When the sci-fi/political-thriller series “The Event” premiered on NBC in September 2010, the tagline was “What is ‘The Event’?,” but fans of the show could also be wondering, “Where is ‘The Event’?” In November, the show took a three-month break, and the series is set to return on NBC with a two-hour episode March 7 at 8 p.m. Eastern/Pacific Time. Then on March 14, “The Event” goes back to its regular one-hour time slot at 9 p.m. Eastern/Pacific Time.
In “The Event,” U.S. President Elias Martinez (played by Blair Underwood) finds out that a group of extraterrestrial aliens that look like humans have been living among humans, and some of them have been secretly captured by the American government. Martinez’s plans to free to aliens are delayed when he is the target of an assassination attempt. Emmy winner Željko Ivanek co-stars as Blake Sterling, the Director on National Intelligence who has secrets that he is keeping from the President. Here is what Underwood and Ivanek said when they chatted with journalists during a recent telephone conference call.
Can you both talk about how your roles and working on “The Event” has impacted how you look at the dynamics of government and world events?
Ivanek: Throw that at me, would you? The first thing that really comes to mind is just watching how the plot developments are just coming fast and furious in this second half of the season. It’s just you get this sensation of events just hurdling at you.
And kind of when you watch from the outside, you’re certainly watching like what just happened in Egypt. You think, “Oh, this is kind of astonishing,” but just that sheer momentum of events coming at you and finding yourself in the middle of things that are just moving way faster than the kind of human mind can really process.
And I’m not comparing this to reality, but it’s certainly within the world of the show. We’re having to constantly kind of like reassess what’s going on and within every episode practically there’s a moment where you think like, “What the hell!” And just the sensation of the pressure and this caldron that they’re all in is really, really vivid to me.
Underwood: Yeah, for me, as Željko said, the events are coming fast – the events; no pun intended. But they’re coming fast and furious. But it makes me think not only of Egypt but I mean Iran last year and everything that’s always going on in the world’s stage, especially in the shows of the President. Just the sheer weight and gravity of the office and the responsibility of the President of the United States. How daunting that must be to try to sift through that and try to stay one step ahead of what’s really going on. So it’s definitely given me more of a keen awareness, if nothing else, and interest in the world of politics and foreign affairs.
What appealed to you about the premise of “The Event” that made you each want to audition for it? And as actors, did all the secrecy surrounding the plotlines make it more difficult for you to create your characters?
Underwood: Let’s see. What intrigued me was the world itself and the fact that it was envisioned to be and has become a hybrid of certain genres. And many people have alluded to it being like “Lost” meets “24” — a political thriller/science-fiction [show].
So that was fascinating to me and to find out how to navigate through the blending of those two genres and beyond that, the character itself. I found him very fascinating in how he was initially drawn and even more so, and as Željko said a few minutes ago, not only the plotline, there’s a lot of twists and turns but our characters are constantly evolving and evolving pretty rapidly right now.
Ivanek: Yeah. I think I had a very similar reaction. The stuff that I find really intriguing is always how do ordinary people behave in extraordinary circumstances. And that’s why we have a lot of cop shows and lawyer shows and medical shows is that you’re looking for situations that just always heighten the stakes. And this was a situation with very heightened stakes and very real characters caught up in them and watching them kind of try to maneuver in a world that is so quickly getting past their grasp.
It’s the kind of thing that I just really respond to and I really like him and that’s certainly kind of held true as the season has gone on because you find him constantly having to shift gears and reassess where they are because the events are just coming at them so fast.
And in terms of the secrecy, I should answer that part of your question. I still don’t know what the Event is. I don’t know how many or if any of our cast members do. And in some sense, I respect the process that the writers have and that there’s a story that’s still evolving here and you’re trying to figure out at what pace to tell it and in some sense, I know as much as my character does in that moment and that’s kind of not a bad place to be.
Underwood: Yeah. I feel the same way in terms of the secrecy and I just haven’t really pushed the issue and not asked too much because I kind of don’t want to know. I just want to take the ride as the character takes the ride.
