April 5, 2025 • 32 mins
The Millennium Group Sessions Redux returns with actor, writer, director and producer Juliet Landau!
Juliet starred in the Season 3 Millennium episode Forcing the End. We chat with her about that controversial episode as well as the news of a possible Buffy revival and her new Buffy podcast, RE-VAMPED with Juliet Landau!
Hosts - Troy L. Foreman
Special guest - Juliet Landau
Twitter/X - @julietlandau
Instagram - https://www.instagram.com/juliet_landau
Facebook - Juliet Landau Official (Page)
https://www.facebook.com/julietlandauofficial
Facebook - Fans of Juliet Landau (Group) https://www.facebook.com/groups/julietlandau/
YouTube - http://www.youtube.com/@slayinitpodcast
Follow us on Twitter - @tiwwamm
Website - www.thetimeisnowmm.com
Podcast Intro - Lance Henriksen
Juliet starred in the Season 3 Millennium episode Forcing the End. We chat with her about that controversial episode as well as the news of a possible Buffy revival and her new Buffy podcast, RE-VAMPED with Juliet Landau!
Hosts - Troy L. Foreman
Special guest - Juliet Landau
Twitter/X - @julietlandau
Instagram - https://www.instagram.com/juliet_landau
Facebook - Juliet Landau Official (Page)
https://www.facebook.com/julietlandauofficial
Facebook - Fans of Juliet Landau (Group) https://www.facebook.com/groups/julietlandau/
YouTube - http://www.youtube.com/@slayinitpodcast
Follow us on Twitter - @tiwwamm
Website - www.thetimeisnowmm.com
Podcast Intro - Lance Henriksen
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
After a decade, The time is now, the wave is
becoming title. Join us in the campaign for the return
of FBI criminal profiler Frank Black and Millennium. This is
the back to Frank Black Millennium Group Sessions. My friends,
(00:26):
this is who we are.
Speaker 2 (00:34):
Hello, and welcome back to a brand new episode of
the Millennium Group Sessions podcast. It's been a couple of weeks.
I've been sick, and you can probably tell about my
voice that I've been sick. But I'm feeling a little
better now and I'm excited to get this episode out
to you, which we were trying to get out a
couple of weeks ago. But we're here now and we
(00:54):
have a great episode with Juliet Landau. She was in
the season three episode Forcing the End. She also has
a new Buffy podcast that she has and she also
is going to talk to us about the upcoming Buckfee
reboot or possible reboot. So sit back, relax, and enjoy
our conversation with Juliet Lendau.
Speaker 1 (01:18):
The following program was recorded on an earlier day for
presentation at this time.
Speaker 2 (01:22):
So I want to ask what was it like revisiting
this episode again?
Speaker 3 (01:26):
It was really wild to revisit it. I hadn't seen
it in such a long time, and thank you so
much for sending it.
Speaker 4 (01:33):
And I'm really excited that we're.
Speaker 3 (01:35):
Going to get to talk about this finally. I've been
wanting to do this forever, but it's it was wild
to see it now with the vantage point in the distance,
and to look at it more from the outside having
been on the inside of it.
Speaker 2 (01:50):
So I'm curious. You know, a lot of people knew
about the X Files diversy back then, but a lot
of people didn't know about Millennium, And I'm curious, what,
if anything, did you know about the series Millennium before
you accepted this job.
Speaker 3 (02:01):
I was taken with the show. I'd always gravitated to
Lance's performances. He's a brilliant actor, a force to be
reckoned with. He is so expressive and so specific. When
Millennium came out, I watched it immediately. I was just
saying something earlier to dev my husband about Gary Oldman,
(02:24):
who I worked with and directed. Gary is great at
listening and at absorbing, among other things. In Millennium, Lance
listens in such an active way, he thinks in such
an active way, which imparts loads about his character and
everything else going on. Another thing is that I had
(02:47):
also read for X Files and was one of the
three final choices for a recurring role that ultimately went
to another actress. I yeah, I thought that the versus
Millennium was really interesting and well executed. The premise of
Frank being able to see into the minds of the
(03:08):
killers was way ahead of its time. The characters were complex,
and it tackled many philosophical and societal issues.
Speaker 2 (03:19):
When you were proached about starring in this episode, what
made you decide to accept this role because this is
a dark series.
Speaker 3 (03:26):
Well, when you get the offer to work on a
Chris Carter helmed show, you say yes, And when you
offer right to work with Lance and Clia you say yes.
I mean, it's not something you pass up. I thought
the role was impactful. Jeanie had an incredible and extremely
emotional arc. I was excited to mind the depths of
(03:49):
the character. And it was also the first time that
I played pregnant.
Speaker 2 (03:56):
Okay, interesting, how was that experience?
Speaker 4 (04:01):
It was great.
Speaker 3 (04:02):
I have a funny story about the whole pregnancy pad
as well.
Speaker 4 (04:07):
Do you want to hear this? Greece okay. So I flew.
Speaker 3 (04:13):
Into Vancouver, and I got off the plane and I
went straight to a wardrobe fitting, and I asked if
I could take the pregnancy pad back with me to
the hotel so that I could work with it to
get familiar with it. I was staying at the Sutton
Place Hotel, which I have stayed at many times since
while shooting. I got to the room, I unpacked, and
then I put the pad on, and I was working
(04:35):
with the sense of.
Speaker 4 (04:36):
Weight, also lower back.
Speaker 3 (04:38):
Pain, how and where pregnant women rest their hands, what
it would be like to have movement in my middle,
all that good stuff which I had been working on prior,
but without the pad. So I was hungry, and I
had an early call, so I phoned for room service,
and I decided to keep the pad on and did
(04:59):
all my work with it with the waiter who came
to the door and he saw me moving and he
instantly became so solicitous. He was like, oh my god,
let me help you with that. Is there is there
anything I can do for you? You know, please be careful,
You're gonna take your weight off your feet right like
he was like this, and so I thought, okay, he left,
(05:21):
and I figured, Okay, you know, I guess I'm doing
a pretty good job since he reacted to me in
that way, And he had told me to call rather
than leave the tray outside the door. So about an
hour later, I took off the pad, I jowered, I
gotten into my comfy's.
Speaker 4 (05:39):
I called for the tray to be picked up.
Speaker 3 (05:41):
The same waiter knocks at the door and he did
this colossal triple take. I mean, he looked apoplectic and
he was blurting out things like oh, first he made
the sound came out of him like this.
Speaker 4 (05:57):
I got the sound, and then he was looking at
me and he was going, WHOA, what happened? Are you okay?
And I had to calm him down.
Speaker 3 (06:07):
And I got him calm and I explained that I
was shooting and I was playing a pregnant character. And
he said that he was used to productions coming in,
he was used to actors at the Sutton Place, but
he had one hundred percent thought that I was pregnant.
So once he calmed down, we had a really good
laugh and I figured, you know, I guess I'm in
(06:29):
okay shape to start filming.
Speaker 2 (06:35):
Now for the role, did you have to audition. Did
you like a self tape? What was that process like
for you?
Speaker 3 (06:42):
It was an in person audition at twentieth Century Fox.
