INFORMAZIONI SU QUESTO EPISODIO
A few minutes in, Brent Spiner stops the interview cold to tell Noah Wyle, as a friend rather than a host, that The Pitt is the best thing on television and that Noah is the reason. The room changes right there, and what follows is two hours of shop talk between people who actually know each other. Noah is on Dropping Names with Brent and Jonny, and he takes them inside the ER of the mid nineties, where the casts were shooting ninety page scripts for a forty eight minute show and a young Steadicam operator in pyjamas reinvented what a television scene could look like. He remembers Quentin Tarantino turning up to direct an episode and inventing an entire unscripted piece of business about a slippery can of Diet Coke, a paper towel and a puddle for Sherry Stringfield to slip in, all of it worked out with the enthusiasm of an eight year old. He talks about the live episode, the Fail Safe broadcast with Richard Dreyfuss and George Clooney, and the moment he watched Tom Cruise walk into a rehearsal for A Few Good Men in a white t shirt and cowboy boots and understood what a star is.
The conversation keeps circling back to how The Pitt actually gets made: no dolly track, no lights on the floor, no sides, no phones, lighting dialled from a board offstage, a lending library on set with a rule against bringing rubbish, background performers living a fifteen hour patient journey behind him, and one of them hiding Harry Potter novels inside a prosthetic pregnant belly. Noah explains why the show has no score, and how two music free episodes of another series became the proof of concept, and why the cast all read and worked to a pay tier so a fifteen episode drama could be shot in Los Angeles again. Brent tells the story of the glass thermometer that ended his career as a hospital orderly at sixteen, Jonny brings up the Maasai village negotiators who outbid Noah's per diem while shooting The Librarians in Kenya, and there is David Crosby in a Malibu restaurant telling Brent's twelve year old son that his father is a hero all over the world. It ends with Noah telling Jonathan Frakes exactly what fifteen years of working together taught him, and it is not about directing.
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