Was it frustrating for you for “The Event” to not be on the air for several months?
Underwood: I’ll say when I first heard that, yes. I was frustrated and concerned just because momentum is always a good thing and people need to become more and more engaged and care about something. It takes time to garner an audience. And for that reason I was frustrated, but for that reason, I understand that’s why we were taken off for three months so when we come back as Akiva said in the opening, we’ll be on for two hours initially, starting at 8’clock on March 7, and then we can be on the air for 11 weeks straight, without any interruptions. So we’ll have a chance to have momentum but we needed a three-month window off the air to create the episodes, to put them in the can and not have any interruptions.
Ivanek: Yeah. And I’ve got a similar reaction. It’s difficult. You obviously want to build an audience and this doesn’t make it easier. The people who liked you have to come back and you have to try to [get] people to come in. So obviously, the hope is that starting with an episode like this double episode will get people hooked back in. I’ve also seen the ad for the first time just a couple of nights ago that they’ve done. I think the new ad campaign is terrific as well and intriguing and we just hope that it will bring some new people into the fold.
Mr. Ivanek, some of your past characters were a little bit disturbed and sometimes very disturbed. How disturbed is Blake, because he’s so perfect and so obscure that we are not sure if he was really a good man?
Ivanek: I think that’s one of the things that I’ve really liked as the season has gone on is, , I think the assumption was because I was playing this part, automatically he must be the bad guy in all of this. And I’ve been happy to find out that there are worse guys lurking in this administration in this world. And I think also what I’ve liked is that things really change and shift gears as the season has gone on and there have been big changes and shifts in the relationship between Blake and the President which has been really fun to work on as well. As things happen, they each kind of change their positions and find themselves kind of making the opposite arguments at each other than where they started.
So I think I am anybody who reaches a position like the one I’m supposed to be holding I’m sure has a lot to answer for, but at the same time he’s clearly a patriot and clearly is trying to save the world. And then you get into the nitty-gritty of what is he willing to do to do that and that’s kind of the crux for a lot of the characters is how far are you willing to go to protect the things you think need protecting. And we’re constantly kind of challenged as the storyline ratchets up the stakes.
Do you find any similarities in your “Event” character in your personal life?
Underwood: As the President? I guess if there are any similarities, the fact that I am a father. I am a husband. I am very much a family man, aside from that, in terms of the issue and things you have to deal with and confront. Of course, there are no similarities there dealing with non-terrestrials and whatnot but that aspect of being a family man and a father and a husband, is very important to me and how President Martinez is portrayed.
It’s one of the many conversations I continue to have with the writers and the producers to be sure we show that side when we can. And we are beginning to see more of that with some of these new scripts that you’ll see in the next year and the next upcoming episodes, because I just think it’s important just to show different dimensions of all the characters which I think they’ve by and large have done an incredible job of doing so I’m happy about that.
What are some of your favorite scenes to film?
Underwood: Oh. The ones with Željko.
Ivanek: I’d say something similar, because to me that’s been the most interesting relationship. Obviously, there’s an enormous amount of story swirling around us but that really has been the crux of the season to me so far is the deepening of that relationship. We start in a very clear, antagonistic place at the start of the season and as things happen, we’re both forced to kind of reexamine where we are and who’s right.
And they are no kind of like black-and-white answers anymore to this situation that we’re in and so that the change in the tone of that relationship and the kind of almost deepening friendship that evolved and then gets challenged again as they find themselves, doubting each other again. That’s been the most kind of fascinating thing to me and certainly the most enjoyable.
Underwood: Yeah. I mean, because truly Zeljko’s character, Blake Sterling, is (especially in the later episodes) the only person that the President can really trust right now. And, of course, at the beginning of the season, you would have never thought that would be the case but it’s very interesting. So definitely those scenes and, of course as I alluded to before, all the scenes that show the family side of where the President is not being non-Presidential but being a family man in addition to the office that he holds.