I remember I was supposed to park at a facility
that was far away on the studio lot, but I,
shall we say, borrowed an unmarked parking spot next to
the bungalow where the audition was held. I figured I
wasn't going to be there long. It was a highly
(07:02):
emotional role, and I wanted to prep in the car
and then be able to get right into the waiting
room and keep my focus. I go into the waiting
room and it was packed with actresses all reading for
the role. I mean tons and tons of people. A
few were talking and having a really sort of robust conversation,
(07:22):
but I stayed in my focused zone, and after a
while I was ushered into a conference room. Nan Dutton,
the casting director, was there. It was different from many
meetings because there was this enormous conference table. Nan sat
at the width of it, and I took the seat
directly across from her, and I kept my prep going
(07:44):
while we exchanged words, and then she recorded for producers
and we jumped into the first scene. There were I
think two audition scenes, and both were intense. The second
one was incredibly harrowing and moving. Jeannie was falling apart.
I did them much, how we ultimately filmed them. I
(08:05):
thanked Nan and I left and I went back to
my car and freed the parking spot that I had
purloined like then got the call from my agent that
they had booked me. The episode was shot one week
later in Vancouver, and in those days, they would messenger
(08:25):
script revisions to your house, so you would keep getting
each differently colored script right, and you know, for a
long time that was how it was done. And now
it's been email, which is obviously much more immediate and
much less expense to the production.
Speaker 2 (08:43):
Yeah, the watching episode again myself. There are some very
emotionally demanding scenes in this episode. As an actor, how
do you prepare yourself to be able to go there
when the director yells.
Speaker 3 (08:55):
Action, Well, it's part of my job, and as an
actor you go to places that we all avoid in
our real lives. It's funny because as a younger actor,
I would read a script and I think, oh my gosh,
my character goes through the gamut of all this horrendous stuff.
I love it.
Speaker 4 (09:14):
I'd be so excited.
Speaker 3 (09:16):
And Jeanie certainly gets put through the ringer right from
her first scene, even before the title sequence. It is terrifying.
There are a lot of tears, there's lots of pain,
lots of pleading, lots of sobbing. The emotional states are high,
the physical too. She's pregnant, her home is breached, she's manhandled,
(09:37):
she's drugged, labor is induced while she's held up in water,
She's dumped on the doorstep outside her home. Her baby
is missing.
Speaker 4 (09:47):
Oh.
Speaker 3 (09:47):
When we shot the sequence where I'm dumped outside the house,
it was pretty crazy. Uh do you want to hear that?
Speaker 2 (09:54):
Yeah? Please? All the behind the sea stuff is awesome.
Speaker 4 (09:58):
Cool.
Speaker 3 (09:59):
So wardrobe, I had the idea to wet my clothes
so the continuity would track from the labor scene, and
same with my hair. Another way of making the clothes
and hair look wet would probably have been a better move.
They can put product in your hair, they can darken
the color of the clothing. Things of this nature. Keep
(10:21):
in mind, it was late at night, in the dead
of winter in Vancouver. I was in this sheathy material
that was drenched with soopping hair. I was lying on
frozen concrete, and the scene itself is supposed to be
the cliffhanger, you know, it's right before the commercial break,
(10:41):
it's is she dead or isn't she?
Speaker 4 (10:44):
It was so so cold.
Speaker 3 (10:47):
When you watch the scene, you can see the steam
coming out of Peter's mouth, the actor who played my husband,
And so my body started shaking violently, uncontrollably, and I
would have to try to still my seizing body in
between action and cut, and every time I'd be just vibrating, vibrating, vibrating,
(11:09):
and then action, I would hold it and then cut,
and then for some reason, we also had to do
a ton of takes. I don't even know why, but
somehow I did it. I'd pulled it off and I
guess it was mind over matter. And thankfully I didn't
get pneumonia or anything like that. But I did actually
slip on the steps of my trailer and the pouring
(11:31):
rain on the second or third day of the shoot,
so I had a swollen blue ankle for the rest
of the shoot, which we masked.
Speaker 4 (11:40):
Well, I think, wow, yeah.
Speaker 3 (11:43):
And then another thing that's wild about shooting in Vancouver
is that you continue shooting exteriors even in a downpour.
On productions, they often have a cover set. If it rains,
we go to an interior location and the schedule changes,
but not in Can. It was really, you know, coming
down for many sequences, and we just kept shooting. For instance,
(12:06):
when I'm being carried in on the stretcher and the
very first day, I asked, what do we do if
it rains?
Speaker 4 (12:12):
What's the cover set?
Speaker 3 (12:14):
And everyone just laughed.
Speaker 2 (12:22):
I'm wondering. Like an episode like the show Millennium itself,
the series Forcing the End was a really bold and
controversial episode of television for its time. I'm curious, when
you shoot an episode like this, do you think about
its emotional impact it might have after its release? Do
you even think about that at all?
Speaker 3 (12:40):
I saw that the thrust of the script was saying
that any sect or religion can get zealous. I'm of
Jewish descent, however, I wasn't raised religiously, but I didn't
see it as anti Semitic or pro or anti one
group over another. I saw it as anti zealot, anti
(13:01):
doing extreme bad things.
Speaker 4 (13:03):
In the name of good.
Speaker 3 (13:06):
Lance says nobody owns God or the truth at the end,
and that is such a powerful line I mean, I
was hired to flesh out Genie, and I found it
alarming and therefore dramatic and high stakes to kidnap a
pregnant woman, blindfold her, bind her, induce labor, dump her
(13:28):
back home, and make off with the infant. My friend Laurie,
who I've known since the second grade, was in fact
nine months pregnant when the episode aired, and she said
it was the ultimate mother's nightmare.
Speaker 2 (13:43):
Can you tell us a little bit about the basic
plot of this episode forcing the in and tell us
a little bit about your character my.
Speaker 3 (13:48):
Stab at the synopsis is Frank and Emma investigate when
a group of religious fanatics kidnap Genie, who is nine
months pregnant. The cult induce labor and abducts the baby.
Speaker 4 (14:02):
It is up to Frank.
Speaker 3 (14:03):
And Emma with the help or is it help of
the Millennium group to find the baby and get to
the truth of what is going on?
Speaker 4 (14:14):
What do you think? Do you think that kind of
surmises it.
Speaker 2 (14:16):
Yeah, that's pretty much it.
Speaker 4 (14:20):
And as far as my.
Speaker 3 (14:22):
Character, Jeanie is a happily married mom to be. She
is literally bursting at the scenes in the last throes
of pregnancy. She has a few happy moments at the
beginning of the show and a few euphoric moments at
the end of the show, and in between she goes
through a parent's worst nightmare.
Speaker 2 (14:43):
One of the most brutal scenes in the episode is
the one where the character the female character's stone to death.
It's a scene it's hard to watch even now when
we watched the episode, it's hard to watch, and it's
something that we know happened years ago. Well loved about
millennim is it never shot away from the horrors of mankind?
Agree with that?
Speaker 3 (15:01):
Yes, yes, I would absolutely agree with that. It is
hard to watch, and the show did not shy away.
It's one of the aspects that makes it so powerful.
