Heroes Cast and Crew Dissect Season One, Look Ahead to Season Two
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 mediumspencil, 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 getsIt 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.