You guys are looking to generate some excitement about the return of the show. What are some of the things that are exciting to you guys about the scripts you’ve seen and what sort of things can you tell us about some of the episodes coming up in particular.
Ivanek: I think for the in particular would be shot. But it’s really hard to answer that, because most of what is coming is just like one surprise after another and one turn after another and I think that’s exactly what they don’t want us to be discussing but I would say what’s coming up very soon is like a major shift in the relationship between Sophia and the President. And that’s kind of a driving force for the rest of the season, in a sense as far as I can tell, and that’s been fascinating to me to see that again.
I had assumptions about where things were going and how things would play out that have been upended pretty much with every script that I’ve read. And I’m hoping, obviously, it will do the same for the audience and make you go like, “Oh my God, now what?” Over and over again. And hopefully, just keep you in suspense and let you ride through the rest of the season.
Underwood: Yeah. I have to tell you, listen, maybe I’m biased but I fell in love with this story and these characters from the very beginning. So I’m very excited about where it’s going. But what I’m most happy about, I have to tell you, is the fact that the construct of the story telling is more linear.
So one of the complaints I heard a lot of, and I think most of us heard a lot of, was the fact that people were saying I love the show but the time jumps and the flashbacks are confusing me. And it’s important, I think, for people to know that watched the show, that felt like they got lost or left behind, that we’re no longer doing that. It doesn’t change the quality of the show. It doesn’t change the intensity and the integrity of the story telling but the way in which we tell the story in linear from beginning to end so it’s much easier to flow, it’s much easier to understand and much easier to follow. So I’m just excited about that, because I felt like that was our Achilles heel.
Ivanek: Yeah, I can’t remember the last example of a time jump thing at all now. Yeah, it’s been quite a benefit.
When you maybe don’t know a ton about what’s coming down the line, do you prefer to work that way or if would you rather have a little bit more information about what might happen down the line?
Ivanek: Yeah. I mean that may different for different characters. I don’t know. It’s not something we kind of sat down just amongst the actors, amongst ourselves to sort out if we’re all having the same experience or different experiences. I’ve been satisfied that I know as much as I need to know to play the scenes I’m playing. That whatever background information I’ve asked to get about something, whatever my character needs, knows up to that moment, they have been free with and have fully explained and brought me up to speed.
I kind of liken Blair alluding to his excitement of the script arriving and going like, “Oh my God. Let’s see what happens next.” It’s actually exciting just to kind of read through and realize how much the ground just keeps shifting under all these characters as the plot evolves. I went through a similar situation a little beyond “Damages,” where I was given a kind of overview early on about a sort of general ark of the story but it was pretty generalized and vague. And again, the sense was just to tell me enough so that I know as the character where I am in a particular moment and be able to play that. So as long as I feel up to speed enough to play the scene that I’m actually having to play next, I’m fine with that, and the rest is for other people to worry about.
Underwood: Yeah. I feel the same way. Once in a blue moon, something will come up and you just feel as though you need more information in order to play the scene accurately. But it changes. I mean what’s important in that moment could possibly change and, , Željko and I both worked in series television for a while, and we know that it’s a whole animal unto itself and it can shift according to what the audience wants to see or the producers change their mind. So by and large, I feel the same way. I know what I need to know at that time and if I need some more information, then you ask the producer and the writers, “What do you think?” And because they’re usually three, four, five steps ahead of you. Željko, you notice I said usually.
Ivanek: Usually. Yeah.
Underwood: And sometimes you get the script the night before and you say, “OK, maybe one step ahead of us.”
Did you use any reference from movies or TV to create your characters?
Underwood: Yeah. I want to make sure I always say that of course I’m not playing the current President, President Obama. But you can’t help but be aware of course and possibly influenced by the fact that you have a youthful, family-oriented, newly elected president in his third year right now. But also I’ve gotten in the last of course year or so much more interested in watching historical, some of these documentaries. I was watching one on President Reagan last night because now it’s a whole different perspective on that life lived inside the walls of that White House and behind that Oval Office desk.