Humans are often the scariest things of all, more than
fictional monsters. We can be and do the unfathomable, the
(15:23):
most monstrous.
Speaker 2 (15:25):
You had some really great scenes with Lance and Claia
in the episode. Can you talk about working with those
two on set?
Speaker 3 (15:32):
Oh? Yeah, it was phenomenal. I'm so privileged to have
later had the pleasure of directing Lance in my feature film,
A Place among the Dead, and my husband and I
did a phenomenal interview with Lance for a documentary project
that's coming out next year.
Speaker 4 (15:48):
Two.
Speaker 3 (15:49):
Every bit of the footage from that interview is compelling.
He is a magnificent raconteur on Millennium. When I was
prepping ahead of the shoot one particular scene that I
had in the hospital, it just kept bugging me. I
couldn't figure out what made it different from a hospital
scene that I had had earlier, and I kept bumping
(16:11):
up against that. Usually rehearsals in film and TV are
to some extent more for camera and for the crew
than for the actors, although I always try to find
the way to use them for what I need. But
I'm not keen to go into a camera rehearsal without
a clear idea of what I want to put into motion,
(16:32):
and I really had no idea. Lance is such an
actor's actor. When we blocked that particular scene, it was
so fluid working with him that I completely found what
was different about the scene.
Speaker 4 (16:45):
In the rehearsals.
Speaker 3 (16:47):
All of my questions were answered by the process of
finding the scene with him, and then it was completely
different from the earlier scene, even though on the page
it wasn't. And then Clia told me something that I
thought was so lovely and surprising. She told me that
she learned a lot from watching me, and I was
(17:09):
surprised because she was a series regular on the show.
Speaker 4 (17:13):
She said that she watched how.
Speaker 3 (17:15):
I took care of myself to be able to do
the kind of work that I needed and wanted to do.
Speaker 4 (17:21):
Whenever I'm shooting, particularly.
Speaker 3 (17:23):
An emotional character, I will initially seek out the first
d ad E on sets. The way it goes is they
generally ask everyone but the actors if they're ready. They
will do that, and then you'll hear camera speed. Camera
is self explanatory. It means the camera's rolling speed is
that sound is rolling, and then action and then the
(17:46):
scene ensues. So I ask the first to check with
me just before they check with the other departments. When
they do, I tell them that, you know, if I'm
good to go, or if I need thirty seconds more
or one minute, I know what I need to nail it,
and I explain that it's going to save them time.
(18:08):
If they do that, that they will get it every
single take and they'll be able to move on much
more quickly.
Speaker 4 (18:15):
And Clia said that she was going to do that
from now on.
Speaker 3 (18:18):
At that point, when we were talking, and I just
thought that was incredible, because the whole thing about that
is that that way you don't shoot anything that isn't
in the zone, and that thirty seconds or that one
minute or even two minutes just ends up saving so
much time.
Speaker 2 (18:36):
And you can kind of answered the next question because
one time I was interviewing Lance and he was telling
me how important it was for him to make guest
stars feel at home on set, because if they are
relaxed and in good spirits, it will make their performance
that much better, which will help the show. Did you
experience that with Lance one set?
Speaker 4 (18:52):
Yes, one million percent?
Speaker 3 (18:55):
If there was even more than a million, five million
percent I did on Buffy and Angel as well. You know,
guest stars come in like the new kid in school,
and they are coming into a well oiled machine, a family,
a structure, and often the guest stars have to carry
the heavyweight exposition or they carry the dramatic stakes for
(19:18):
that episode, and so.
Speaker 4 (19:20):
They have a big job to do.
Speaker 3 (19:22):
Often and Lance made me feel like I was at
home and part of the Millennium family.
Speaker 4 (19:29):
Immediately.
Speaker 3 (19:30):
Lance sets the tone by bringing his A game to
every shot on anything he ever does.
Speaker 2 (19:36):
The episode was directed by Thomas jay Wright, who we
call mister Millennium because he's directed over half the millennimy
episodes in the series. Could you talk about what it
was like working with him as a director?
Speaker 4 (19:46):
Yes, Tom was phenomenal.
Speaker 3 (19:48):
He knew the show like the back of his hand yep,
you know, I mean that was just so incredible. We
were shooting scenes where I was hysterical, and he allowed
me the space to do what was necessary, what was needed,
and he was masterful. It was unbelievable that he directed
so many because it kept a consistency when you watch
(20:11):
the show, don't you think so?
Speaker 2 (20:13):
Absolutely? Yep, that's why we call him mister Millennium. Yeah.
Speaker 3 (20:17):
But the thing is, it's also a crazy workload on
an episodic because at that time, each season was twenty
two episodes. I think season two of Millennium is actually
twenty three episodes, but usually season orders were twenty.
Speaker 4 (20:31):
Two at that time.
Speaker 3 (20:32):
And I just marveled at how unfatigued, energetic, focused, all
that amazing stuff. I just adored working with him.
Speaker 2 (20:44):
One of the guest stars on the episode that he's
a fantastic character actor, was the great I hope I
say his name right, Andreas Katsu lazom To how you
say his name?
Speaker 4 (20:53):
Yeah, I think that is how you say his name.
Speaker 2 (20:55):
A lot of viewers may know him from the One
Armed Man in The Fugitive with Harrison fur.
Speaker 1 (21:01):
Yep.
Speaker 2 (21:02):
Can you talk about him being the leader of the
cult and work with him on that episode?
Speaker 3 (21:06):
Oh?
Speaker 4 (21:07):
He was wonderful.
Speaker 3 (21:08):
It was crazy because we were both, of course, focused
on our tasks at hand. When you're shooting an episodic
or an independent film rather than you know, a studio movie,
the schedule moves very very fast, and so you don't
have the luxury of shooting, you know, just a few pages.
You're basically at least doing eight pages a day of
(21:30):
the script, and so you're really have to stay focused
on everything. And you know, he was the cold, detached,
unfeeling man on a mission, no matter the cost, and
I had to maintain a particular state to be ready
to shoot so many highly charged scenes. The old adage
(21:50):
to describe sets is hurry up and wait, and the
hurry up means that the actor has to be ready
when production is ready. You just have to be ready
on a dime. And so we both stayed focused, but
in between of course had wonderful laughs. He was really warm.
It was just terrific to work with him. And I
also Peter Wilds, who played my husband, we really bonded too.
(22:16):
We thought it was important to create a history and
a connection to believably seem married, and he was just
so lovely and fun to work with, and right from
the very first day, the first minute I was on set,
we found one another and he was like, are you
playing Genie? And are you playing Daniel? And we just clicked.
(22:37):
And then for the opening kitchen scene, I asked if
I could get in there early. It was a house
and not a bill set, and it was supposed to
be my kitchen, which Genie would be exceedingly familiar with.
I would know where everything was by road, I wouldn't,
you know, fumble with what kind of handles there were,
(22:58):
or where the spices are, anything of that nature. So
I got in there and I kept playing with cupboards
and drawers and burners, and I added dancing to the music.
Speaker 4 (23:11):
I thought that it would play up the privacy.
