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The O.P. » Articles » Inside the Aztec Tomb

A Tale of Two Sitcoms: Part 2

During my recent visit to Los Angeles, I had the opportunity to visit the Twentieth Century Fox lot and attend the taping of two Imagine Television productions, Quintuplets and Arrested Development. This is the second of a two-part report.

The views and opinions expressed in this article do not necessarily represent those of The O.P.

The second day, I finally have a chance to meet face-to-face with Katie O’Connell, who provided last spring’s memorable interview. Since that time, Katie has been promoted to executive vice president of creative affairs at Imagine Television, where she oversees the slate of current and future programming at Imagine. Katie is far and away our favorite executive vice president of current, future—or, heck, even past—programming. Katie expresses hope that Arrested will see increased popularity this fall following the Emmy win, and post-Simpsons timeslot. Katie is also the first of several people to talk about fewer interweaving storylines for season two, explaining that it’s for the benefit of newer viewers. But as details of the new season leak out, I am reassured that there will still be storylines and past-episode references to satisfy the more demanding fans.

We walk over to the writers’ room, where I am introduced to Courtney Lilly (Public Relations), Jim Vallely (Pier Pressure), and Abraham Higginbotham (In God We Trust). It is not a good sign that barely five minutes into my visit, I am rendered speechless at being in the presence of not one, but two extraordinarily talented writers.

The writers’ room looks like typical corporate conference room being used as a war room—that is, if you were to use a war room to, you know, actually plan a war. On one long wall are dozens of color-coded index cards which represent possible storylines for each of the characters—enough, I’m told, for five seasons—though some storylines will never make it. Especially not if those spies from the hit television show According To Jim get to it first. Damn sitcom espionage is ruining the biz. Today, the writers are arguing over a couple of items they want to select from various columns, but that turns out to be just the day’s lunch order. Playing on a monitor across the table are the camera feeds from the day’s taping.

Just a short distance from the offices is Stage 5, where the illusions start. The stage is basically a large airplane hangar, with various sets built up: the 2.5 stories of the model home, Lucille’s penthouse apartment, and the Bluth company offices. There are no windows in the building, and the sets not in use are dark, so basically, we walk towards the sounds. On top of a platform, there are five or six people wearing headphones, just outside a door, which is labelled “Penthouse 2.” Whereas the other side of the door which opens onto a hallway and a closed door labelled “Penthouse 1” is brightly lit, these people are huddled in faint light around two television monitors, where a conversation between Jessica Walter and Jeffrey Tambor is taking place.

The scene that is being shot involves Jessica Walter and Jeffrey Tambor in the penthouse living room, a reshoot of a scene from the season two premiere. Since the episode’s original director is not on set, Mitch Hurwitz is directing.

Mitchell Hurwitz, in case you’ve been living in a bunker, is the creator of the series, and a great deal of fun to watch. An indelible image of Mitch is his Cheshire cat-like grin after they announced the Best Writing Emmy, and during filming, that grin is more or less permanently implanted on his face as the actors deliver the lines. When the actors nail the line, he lights up like a three-way light bulb clicked to its next higher wattage; but when something doesn’t quite meet his exacting standards, Hurwitz leaps to his feet with catlike agility, telling the cameraman to move slightly or telling Jessica to pause after opening the door to heighten the tension.

During one such moment, Mitch bounds to his feet, flying to the “Penthouse 1” door that’s been teasing me with what I think is hiding within. He beckons me to follow, but I’m slow on my feet, and the door starts to close on my face, laughing maniacally at me. O cursed Fate, how you mock me. But, what’s this? The door starts to open, and I hear a woman’s voice, sweet as can be, ask, “Did you want to come in?” I look up, and I’m staring right into the face of Jessica Walter. Lucille. Lucille 1.0. The Lucille Bluth. But, if television has taught me anything, it’s that this woman can’t be trusted. So when she insists, “Come on, come in,” I sense a malicious twinkle in her eye, and am transfixed to the ground. But Mitch is calling me, so the best I can do is meekly say, “Thank you” to Jessica Walter—Jessica Walter, the legend—and shuffle past her into the room, whereupon Jeffrey Tambor has just dropped his pants. Welcome to Hollywood.