So I find I’m much more interested. I find myself pulling different pieces here and there and there’s always the person that the President is and then there’s how the President is perceived. And it does influence how you build a character, portray a character. I mean, in watching especially Ronald Reagan’s documentary, one of the things I wanted to be sure to do or hopefully will do more of is show his patriotic side. How much he loved this country. And I think sometimes you have to state that. You assume if someone’s the President that he is that and feels that way but sometimes it’s important to say. And that that’s impacted by watching certain real- life presidents — in this case, Reagan.
Ivanek: I read the first script and kind of started seeing what this world was like. There was some obvious kind of real-world models to look to, like Dick Cheney and Donald Rumsfeld. And I luckily just read, just before we started the pilot, a book called “The One Percent Doctrine” about kind of politics within the Bush Administration, following 911 and a good deal of it is about Dick Cheney, and saying if there’s a 1 percent chance of something happening, then you are justified in basically taking all measures to prevent that from happening if it’s a threat to you.
So that was very useful and the politics that go along with that and the bureaucratic politics that go along with that were all kind of useful information going in. And then at some point, the real story and the show takes over and the real relationships take over. And it’s not that you leave all the rest of that behind but suddenly you’re dealing with a very, very specific new set of circumstances. So it was certainly an inspiration looking to real-life characters like that, but at some point, you’re in the world of the show and that takes over.
You say that the show has a lot of flashbacks. So do you think that maybe that kind of narrative is complicated for the audience and also maybe why the ratings have not been as you want?
Underwood: Yeah. Well, I have to say I don’t think the [ratings for the] show is because of the flashbacks are complicated. I think because the context of watching a television show at home and life is so fast paced and people are multi-tasking, I think if you don’t pay attention, it becomes complicated and complex. It’s not that hard to follow if you’re able to pay attention and it’s just the way life is. It’s not always the case.
And also I think the ratings weren’t as stellar as we hoped not because of the show or the interest in the show but because of the competition we were up against. We were up against two, really three, but two iconic TV shows: “Monday Night Football,” which is an American tradition, of course; “Dancing with the Stars,” which has become iconic in and of itself; and then “Two and a Half Men” on CBS, for the first half an hour, which is the number one comedy on television. That’s a crossfire of intense competition.
So it’s another reason I’m glad we took three months off because we come back, we’re not in the middle of that kind of competition. I know what’s been great for us have been the DVR recording ratings. In other words, people who tape the show. By and large every week, our audience has increased 29 percent to 30 percent. That means people are recording the show and enjoying the show. So all that comes into play.
What have you pulled from the current President and previous Presidents to guide you through this series for the show?
Underwood: Well, the biggest lesson is that they’re all so different. I mean their personalities and their backgrounds make them all so uniquely different. So that was important to understand. I mean, people talk about being presidential. What is presidential? And to me, it’s someone who can engender trust and people will believe in him to follow his gut and his instincts to lead the country in the right direction, whatever that means. I mean, that’s different for everybody. But you have to believe in that person.
Beyond that, I think it’s trying to be as truthful and as honest and sincere as possible to do whatever you feel is the best way to lead a country. And the last book was “From Cape Town With Love,” and that came out already, and we’ll have a new book coming out within a year called “South by Southeast.” Zeljko, I’m sorry. I’m being long-winded over here.
Ivanek: No. I’m learning things. I want a copy of the book on my table.
Underwood: Oh, all right. You got it. As soon as it comes out.
Mr. Ivanek, you mentioned earlier that people assume that you always play the bad guy. So are you afraid of being typecast as always being the serious, dark type of character, or do you find that a good thing?
Ivanek: I find it a good thing to keep working. So the typecasting doesn’t necessarily bother me as much as you might think. I don’t know whether I just look sinister in a suit or if people are prone to see you in certain character and certain series and kind of respond to that and that’s kind of what you get. I’m not sure where all that comes from but it’s interesting stuff to play. It’s fun to play. It’s fun to play characters who can be one thing on the surface and kind of another thing down below and there’s a lot of kind of variety and juice in all of that. So I don’t feel straight-jacketed by it.