Speaker 3 (23:14):
Of the moment Genie being alone. I also thought it
would transmit that I was happy, happy in my marriage,
excited for the baby, and it would make Genie sympathetic.
It would make it that much more terrifying when the
audience sees the intruders. It would give her.
Speaker 4 (23:34):
Farther to fall, so to speak.
Speaker 3 (23:37):
You know, it would make her abduction more tragic. Although
the funny thing was at first, when I would cross
out of the kitchen near camera, I kept bumping the
lens and the camera and the camera operator and anything,
because I was just not used to my pregnant girth.
(23:58):
So I kept saying, so excuse me, oh oops, And
then I finally got the hang of Okay, I am
this much wider than I normally am.
Speaker 2 (24:07):
A reviewer named Emon Kennedy had an interesting observation about
the episode. He said, due to the fact that the
episode has sort of filtered through the eyes of Emma Hollis,
along with your character's pregnancy arc, it gives the episode
of femininity that we hardly saw in three seasons of Millennium.
Would you agree with that?
Speaker 3 (24:24):
Ooh, yes, yeah, I would agree with that. That's a
really great observation. Clia's Emma is such a fantastic feminine and.
Speaker 4 (24:35):
Strong, powerful, smart woman.
Speaker 3 (24:39):
She's so so, so good, She's gorgeous, she has such
a beautiful voice, and she carries this deep, soulful quality.
Speaker 2 (24:50):
I'm curious. Chris Carter has always said that he wanted
to make television that lasts and decades later, as you know. Well, no,
I'm a big fan of the show. The show still
has a strong cult following and getting new viewers every day.
Why do you think a serious that's so dark like
this continues to resonate with fans today?
Speaker 3 (25:11):
Great writing, a great cast, It has themes that do resonate.
It explores the human condition. I mean, I think that
is why it stands the test of time. What do
you think it is? Why do you think it has
I know you've talked about this a lot, but what
first drew you in and what continues to do so well?
Speaker 2 (25:36):
I'm really interested in the evil side of man, the
darkness of man, and I've been obsessed with like serial killers,
if that makes any kind of sense that I was young.
What makes them tick? How can a person who has
a conversation with you right now and I sound just
like a normal dude, can go out and do some
(25:57):
of the atrocious things some of these guys do and
gave it a second thought. What makes a person like
that tick. Yes, that's why I show like Millennium has
always interested me finding out what makes these guys tick.
Speaker 4 (26:09):
And what's so wild about that.
Speaker 3 (26:11):
Is is that it is a conundrum that almost never
gets answered. No matter how much time you spend in
that arena. There's still something so unfathomable about people being
able and wanting to do those heinous things.
Speaker 2 (26:32):
It's just it's crazy to me that someone could have
dinner with his family one minute and then commit these
heinous murders the next minute and come home like nothing happened.
Speaker 4 (26:42):
Yeah, I remember.
Speaker 3 (26:43):
I actually flew to New York to do a screen
test for something that they had flown me in for
and I was having insomnia, so I turned on the
TV and this documentary came on, and I don't remember
the name of the killer, but it was basically this
serial killer in England that had I don't know, something
like sixty people and it turned out that they were
(27:06):
buried all in the garden the family home, and it
was interviews with the wife who ultimately was the one
who found some of the keepsakes that he had the
way that they liked to do that, and had found
some IDs and some purses and some stuff, and so
she turned him in and his daughter, and I was
(27:30):
just so riveted, really in the horror of how they
had lived with him. And obviously it was like the
Jekyl and Hyde kind of thing. And then later they're like, oh, well,
maybe this was a little bit odd, but not so
evident until obviously it started to amount to where they
(27:51):
kind of put the pieces together.
Speaker 2 (27:53):
I know we've talked a lot about Millennium today because
you know that's my favorite show. But there's some big
news that came out of the head have to do
with you and one of your past shows. It's been
reported that there's talk of bringing Buffy back in the
very near future, and Sarah Michelle Geller even talked about it.
What have you heard? What do you think when you
(28:13):
first heard the news? What are your thoughts?
Speaker 3 (28:16):
Well, it's exciting news that there may be a potential reboot.
A brilliant team has been assembled. We'll see if the
show really gets picked up. I got to chat with
Radio Times about it, and I'm getting to chat with
Amazing You about it, which is just wonderful. And as
Dev likes to say, more will be.
Speaker 2 (28:38):
Revealed, So basically, you're excited about the news, but nothing
else to say.
Speaker 4 (28:48):
Well, I don't know. We'll see what sort of ensusan unfolds,
but I am. I am very excited about it.
Speaker 3 (28:54):
And we've actually been updating with what we know on
my podcast, so we will continue.
Speaker 4 (29:00):
To do that.
Speaker 2 (29:01):
Well, that's what I was going to lead into. Next,
just Buffy news. That also entails your Buffy podcast. Did
you just recently launched? You want to tell us a
little bit about that.
Speaker 3 (29:09):
Yes, it is Revamped with Juliette Landau, and we got
to chat a bit about it on another one of
your podcasts. Revamped is the first ever Buffy podcast with
a cast member as your guide. This has never been
done before. On the TV series, Buffy's Friends were called
the Scooby Gang, a reference to Scooby Doo. I played
(29:33):
vampire villainess Drusilla, also known as Drew.
Speaker 4 (29:37):
My co hosts on the podcast are Scooby Drew, who
adds her mischief and very distinct pov to the mix.
Speaker 3 (29:47):
I think this is another first doing a show like
that with one's alter ego. Then there's Sire, Rebecca and Watcher.
Dev Revamped has everything that fans love, heartfelt nostalgia and
it's a continuation of the characters they love with new
content and new entertainment as well. We are taking the
(30:10):
idea of the traditional podcast and evolving it. It's not
only like hanging out with your best friends, but I'm
producing what people think of for a weekly TV or
radio show and doing this within the podcast genre.
Speaker 2 (30:26):
This is another show that has stood the test of
time and still resonates to this day. And I find
it so fascinating about a show called Buffy the Vampire Slayer.
Speaker 3 (30:38):
Well, it really does tackle themes much like Millennium does that.
You know, it uses genre to get at things, and
I think that's one of the reasons that it stands
the test of time as well, to get at things
that we really are more comfortable looking at through the
lens of genre.
Speaker 2 (30:57):
And finally, not only do you have the Buffer podcast,
but you have some other really cool projects coming up.
Can you tell us a little bit about some of those?
Speaker 4 (31:04):
I do.
Speaker 3 (31:05):
I'm also recurring again on Bosh, this time Bosh Legacy,
which is coming out in March. I star in Big
Finish's Vampde audiobook series written expressly for me. Season one
was released October thirty. First Season two will be February fourteenth.
I starred as the Big Bad in the just released
(31:27):
Dragon Age The Vile Guard. I starred as the Big
Bad in Audible the projects they are original Slayers, which
we've also discussed. I starred opposite Malcolm McDowell in Theater
of Mystery, and I will be starring in the feature
memoir shooting in May. Also, my multi award winning feature
(31:49):
film A Place among the Dead was released worldwide last
year and is streaming worldwide. The Blu Ray, with nearly
five hours of bonus extras, is available on Amazon Prime
as well as other platforms and other outlets.
