The DVD for Heroes season one hits stores today.
As countless fans make this purchase and relive their favorite moments from their favorite show's inaugural episodes, Wizard Universe got the creative forces behind Heroes to reminisce on a few key scenes, revealing how there was a method to their madness, why fake blood is truly nasty and what's in store next year...
Scene: YATTA! (Episode 1, "Genesis")
Tim Kring: We filmed this on the same day we shot Peter [Milo Ventimiglia] falling off the rooftop. We did it on top of a parking lot in downtown Los Angeles with a green screen, and it was done late in the day with just two very quick shots that took only about 15 minutes to do. We could only do a limited sort of size on Hiro against the green screen and then with that, we put a composite of footage from Times Square that we had gone out to shoot, a 360-degree plate of Times Square.
Scene: Stripping for Supper (Episode 1, "Genesis")
Ali Larter: [Stripping on camera is] absolutely difficult and makes you completely uncomfortable. You worry about your dad, your grandpa. But on the other side, it's sexy and it's fun, you know? There are two sides of the line you have to balance: One side is serving the character and the other is making sure it doesn't get gratuitous.
Scene: Fly, Peter, Fly (Episode 1, "Genesis")
Kring: We hung both Milo and Adrian Pasdar on these harnesses and shot them while they were about 10 feet off of the ground. We shot up using wide-angle lenses to make it look like we were shooting really high up. Then it wasn't until after we got picked up for a series that we went back and did one day on a green-screen stage and we got close-ups and performance stuff there. So a lot of stuff like that was added literally two months later.
Ventimiglia: I love doing that stuff. There were some things they wouldn't let me do for insurance purposes, but I would have been jumping off that 15-story building into an airbag the size of a Volkswagen if I could.
Scene: Painting for Sale (Episode 1, "Genesis")
Producer Jeph Loeb: [Kring] called and asked whether or not there was an artist who could do the things he required, which was someone who could work quickly and who could draw on a large canvas and work in various mediums—pencil, ink, paint. There really was only one choice, and that was Tim [Sale]. So that was sort of my first real contribution, finding Timmy, and putting the two Tims together. The world will never be the same.
Aritist Tim Sale: I'd never been asked to do anything like this before and thought it was exciting. I remember telling Jeph it'd make a cool comic, and depending on how that was set up, it could be something I'd really like to draw. It reminded me a lot of his scripts with some of the dialogue.
Scene: Gruesome Girl (Episode 3, "One Giant Leap")
Hayden Panettiere: It was a freezing-cold steel table. I had this piece on top of me that was really heavy and they kept spraying it and it was wet. The [fake] blood was trickling down the sides and it's made of corn syrup and so you can imagine how sticky it gets—It never fully hardens and it's ripping the little tiny peach fuzz [hair] off your skin. It's not pretty. But that scene [in the autopsy] I was in practically nothing, just a bra and underwear on this cold metal table. There was gobs of blood and it was not fun. My hair was pink for a while.Angle: Dead Means Dead (Episode 8, Seven Minutes to Midnight)
Kring: [Hiro being unable to save Charlie] was less about "dead is dead" and more about the time travel aspect of it. We introduced this idea of time traveling into the show, and if done wrong that could be something that could be a real crutch and lead us to basically lazy storytelling. So we wanted to say pretty emphatically up front that the laws of time travel were not going to allow us to be able to go back and just undo things. It had to be done with a character you really cared about to drive the point home. I have to admit that people were really shocked that we killed off this character that was so lovable.
Kring: I said I wanted [Claude] to be British. I don't know why I kept seeing him in my mind as British and why he lived in New York. I thought we could figure that out later on, but I wanted this kind of misanthropic, Fagin kind of character. He's this creature that walks among us, but really isn't among us and has disdain for all of humanity because he can see all of their foibles because he's invisible.
As soon as I said "British," our casting people said, "Well, Christopher Eccleston happens to have just moved to Los Angeles and has relocated from London and looking into working in America and is available." Then it just happened that he had this whole "Dr. Who" past I had never seen before. That happens all the time with casting though.
Angle: Good to be Bad (Episode 19, "Company Man")
Kring: The great thing in retrospect is that it was Jack Coleman's ability to play both sides of his personality with the same amount of passion. So, he was equally a loving and caring father as he was a hardened, immoral killer. He did both of those things with an equal amount of passion and that made it easy to flip that character once we got there.
Jack Coleman: I love the fact [that H.R.G.] could be playing any side at any time. That just makes it more fun to play. I think it makes it more fun to watch, even though people feel like, "I need to know!" You don't need to know really, in a way, and it's kind of cool to see that like any human being, you can be good and bad. I think that's also more fun anyway.
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