Yes. It would be nice to get a laugh once in a while and a little change of pace once in a while and luckily that still happens. But as long as the characters themselves are interesting, I’m just happy that they keep asking me to do it and that I get the chance to work and stay in the business and grow and work with people. I just love being part of something. I love being part of a series. I love being part of a working environment and a working family. So anything that makes it possible to keep doing that I’m perfectly happy with.
“The Event” has a pretty substantial social-media presence, especially on Twitter. So do you think that’s an important outlet for the success of the show?
Underwood: I do. I think any way you can reach an audience and have a conversation about it and bring awareness to it is important. And, of course, that’s such a major way to reach people through technology, Twitter, Facebook and whatever else.
Ivanek: I don’t tend to follow that stuff, but I know it’s out there. It just intimidates the hell out of me.
What have you found as being the biggest challenge for you to bring your character to life on the screen?
Ivanek: What comes to mind to me is there’s what I always liked from the beginning of the show was just how strong these characters were and how many kind of different worlds you were following and, at the same time, there’s this overwhelming story arc going on and sometimes you feel you are everyone’s needed to push the plot along and then you want to raise your hand. But what’s going on inside of me at this moment and you don’t always kind of get to play that out fully.
Luckily there are plenty of moments and plenty of scenes where the reverberations among the characters and how they are each individually kind of struggling with these things are played out. But there’s also a good deal of time where we just are looking after this jug not of a story that everybody is dealing with as best they can and sometimes that just has to take precedence.
Underwood: Yeah, for me, I tell you one of the bigger — I’d say not even a challenge, really— it’s a concern or a thought process is — and it seems like a very simple thing — but it’s to not get caught into the trap of being presidential in playing this particular character. And it can be a trap. When you start to play for results and just make him as human as possible. It’s a subtle nuance and it’s all in how you approach it but it can be a trap I think for an actor.
The same way an actor tries to be intelligent or smart or it’s all playing for results and not doing that because everybody has their idea and notion in their own heads and minds what a President should be. So in terms of that, it’s other character stuff. And the writers, when we receive the scripts, they’ve done such a good job of kind of just telling and constructing the story and putting it all together.
Blair, in the beginning of the series, President Martinez is an honest and fine man. Will we see him lose his values when the aliens become more dangerous?
Underwood: Right. Right. Wow. That’s a great question. I hope not. I mean, I can say we haven’t yet; he’s tested. As Željko said, the story’s accelerated so fast and it makes us all question who we are. In many ways I think the overriding and undercurrent of the show is the idea of identity; who are we and who are we in certain circumstances and as circumstances keep shifting and changing and evolving. So to answer your question directly, that’s such a great question. He hasn’t lost himself … He’s rethought a lot of his values but he has not shifted as of yet — not to say that I won’t.
Ivanek: It’s fair to say I think for him and for Sterling and for a lot of characters that people have found themselves doing things they never thought they would do — whether that’s changing your values or just having your values kind of confronted with reality. I’m not sure which it is but certainly everybody has found themselves caught short in ways that they never anticipated and behaving in ways that they, , would not have predicted for themselves.
For the fifteenth episode, “The Event” is supposed to be bringing in Oscar-winning cinematographer Janusz Kamiński to direct. Is there any truth to the rumor that you were all nervous about being directed by him?
Ivanek: He did direct the 15th episode, and it was fantastic. I loved working with him. He just brought a very unique energy to the whole process and a very different eye I think. Obviously I haven’t seen the episode but it was kind of astonishing watching him tell a story as if it was kind of all in his head already in a way.
You just kind of had to translate what was in his eye and in his mind to all of us to kind of get all the pieces he needed. He was very, very clear, very driven and, at the same time, it was not just about , “Oh, here’s a cool shot or this is an interesting visual.” It never felt about that. It always felt like what story am I telling in this moment; not just in this scene but in this moment.