Speaker 2 (32:04):
Well, Julie, it's always, always, always a pleasure to chat
with you, and I'm so glad we got a chat
about Millennium because we've been talking about doing this for
a while now.
Speaker 3 (32:13):
We have I've wanted to be doing it with you
for so long.
Speaker 4 (32:15):
We have been talking and talking.
Speaker 3 (32:17):
I'm so excited and ecstatic that we finally got the
chance to sit down and talk about it.
Speaker 2 (32:26):
A huge thank you to Juliat Landau for taking the
time to chat with us about her episode of Millennium Force.
In the end, make sure you check out her podcast,
revamped with juliett Landau. We'll have links to all her
stuff in the show notes, and again, Juliet, thank you
so much for your time. Thank you everyone for listening,
and stay tuned for some new episodes
After a decade, The time is now, the wave is
becoming title. Join us in the campaign for the return
of FBI criminal profiler Frank Black and Millennium. This is
the back to Frank Black Millennium Group Sessions. My friends,
(00:26):
this is who we are.
Speaker 2 (00:34):
Hello, and welcome back to a brand new episode of
the Millennium Group Sessions podcast. It's been a couple of weeks.
I've been sick, and you can probably tell about my
voice that I've been sick. But I'm feeling a little
better now and I'm excited to get this episode out
to you, which we were trying to get out a
couple of weeks ago. But we're here now and we
(00:54):
have a great episode with Juliet Landau. She was in
the season three episode Forcing the End. She also has
a new Buffy podcast that she has and she also
is going to talk to us about the upcoming Buckfee
reboot or possible reboot. So sit back, relax, and enjoy
our conversation with Juliet Lendau.
Speaker 1 (01:18):
The following program was recorded on an earlier day for
presentation at this time.
Speaker 2 (01:22):
So I want to ask what was it like revisiting
this episode again?
Speaker 3 (01:26):
It was really wild to revisit it. I hadn't seen
it in such a long time, and thank you so
much for sending it.
Speaker 4 (01:33):
And I'm really excited that we're.
Speaker 3 (01:35):
Going to get to talk about this finally. I've been
wanting to do this forever, but it's it was wild
to see it now with the vantage point in the distance,
and to look at it more from the outside having
been on the inside of it.
Speaker 2 (01:50):
So I'm curious. You know, a lot of people knew
about the X Files diversy back then, but a lot
of people didn't know about Millennium, And I'm curious, what,
if anything, did you know about the series Millennium before
you accepted this job.
Speaker 3 (02:01):
I was taken with the show. I'd always gravitated to
Lance's performances. He's a brilliant actor, a force to be
reckoned with. He is so expressive and so specific. When
Millennium came out, I watched it immediately. I was just
saying something earlier to dev my husband about Gary Oldman,
(02:24):
who I worked with and directed. Gary is great at
listening and at absorbing, among other things. In Millennium, Lance
listens in such an active way, he thinks in such
an active way, which imparts loads about his character and
everything else going on. Another thing is that I had
(02:47):
also read for X Files and was one of the
three final choices for a recurring role that ultimately went
to another actress. I yeah, I thought that the versus
Millennium was really interesting and well executed. The premise of
Frank being able to see into the minds of the
(03:08):
killers was way ahead of its time. The characters were complex,
and it tackled many philosophical and societal issues.
Speaker 2 (03:19):
When you were proached about starring in this episode, what
made you decide to accept this role because this is
a dark series.
Speaker 3 (03:26):
Well, when you get the offer to work on a
Chris Carter helmed show, you say yes, And when you
offer right to work with Lance and Clia you say yes.
I mean, it's not something you pass up. I thought
the role was impactful. Jeanie had an incredible and extremely
emotional arc. I was excited to mind the depths of
(03:49):
the character. And it was also the first time that
I played pregnant.
Speaker 2 (03:56):
Okay, interesting, how was that experience?
Speaker 4 (04:01):
It was great.
Speaker 3 (04:02):
I have a funny story about the whole pregnancy pad
as well.
Speaker 4 (04:07):
Do you want to hear this? Greece okay. So I flew.
Speaker 3 (04:13):
Into Vancouver, and I got off the plane and I
went straight to a wardrobe fitting, and I asked if
I could take the pregnancy pad back with me to
the hotel so that I could work with it to
get familiar with it. I was staying at the Sutton
Place Hotel, which I have stayed at many times since
while shooting. I got to the room, I unpacked, and
then I put the pad on, and I was working
(04:35):
with the sense of.
Speaker 4 (04:36):
Weight, also lower back.
Speaker 3 (04:38):
Pain, how and where pregnant women rest their hands, what
it would be like to have movement in my middle,
all that good stuff which I had been working on prior,
but without the pad. So I was hungry, and I
had an early call, so I phoned for room service,
and I decided to keep the pad on and did
(04:59):
all my work with it with the waiter who came
to the door and he saw me moving and he
instantly became so solicitous. He was like, oh my god,
let me help you with that. Is there is there
anything I can do for you? You know, please be careful,
You're gonna take your weight off your feet right like
he was like this, and so I thought, okay, he left,
(05:21):
and I figured, Okay, you know, I guess I'm doing
a pretty good job since he reacted to me in
that way, And he had told me to call rather
than leave the tray outside the door. So about an
hour later, I took off the pad, I jowered, I
gotten into my comfy's.
Speaker 4 (05:39):
I called for the tray to be picked up.
Speaker 3 (05:41):
The same waiter knocks at the door and he did
this colossal triple take. I mean, he looked apoplectic and
he was blurting out things like oh, first he made
the sound came out of him like this.
Speaker 4 (05:57):
I got the sound, and then he was looking at
me and he was going, WHOA, what happened? Are you okay?
And I had to calm him down.
Speaker 3 (06:07):
And I got him calm and I explained that I
was shooting and I was playing a pregnant character. And
he said that he was used to productions coming in,
he was used to actors at the Sutton Place, but
he had one hundred percent thought that I was pregnant.
So once he calmed down, we had a really good
laugh and I figured, you know, I guess I'm in
(06:29):
okay shape to start filming.
Speaker 2 (06:35):
Now for the role, did you have to audition. Did
you like a self tape? What was that process like
for you?
Speaker 3 (06:42):
It was an in person audition at twentieth Century Fox.
I remember I was supposed to park at a facility
that was far away on the studio lot, but I,
shall we say, borrowed an unmarked parking spot next to
the bungalow where the audition was held. I figured I
wasn't going to be there long. It was a highly
(07:02):
emotional role, and I wanted to prep in the car
and then be able to get right into the waiting
room and keep my focus. I go into the waiting
room and it was packed with actresses all reading for
the role. I mean tons and tons of people. A
few were talking and having a really sort of robust conversation,
(07:22):
but I stayed in my focused zone, and after a
while I was ushered into a conference room. Nan Dutton,
the casting director, was there. It was different from many
meetings because there was this enormous conference table. Nan sat
at the width of it, and I took the seat
directly across from her, and I kept my prep going
(07:44):
while we exchanged words, and then she recorded for producers
and we jumped into the first scene. There were I
think two audition scenes, and both were intense. The second
one was incredibly harrowing and moving. Jeannie was falling apart.
