During yesterday’s interview, Peter Weller didn't only have spoilers and insights about the plot to share with those of us lucky to get to talk to him; he also had some interesting insights about science fiction which I think both Fringe fans and Peter Weller fans are going to enjoy. And so, just like with the John Noble interview, here are some of the best bits from the interview. And if you haven’t watched Fringe’s episode “White Tulip” yet, there are some spoilers ahead.
Why he chose to accept the role despite his reservations:
"I have to tell you honestly; I’m very discerning about primetime television, you know, guest stars. A lot of it’s entertaining, but sort of hamstrung stuff, but Fringe is unique. Fringe is the best that science fiction can be. It’s fantastic and it’s entertaining, but at the same time has a humanist theme to it of people, places and things and relationships.
Why he likes Fringe and is going to start watching it regularly now that he has guest starred on it:
"... I’m in Italy right now so I can’t watch the show, but we record the show now. ... Thank goodness for TiVo ... The thing is that when you're part of a show and you read it and you see an episode or two, then you become hooked on it. The same thing happened with me and 24 and now it’s happened with Fringe."
What he thinks of “White Tulip”:
"This episode is truly one of the most profound and entertaining and enjoyable jobs I’ve had in motion pictures or television or theatre that I can remember. I haven’t even seen it but I know it’s good. It may be even great. But it’s just extraordinarily worthwhile from the personal experience of the crew and the cast to this script. It was wonderful. It was just wonderful. As Shakespeare said, ‘Wonderful, wonderful and yet most wonderful.’"
How it was working with the crew and cast of Fringe:
"It was [the director’s] first directing gig. He’s one of the two DPs, and he was fabulous. He had a structure and within the structure, John and I got to invent and John is a very inventor actor. John is a workhouse. John has been around the block, man. He’s done theatre and everything, so it’s not like the director was working with a couple of guys at a diner, a couple of newbies. ...
The director really gave me a lot of leeway to work with stuff. He was great. He was terrific. It was as if he’d been directing all his life. And a lot of times you get a DP and many times they don’t make [good] directors ... because they’re so obsessed with a look and a shot that they can’t leave the room for actors to play.