your version is just that - your best educated guess?
A: I don't think they'd do what we've done! Not in the slightest. Throughout season 3 they shied away from many of the characters and stories that proliferate throughout VS4. In fact, VS4 is more like a second attempt at season 3.
Q: How stringent are you in keeping Millennium Season 4 as "realistic" as possible (the way it would really have been had the series been renewed) and away from feeling "fan-fiction-y"? (I've noticed that from the scripts I've read thus far, it appears they are written with the series' original Vancouver production location in mind.) Basically, what are the storytelling "rules" for Season 4? (i.e. What kind of story ideas have you turned down and why?)
A: The term "fan-fiction" is scary. Most such work should actually be called "fantasy fan-fiction", since so many of the stories are peoples "dream episodes"; in that they generally come in the form of sequels to existing shows, or expand on favourite characters.
We didn't want every VS4 writer to simply hand in their "ultimate episode". Of course, it will be necessary to return to past characters and plots at some stage in VS4, but not every episode will pander to the past.
We have our own story arc that spans the season, so we really don't need to keep harking back to the past. But at the same time we don't forget the past, and on occassion we'll try and conclude or continue past plots. But it's a limited indulgence.
As for "rules". The main word everyone is asked to remember when writing is "budget". It's very easy to let your imagination run riot and create spectacular action sequences, or over-indulge in special effects. We chose not to do this, and instead limit our imaginations so each episode doesn't read like a Hollywood blockbuster, but a convincing effort to mimic the show.
Q: Describe to me how the process goes from story idea to final script approval. How closely does this parallel the way it works with a real TV drama series writing staff?
A: It's very difficult working online! I'm 100% certain that things would be much smoother if we could all have weekly meetings round a table face-to-face... but that's impossible.
What generally happens is that we discuss things on a staff forum (much like the reader forum at the VS4 site), then someone will have an idea for a story that Matt and I both like. We'll ask the writer to send us a short "synopsis" via email. If we like the synopsis, we sometimes ask for a complete story breakdown -- but usually we trust the writers enough to let them dive straight into the scripting stage.
When the script is complete it has to be "passed" by Matt and me, then the entire VS4 staff are free to add constructive comments which helps to raise the quality. Finally, usually after 2-4 rewrites, the final script is put online for all to see. And discuss, hopefully.
Q: Have you had any professional scriptwriters comment on your and your colleague's work? Anybody from the series' original production?
A: We got a pat on the back from the show's Editor and one of the writers in the newsgroup, but nothing detailed. I'm sure almost all of Millennium's real writers aren't aware of VS4, and if they are they probably palm it away as "silly fans delving in matters they know nothing about".
But we get around 200 people downloading the script each week, and posting their thoughts on our VS4 forum... and 97% of them enjoy each installment. They're the target audience.
Q: Even though the property doesn't belong to you, have you ever considered making at least a little money from your and your colleague's work? (For example, like I mused to you before, sticking banner ads between the scripts' acts or something of the like.)
A: That's all down to Matt, since he runs the website side of things. I'm pretty sure we wouldn't make that much money unless a big company like FOX wanted to sponsor us. Which I don't see happening!
Q: Though you say Season 4 might be all you guys will do, what would it take to convince you to "renew" for another season?
A: Money. Personally, I always considered the "goal" for Millennium was to provide an epic introduction to the real millennium through the eyes of Frank Black. So, we're aiming to release the VS4 finale on December 24, 1999.
In theory, we could continue into the year 2000 itself, but I doubt a grand finale in May, for example, would pack the emotional punch the 1999/2000 turnover has. But many people consider 2001 to be the real millennium's beginning...
Q: What's your writing experience? Any professional writing experience / credits? (Professional scriptwriting, by any chance?)
A: Nope. Just a self-taught guy who uses this as a hobbie and pasttime.
Q: If no professional credits, are you aspiring to work as a scriptwriter?
A: Naturally, it would be fantastic to do this job for real... but, perhaps too cynically, that's quite unlikely. Since I live in the UK, there really aren't any TV shows I'd want to write for, and our movie industry is practically dead.
Q: Why choose to write fan-scripts for Millennium and not another cancelled series?
A: Millennium is a show that was unfairly criticized throughout its lifespan. While season 1 criticism I can understand (too dark, too many serial-killers), the show achieved a level of sheer uniqueness on season 2 that was sadly overlooked by the public... and not continued very well in season 3. VS4 seemed the best "going away present" we could give the show's memory -- to make sure it reached 2000 in some form.
Q: Why cooperate with others and not work alone on your scripts?
A: I've contributed 3 scripts to VS4 so far, and by the end of the run I'll probably have written 4-5 more. Just doing the first 3 took a lot of time, so the prospect of writing 22 installments would be too time consuming and tiring.
Q: About how long does it take for you to write one script?
A: It depends what the story's about. "Genesis" had to be completed very quickly, and I did that one in 2 weeks with a 1 week polish. I took my time over "Blood & Water" and it took a month. It depends how enthusiastic I am over the subject matter. At best - 2 weeks, at worse about 5. Depends what the deadline is mostly.
Q: What kind of personal experience and skill-set (i.e. book smarts) do you bring as a writer to the Millennium fourth season?
A: Oh, I've always had a keen interest in the supernatural and all the "mysteries of life". Many occultish topics Millennium delves into I have at least a basic knowledge of. I have a good grasp of The Bible, too - which comes in very handy - but nothing too reality-based.
Since I'm not a US citizen, most of the FBI/police procedures are based on TV and movies, and I'll never be able to write a science-based show! The best tool is online research - I consider my best work to be scripts that have some proven reality behind them, and the internet is surely God's gift to writers.
excerpts of this interview were used in Howard Wen's Salon.com article, printed September 9th 1999
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