I did them much, how we ultimately filmed them. I
(08:05):
thanked Nan and I left and I went back to
my car and freed the parking spot that I had
purloined like then got the call from my agent that
they had booked me. The episode was shot one week
later in Vancouver, and in those days, they would messenger
(08:25):
script revisions to your house, so you would keep getting
each differently colored script right, and you know, for a
long time that was how it was done. And now
it's been email, which is obviously much more immediate and
much less expense to the production.
Speaker 2 (08:43):
Yeah, the watching episode again myself. There are some very
emotionally demanding scenes in this episode. As an actor, how
do you prepare yourself to be able to go there
when the director yells.
Speaker 3 (08:55):
Action, Well, it's part of my job, and as an
actor you go to places that we all avoid in
our real lives. It's funny because as a younger actor,
I would read a script and I think, oh my gosh,
my character goes through the gamut of all this horrendous stuff.
I love it.
Speaker 4 (09:14):
I'd be so excited.
Speaker 3 (09:16):
And Jeanie certainly gets put through the ringer right from
her first scene, even before the title sequence. It is terrifying.
There are a lot of tears, there's lots of pain,
lots of pleading, lots of sobbing. The emotional states are high,
the physical too. She's pregnant, her home is breached, she's manhandled,
(09:37):
she's drugged, labor is induced while she's held up in water,
She's dumped on the doorstep outside her home. Her baby
is missing.
Speaker 4 (09:47):
Oh.
Speaker 3 (09:47):
When we shot the sequence where I'm dumped outside the house,
it was pretty crazy. Uh do you want to hear that?
Speaker 2 (09:54):
Yeah? Please? All the behind the sea stuff is awesome.
Speaker 4 (09:58):
Cool.
Speaker 3 (09:59):
So wardrobe, I had the idea to wet my clothes
so the continuity would track from the labor scene, and
same with my hair. Another way of making the clothes
and hair look wet would probably have been a better move.
They can put product in your hair, they can darken
the color of the clothing. Things of this nature. Keep
(10:21):
in mind, it was late at night, in the dead
of winter in Vancouver. I was in this sheathy material
that was drenched with soopping hair. I was lying on
frozen concrete, and the scene itself is supposed to be
the cliffhanger, you know, it's right before the commercial break,
(10:41):
it's is she dead or isn't she?
Speaker 4 (10:44):
It was so so cold.
Speaker 3 (10:47):
When you watch the scene, you can see the steam
coming out of Peter's mouth, the actor who played my husband,
And so my body started shaking violently, uncontrollably, and I
would have to try to still my seizing body in
between action and cut, and every time I'd be just vibrating, vibrating, vibrating,
(11:09):
and then action, I would hold it and then cut,
and then for some reason, we also had to do
a ton of takes. I don't even know why, but
somehow I did it. I'd pulled it off and I
guess it was mind over matter. And thankfully I didn't
get pneumonia or anything like that. But I did actually
slip on the steps of my trailer and the pouring
(11:31):
rain on the second or third day of the shoot,
so I had a swollen blue ankle for the rest
of the shoot, which we masked.
Speaker 4 (11:40):
Well, I think, wow, yeah.
Speaker 3 (11:43):
And then another thing that's wild about shooting in Vancouver
is that you continue shooting exteriors even in a downpour.
On productions, they often have a cover set. If it rains,
we go to an interior location and the schedule changes,
but not in Can. It was really, you know, coming
down for many sequences, and we just kept shooting. For instance,
(12:06):
when I'm being carried in on the stretcher and the
very first day, I asked, what do we do if
it rains?
Speaker 4 (12:12):
What's the cover set?
Speaker 3 (12:14):
And everyone just laughed.
Speaker 2 (12:22):
I'm wondering. Like an episode like the show Millennium itself,
the series Forcing the End was a really bold and
controversial episode of television for its time. I'm curious, when
you shoot an episode like this, do you think about
its emotional impact it might have after its release? Do
you even think about that at all?
Speaker 3 (12:40):
I saw that the thrust of the script was saying
that any sect or religion can get zealous. I'm of
Jewish descent, however, I wasn't raised religiously, but I didn't
see it as anti Semitic or pro or anti one
group over another. I saw it as anti zealot, anti
(13:01):
doing extreme bad things.
Speaker 4 (13:03):
In the name of good.
Speaker 3 (13:06):
Lance says nobody owns God or the truth at the end,
and that is such a powerful line I mean, I
was hired to flesh out Genie, and I found it
alarming and therefore dramatic and high stakes to kidnap a
pregnant woman, blindfold her, bind her, induce labor, dump her
(13:28):
back home, and make off with the infant. My friend Laurie,
who I've known since the second grade, was in fact
nine months pregnant when the episode aired, and she said
it was the ultimate mother's nightmare.
Speaker 2 (13:43):
Can you tell us a little bit about the basic
plot of this episode forcing the in and tell us
a little bit about your character my.
Speaker 3 (13:48):
Stab at the synopsis is Frank and Emma investigate when
a group of religious fanatics kidnap Genie, who is nine
months pregnant. The cult induce labor and abducts the baby.
Speaker 4 (14:02):
It is up to Frank.
Speaker 3 (14:03):
And Emma with the help or is it help of
the Millennium group to find the baby and get to
the truth of what is going on?
Speaker 4 (14:14):
What do you think? Do you think that kind of
surmises it.
Speaker 2 (14:16):
Yeah, that's pretty much it.
Speaker 4 (14:20):
And as far as my.
Speaker 3 (14:22):
Character, Jeanie is a happily married mom to be. She
is literally bursting at the scenes in the last throes
of pregnancy. She has a few happy moments at the
beginning of the show and a few euphoric moments at
the end of the show, and in between she goes
through a parent's worst nightmare.
Speaker 2 (14:43):
One of the most brutal scenes in the episode is
the one where the character the female character's stone to death.
It's a scene it's hard to watch even now when
we watched the episode, it's hard to watch, and it's
something that we know happened years ago. Well loved about
millennim is it never shot away from the horrors of mankind?
Agree with that?
Speaker 3 (15:01):
Yes, yes, I would absolutely agree with that. It is
hard to watch, and the show did not shy away.
It's one of the aspects that makes it so powerful.
Humans are often the scariest things of all, more than
fictional monsters. We can be and do the unfathomable, the
(15:23):
most monstrous.
Speaker 2 (15:25):
You had some really great scenes with Lance and Claia
in the episode. Can you talk about working with those
two on set?
Speaker 3 (15:32):
Oh? Yeah, it was phenomenal. I'm so privileged to have
later had the pleasure of directing Lance in my feature film,
A Place among the Dead, and my husband and I
did a phenomenal interview with Lance for a documentary project
that's coming out next year.
Speaker 4 (15:48):
Two.
Speaker 3 (15:49):
Every bit of the footage from that interview is compelling.