And he kept a really clear eye on is he telling the characters dilemma right here, right now, for each character in the scene. And kind of how he kept track of all of that I don’t even know but it was you might have expected. He’s a cinematographer. He’s just going to be interested in the look of things and you realize very quickly the look of things is all about story telling and so I had a terrific time with him.
Underwood: Yeah, well said. I mean we’ve been very fortunate to have some great directors starting with Jeffrey Reiner, our executive producer, but I tell you, Janusz Kamiński, who has two Oscars — he’s done most of Spielberg’s movies, if not all of them, since “Schindler’s List.” He has an Oscar for “Schindler’s List” and “Saving Private Ryan.”
And given just that whole pedigree of who he is and where he comes from, it was fascinating to watch. Just as Željko said, the fact that yes he had a certain specific look and when you see Episode 15, you’ll probably see a different look and style to the show but it was all informed by what is the story and who are the characters and what are the characters doing at this moment. That was fascinating to watch and just personally, Janusz Kamiński, is a force of nature, just that energy. I wish I had that much energy on any given day so it was fascinating to watch and experience.
Ivanek: And blessed.
So with you guys not knowing what’s going to happen pretty much week to week in the script, has anything that your character done completely surprised you, to the point where you’re like had to kind of rethink the character?
Underwood: Yeah, every week.
Ivanek: Yeah. lose a moment at the end of this double episode that’s coming up where it’s a real kind of action-adventure episode at least for my character on the one hand. A real kind of change of pace completely. But ends with a real kind of moment of having to kind of reassess his view of this whole situation and his view of the aliens and it just comes out of the events that happen that lead him to that.
And it suddenly put him in a place that, like I was saying before, you never kind of expect him to be in and gives him a shift in perspective. We’ll see if it lasts and how circumstances kind of affect it, but I think there’s a real moment of clarity for Sterling that he didn’t see coming.
When you’re away from the set and you’re out on the street interacting with fans of “The Event,” what are positive and negative aspects that fans have told you they feel about both your characters in the show?
Underwood: Wow. Yeah. I’d say the positive is … kind of generic good stuff about the President and playing this character and he’s trying to piece it all together for the good of his country. So that’s all positive. What I found fascinating is that I’ve had a number of people say they weren’t crazy — and mostly men [say this] — about how the president allows his wife to voice her opinion, which I find fascinating because Christina Martinez is such a strong character. We don’t see nearly enough of her but I love that aspect of having that female component and that opinion voiced to the President. So I was just taken aback by that, and I think it said more to me about those individuals and mostly people close to me or friends or whatever than it says anything about the character itself.
Ivanek: My experience has been that generally when people make the effort to say something to you, it’s because they’re going to be nice about it. Luckily, they’ll say nice things about the show or the character that they’re watching and interested in. And I think I’ve certainly heard some frustration with the show being off the air for as long as it’s been or kind of waiting to figure out where is the thrust of the story going and not wanting to lose the thread of that, as we’ve been off for so long. But usually, if people are going to stop you to say something, they’re generally pretty nice about it, and whatever else they may feel, they’ve kept to themselves.
Željko, you were involved in theater before doing television. How was your transition from the stage to the screen?
Ivanek: I don’t know if it’s a transition. They’re just very, very different worlds and there are things I love about both. I mean what I always loved about theater is that that’s an experience that a company of actors, just sinks itself into for weeks and you really get to work on the material and by the time you’re in front of an audience, you really own it. It’s really in your bones and then the shared experience with an audience is kind of the crowning glory because you feel from beginning to end the group of actors and the audience kind of control those two hours and how that story gets told and it’s shared. And that’s what I always loved about theater and what I miss about the fact that I haven’t done it now in a few years.
And in television, you are of necessity working in bits and pieces and scenes and things are out of order and you never can have the same sense of how will this look when it’s all put together, what will the effect be. And it’s difficult to have the same sense, when you suddenly get a bunch of new pages on the night before that you own that material in the same way, but you are part of this evolving story and an evolving character.