He is a magnificent raconteur on Millennium. When I was
prepping ahead of the shoot one particular scene that I
had in the hospital, it just kept bugging me. I
couldn't figure out what made it different from a hospital
scene that I had had earlier, and I kept bumping
(16:11):
up against that. Usually rehearsals in film and TV are
to some extent more for camera and for the crew
than for the actors, although I always try to find
the way to use them for what I need. But
I'm not keen to go into a camera rehearsal without
a clear idea of what I want to put into motion,
(16:32):
and I really had no idea. Lance is such an
actor's actor. When we blocked that particular scene, it was
so fluid working with him that I completely found what
was different about the scene.
Speaker 4 (16:45):
In the rehearsals.
Speaker 3 (16:47):
All of my questions were answered by the process of
finding the scene with him, and then it was completely
different from the earlier scene, even though on the page
it wasn't. And then Clia told me something that I
thought was so lovely and surprising. She told me that
she learned a lot from watching me, and I was
(17:09):
surprised because she was a series regular on the show.
Speaker 4 (17:13):
She said that she watched how.
Speaker 3 (17:15):
I took care of myself to be able to do
the kind of work that I needed and wanted to do.
Speaker 4 (17:21):
Whenever I'm shooting, particularly.
Speaker 3 (17:23):
An emotional character, I will initially seek out the first
d ad E on sets. The way it goes is they
generally ask everyone but the actors if they're ready. They
will do that, and then you'll hear camera speed. Camera
is self explanatory. It means the camera's rolling speed is
that sound is rolling, and then action and then the
(17:46):
scene ensues. So I ask the first to check with
me just before they check with the other departments. When
they do, I tell them that, you know, if I'm
good to go, or if I need thirty seconds more
or one minute, I know what I need to nail it,
and I explain that it's going to save them time.
(18:08):
If they do that, that they will get it every
single take and they'll be able to move on much
more quickly.
Speaker 4 (18:15):
And Clia said that she was going to do that
from now on.
Speaker 3 (18:18):
At that point, when we were talking, and I just
thought that was incredible, because the whole thing about that
is that that way you don't shoot anything that isn't
in the zone, and that thirty seconds or that one
minute or even two minutes just ends up saving so
much time.
Speaker 2 (18:36):
And you can kind of answered the next question because
one time I was interviewing Lance and he was telling
me how important it was for him to make guest
stars feel at home on set, because if they are
relaxed and in good spirits, it will make their performance
that much better, which will help the show. Did you
experience that with Lance one set?
Speaker 4 (18:52):
Yes, one million percent?
Speaker 3 (18:55):
If there was even more than a million, five million
percent I did on Buffy and Angel as well. You know,
guest stars come in like the new kid in school,
and they are coming into a well oiled machine, a family,
a structure, and often the guest stars have to carry
the heavyweight exposition or they carry the dramatic stakes for
(19:18):
that episode, and so.
Speaker 4 (19:20):
They have a big job to do.
Speaker 3 (19:22):
Often and Lance made me feel like I was at
home and part of the Millennium family.
Speaker 4 (19:29):
Immediately.
Speaker 3 (19:30):
Lance sets the tone by bringing his A game to
every shot on anything he ever does.
Speaker 2 (19:36):
The episode was directed by Thomas jay Wright, who we
call mister Millennium because he's directed over half the millennimy
episodes in the series. Could you talk about what it
was like working with him as a director?
Speaker 4 (19:46):
Yes, Tom was phenomenal.
Speaker 3 (19:48):
He knew the show like the back of his hand yep,
you know, I mean that was just so incredible. We
were shooting scenes where I was hysterical, and he allowed
me the space to do what was necessary, what was needed,
and he was masterful. It was unbelievable that he directed
so many because it kept a consistency when you watch
(20:11):
the show, don't you think so?
Speaker 2 (20:13):
Absolutely? Yep, that's why we call him mister Millennium. Yeah.
Speaker 3 (20:17):
But the thing is, it's also a crazy workload on
an episodic because at that time, each season was twenty
two episodes. I think season two of Millennium is actually
twenty three episodes, but usually season orders were twenty.
Speaker 4 (20:31):
Two at that time.
Speaker 3 (20:32):
And I just marveled at how unfatigued, energetic, focused, all
that amazing stuff. I just adored working with him.
Speaker 2 (20:44):
One of the guest stars on the episode that he's
a fantastic character actor, was the great I hope I
say his name right, Andreas Katsu lazom To how you
say his name?
Speaker 4 (20:53):
Yeah, I think that is how you say his name.
Speaker 2 (20:55):
A lot of viewers may know him from the One
Armed Man in The Fugitive with Harrison fur.
Speaker 1 (21:01):
Yep.
Speaker 2 (21:02):
Can you talk about him being the leader of the
cult and work with him on that episode?
Speaker 3 (21:06):
Oh?
Speaker 4 (21:07):
He was wonderful.
Speaker 3 (21:08):
It was crazy because we were both, of course, focused
on our tasks at hand. When you're shooting an episodic
or an independent film rather than you know, a studio movie,
the schedule moves very very fast, and so you don't
have the luxury of shooting, you know, just a few pages.
You're basically at least doing eight pages a day of
(21:30):
the script, and so you're really have to stay focused
on everything. And you know, he was the cold, detached,
unfeeling man on a mission, no matter the cost, and
I had to maintain a particular state to be ready
to shoot so many highly charged scenes. The old adage
(21:50):
to describe sets is hurry up and wait, and the
hurry up means that the actor has to be ready
when production is ready. You just have to be ready
on a dime. And so we both stayed focused, but
in between of course had wonderful laughs. He was really warm.
It was just terrific to work with him. And I
also Peter Wilds, who played my husband, we really bonded too.
(22:16):
We thought it was important to create a history and
a connection to believably seem married, and he was just
so lovely and fun to work with, and right from
the very first day, the first minute I was on set,
we found one another and he was like, are you
playing Genie? And are you playing Daniel? And we just clicked.
(22:37):
And then for the opening kitchen scene, I asked if
I could get in there early. It was a house
and not a bill set, and it was supposed to
be my kitchen, which Genie would be exceedingly familiar with.
I would know where everything was by road, I wouldn't,
you know, fumble with what kind of handles there were,
(22:58):
or where the spices are, anything of that nature. So
I got in there and I kept playing with cupboards
and drawers and burners, and I added dancing to the music.
Speaker 4 (23:11):
I thought that it would play up the privacy.
Speaker 3 (23:14):
Of the moment Genie being alone. I also thought it
would transmit that I was happy, happy in my marriage,
excited for the baby, and it would make Genie sympathetic.
It would make it that much more terrifying when the
audience sees the intruders. It would give her.
Speaker 4 (23:34):
Farther to fall, so to speak.
Speaker 3 (23:37):
You know, it would make her abduction more tragic. Although
the funny thing was at first, when I would cross
out of the kitchen near camera, I kept bumping the
lens and the camera and the camera operator and anything,
because I was just not used to my pregnant girth.
(23:58):
So I kept saying, so excuse me, oh oops, And
then I finally got the hang of Okay, I am
this much wider than I normally am.
Speaker 2 (24:07):
A reviewer named Emon Kennedy had an interesting observation about
the episode. He said, due to the fact that the
episode has sort of filtered through the eyes of Emma Hollis,
along with your character's pregnancy arc, it gives the episode
of femininity that we hardly saw in three seasons of Millennium.