And that’s exciting that from week to week and episode to episode, you are building on something all the time and doing it with the writers and with the directors and are part of a kind of evolving creation and I love that as well. Beyond that, they are both things I love doing but they’re very different animals. I don’t know that transition is from one to the other is kind of the right word so much as just they’re very different worlds and somewhat different skill sets.
Is there going to be a Season 2 of “The Event”?
Ivanek: I don’t know if anyone can answer that question, least of all us. I certainly hope there’s a second season. I think we have to see and wait and see how the show comes back. NBC has just gone through an ownership change, and there are a lot of new people at the helm, and we’ll have to see the pilots they’ve gotten and how they want to position themselves. And I think it will be a little while before we know kind of where things are going. It’s been exciting to me just in the second half of these episodes just to see how much the show itself is keeping up the suspense and the quality. So I think we’ll have as good a shot at it as we can based on that but I think it will be a few more weeks before we have a clear idea.
“The Event”has such a large cast that you don’t always get to work with each other. Which cast members would each of you like to have more scenes with if you could?
Underwood: Most of my scenes are really with Željko, but I would love to have more with my [‘Event”] family: Christina Martinez and my son. We haven’t seen my son since the pilot I don’t think.
Ivanek: I don’t know how this would even work, plot-wise, but I’d love to have some scenes and get a chance to work with Jason [Ritter].I think that’s sort of the every man kind of heart of the story is watching him kind of navigate all these worlds and all these things that are happening. And I love what he’s doing on the show and just how much you get pulled in emotionally watching him struggle with all of this. So I just really admire his work and what he’s done so I’d love to be able to work with him at some point.
How do you feel about the international reaction or success of the show?
Underwood: I don’t really know about the international reaction. Do you, Željko?
Ivanek: I know we sold well overseas. So that’s certainly gratifying. Beyond that, I don’t really know any specifics. I know that we sold in a lot of markets, and that’s terrific and bodes well for the show I guess but beyond that, until they send me on a world tour, I can’t say.
When you’re not on the set, what is something that you guys like to do to relax?
Underwood: Željko can attest to this. I’m usually taking a nap in the Oval Office somewhere.
Ivanek: I actually love going to a lot of theater movies. I just love watching actors work and seeing how people tell stories. I know it doesn’t seem like down time from the work I do because it’s the same world, but I love to do that. Obviously, I love to travel as well but I always love to see what other people are doing and see how other people work.
Do you think that the character of President Martinez is always searching for justice and is a good person?
Ivanek: I’ll answer that before Blair does. Just stay tuned because there’s some kind of major, major challenges coming at him and I think you may find how he reacts to them is not what you might have expected.
Underwood: Right. Well said. Thank you, sir.
Do you and the rest of the cast try to figure the mysteries of the show like the audience does? How is the atmosphere in the set? And when “The Event” first started, it was called the new “Lost.” Did this comparison annoy you in some way?
Ivanek: To some extent, that’s marketing. You’re trying to find an audience and tell an audience, “Please come, because here’s the hook. This is how we want to get you in the door.” And you do the work and you want it to be seen by as many people as possible. I think it’s a fair comparison. Calling [“The Event”] a sort of mix of “24” and “Lost,” I think is actually an accurate description, but basically you’re just trying to get people in the door and start watching the show and build an audience. So I never think of it as like a fair or unfair comparison. It’s just the reality of trying to get people to see what you’re doing.
Underwood: Yeah, I think in terms of unraveling the mystery, I really tend not to do that outside of what my character would need to know as we said before. But I have to say I am challenged funnily enough by my 13-year-old son and 12-year-old daughter and 9-year-old son. And the two older ones oftentimes will run lines with me and they’re very good about being secretive; not giving plotlines away at school. But they’re really into the show and they come up with questions that I tell you I hadn’t even thought of. And, of course, most of answers, I don’t know where it’s going, but they do challenge me and force me to kind of thing from all kinds of different angles and perspectives of where the story is going.
For more info: “The Event” website
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