Would you agree with that?
Speaker 3 (24:24):
Ooh, yes, yeah, I would agree with that. That's a
really great observation. Clia's Emma is such a fantastic feminine and.
Speaker 4 (24:35):
Strong, powerful, smart woman.
Speaker 3 (24:39):
She's so so, so good, She's gorgeous, she has such
a beautiful voice, and she carries this deep, soulful quality.
Speaker 2 (24:50):
I'm curious. Chris Carter has always said that he wanted
to make television that lasts and decades later, as you know. Well, no,
I'm a big fan of the show. The show still
has a strong cult following and getting new viewers every day.
Why do you think a serious that's so dark like
this continues to resonate with fans today?
Speaker 3 (25:11):
Great writing, a great cast, It has themes that do resonate.
It explores the human condition. I mean, I think that
is why it stands the test of time. What do
you think it is? Why do you think it has
I know you've talked about this a lot, but what
first drew you in and what continues to do so well?
Speaker 2 (25:36):
I'm really interested in the evil side of man, the
darkness of man, and I've been obsessed with like serial killers,
if that makes any kind of sense that I was young.
What makes them tick? How can a person who has
a conversation with you right now and I sound just
like a normal dude, can go out and do some
(25:57):
of the atrocious things some of these guys do and
gave it a second thought. What makes a person like
that tick. Yes, that's why I show like Millennium has
always interested me finding out what makes these guys tick.
Speaker 4 (26:09):
And what's so wild about that.
Speaker 3 (26:11):
Is is that it is a conundrum that almost never
gets answered. No matter how much time you spend in
that arena. There's still something so unfathomable about people being
able and wanting to do those heinous things.
Speaker 2 (26:32):
It's just it's crazy to me that someone could have
dinner with his family one minute and then commit these
heinous murders the next minute and come home like nothing happened.
Speaker 4 (26:42):
Yeah, I remember.
Speaker 3 (26:43):
I actually flew to New York to do a screen
test for something that they had flown me in for
and I was having insomnia, so I turned on the
TV and this documentary came on, and I don't remember
the name of the killer, but it was basically this
serial killer in England that had I don't know, something
like sixty people and it turned out that they were
(27:06):
buried all in the garden the family home, and it
was interviews with the wife who ultimately was the one
who found some of the keepsakes that he had the
way that they liked to do that, and had found
some IDs and some purses and some stuff, and so
she turned him in and his daughter, and I was
(27:30):
just so riveted, really in the horror of how they
had lived with him. And obviously it was like the
Jekyl and Hyde kind of thing. And then later they're like, oh, well,
maybe this was a little bit odd, but not so
evident until obviously it started to amount to where they
(27:51):
kind of put the pieces together.
Speaker 2 (27:53):
I know we've talked a lot about Millennium today because
you know that's my favorite show. But there's some big
news that came out of the head have to do
with you and one of your past shows. It's been
reported that there's talk of bringing Buffy back in the
very near future, and Sarah Michelle Geller even talked about it.
What have you heard? What do you think when you
(28:13):
first heard the news? What are your thoughts?
Speaker 3 (28:16):
Well, it's exciting news that there may be a potential reboot.
A brilliant team has been assembled. We'll see if the
show really gets picked up. I got to chat with
Radio Times about it, and I'm getting to chat with
Amazing You about it, which is just wonderful. And as
Dev likes to say, more will be.
Speaker 2 (28:38):
Revealed, So basically, you're excited about the news, but nothing
else to say.
Speaker 4 (28:48):
Well, I don't know. We'll see what sort of ensusan unfolds,
but I am. I am very excited about it.
Speaker 3 (28:54):
And we've actually been updating with what we know on
my podcast, so we will continue.
Speaker 4 (29:00):
To do that.
Speaker 2 (29:01):
Well, that's what I was going to lead into. Next,
just Buffy news. That also entails your Buffy podcast. Did
you just recently launched? You want to tell us a
little bit about that.
Speaker 3 (29:09):
Yes, it is Revamped with Juliette Landau, and we got
to chat a bit about it on another one of
your podcasts. Revamped is the first ever Buffy podcast with
a cast member as your guide. This has never been
done before. On the TV series, Buffy's Friends were called
the Scooby Gang, a reference to Scooby Doo. I played
(29:33):
vampire villainess Drusilla, also known as Drew.
Speaker 4 (29:37):
My co hosts on the podcast are Scooby Drew, who
adds her mischief and very distinct pov to the mix.
Speaker 3 (29:47):
I think this is another first doing a show like
that with one's alter ego. Then there's Sire, Rebecca and Watcher.
Dev Revamped has everything that fans love, heartfelt nostalgia and
it's a continuation of the characters they love with new
content and new entertainment as well. We are taking the
(30:10):
idea of the traditional podcast and evolving it. It's not
only like hanging out with your best friends, but I'm
producing what people think of for a weekly TV or
radio show and doing this within the podcast genre.
Speaker 2 (30:26):
This is another show that has stood the test of
time and still resonates to this day. And I find
it so fascinating about a show called Buffy the Vampire Slayer.
Speaker 3 (30:38):
Well, it really does tackle themes much like Millennium does that.
You know, it uses genre to get at things, and
I think that's one of the reasons that it stands
the test of time as well, to get at things
that we really are more comfortable looking at through the
lens of genre.
Speaker 2 (30:57):
And finally, not only do you have the Buffer podcast,
but you have some other really cool projects coming up.
Can you tell us a little bit about some of those?
Speaker 4 (31:04):
I do.
Speaker 3 (31:05):
I'm also recurring again on Bosh, this time Bosh Legacy,
which is coming out in March. I star in Big
Finish's Vampde audiobook series written expressly for me. Season one
was released October thirty. First Season two will be February fourteenth.
I starred as the Big Bad in the just released
(31:27):
Dragon Age The Vile Guard. I starred as the Big
Bad in Audible the projects they are original Slayers, which
we've also discussed. I starred opposite Malcolm McDowell in Theater
of Mystery, and I will be starring in the feature
memoir shooting in May. Also, my multi award winning feature
(31:49):
film A Place among the Dead was released worldwide last
year and is streaming worldwide. The Blu Ray, with nearly
five hours of bonus extras, is available on Amazon Prime
as well as other platforms and other outlets.
Speaker 2 (32:04):
Well, Julie, it's always, always, always a pleasure to chat
with you, and I'm so glad we got a chat
about Millennium because we've been talking about doing this for
a while now.
Speaker 3 (32:13):
We have I've wanted to be doing it with you
for so long.
Speaker 4 (32:15):
We have been talking and talking.
Speaker 3 (32:17):
I'm so excited and ecstatic that we finally got the
chance to sit down and talk about it.
Speaker 2 (32:26):
A huge thank you to Juliat Landau for taking the
time to chat with us about her episode of Millennium Force.
In the end, make sure you check out her podcast,
revamped with juliett Landau. We'll have links to all her
stuff in the show notes, and again, Juliet, thank you
so much for your time. Thank you everyone for listening,
and stay tuned for some new episodes
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