Q: Do you think Justice set the precedent for the rest of the season - storyline - film wise - anything?
SDK: Well, no... here's the thing with TV - by the time Justice is airing - it's episode eleven - we're already shooting episode fifteen, sixteen is about to start shooting, the script for seventeen is already done and eighteen and nineteen are almost completely broken. It's kind of like piloting a luxury cruise ship; you can't make a turn on a dime. It takes miles to adjust your course. It's really impossible to alter based on one episode because you're already six or seven episodes down the line.
Doing a season of TV is kind of like a big jigsaw puzzle where you try to have the borders done first, and that's like the beginning, middle and end. And then you fill in everything in the middle. It's a real head-scratcher a lot of times. This year, we had a pretty strong idea of where we were headed. That may have been altered slightly, but 33.1 and the phantoms were always a big part of it.
Q: There's a lot of Internet buzz that Lana might find out about Clark's abilities this season...
SDK: That's been a possibility since season one - it's still a strong possibility this year too.
Q: [Regarding the episode Zod] did you take the direction for the blue desert or was that James Marshall's? How did the Phantom Zone come about?
SDK: It was a combination. My pitch for the PZ was to make it like Dune. We used Dune as an example and we also used The Wrath of Khan. We talked about a lot that it was Ceti Alpha... four is it? I can't remember if it was four or five, but one of them blew up. [all laugh] For the entire time we were breaking it, every now and then I would go [in Russian accent like Chekov] 'Botany Bay? Oh, noooo! Botany Bay!' And nobody knew what the hell I was talking about. But it cracked me up. Star Trek, Wrath of Khan - I mean, my god, how much to I love that movie?
Up until [Zod] aired, it was like a crapfest on the Internet; everybody was worried about how we were going to ruin everything and so much of their concerns I couldn't comment on. One of the big ones was Lana - 'why is Lex kissing Lana?' and that whole thing.
Another thing the Internet was just livid about was that Zod's body was destroyed, which is another thing I was DYING to tell them - here's our cool take on it: This is why it's called the Phantom Zone. That the worst criminals are actually these phantoms that prey on the other criminals. It's a serious prison torture system.
The House of El crystal - we were originally planning on using the Smallville infinity symbol, and Al said, 'ya know, I think it's time we show the real House of El symbol' - the classic Superman symbol, so we decided to go with that.
A lot of people on the Internet keep saying 'they should give you more money,' but it's not like we have less money this year, it's just that financially it's a little different - a weaker dollar in Canada, the exchange rate is not favorable to us anymore. It's stuff like that that's affecting our budget.
Every now and then, things will get cut, and when I see it on the air, it's like... 'awww... now I look stupid!'
Speaking of plot lines, here's something I haven't been able to get on-line to explain - about Clark being stupid and going into the room with the Kryptonite. The problem is, I didn't explain it in the script well enough - it's hinted at, but not really explained. When Chloe tells him there's been equipment transfers, she says lead shielding equipment for tracking particles. And then later when she's with the boys, she says 'oh no, lead shielding - meteor rock - lead shielding - it's not just for Bart.'
Clark is going in; he's looking for lead shielding because he thinks Bart is contained in a lead shielded room. That was the idea. It was not articulated correctly on my end. When he gets to that door, as written and filmed, he X-Rays the door. He sees that it's lead and says to himself, lead, and then he goes in. We had to cut that attempted X-Ray for budget reasons 'cause ultimately it was going to be an X-Ray that didn't pan out.
I kick myself now because it would have been a very very simple dialog just to make that clear. You're looking for a lead shielded room containing Bart. And then it would have been, he's not stupid - he thinks Bart's in there. That was my fault. That was my intention, and I wish I would have made that clear.
Q: We always ask our guests, if they were writing or directing the finale, how would they do it?
SDK: That's tough because I have intimate knowledge of what's going to go on in the finale. From purely a producing standpoint, if I was writing and directing the finale, I would center more on emotions than huge special effects 'cause I've already spent all the money. [they laugh] Other than that, I think it's time to move certain parts of the mythology forward. I would love to bring in another classic Superman villain or maybe unleash the 33.1 krypto freaks. I gotta believe Lex still has something going on out there somewhere.
I would love to bring in Hal Jordan - even for an episode I'd love to bring in Hal Jordan. I don't think we could have Green Lantern [though].
One of the reasons plot wise that Clark needed to be sidelined by Kryptonite is he is so powerful. There's no need for the whole team to go in and rescue Bart; Clark can do it on his own. That's a constant problem - that's the one big problem with Smallville - Clark is so gigantically powerful and gets more so every year. As he becomes more and more Superman - unless he's fighting the fifty foot giant robot - which I would love, btw - it's hard because Kryptonite is the only thing that can slow him down. Or one of these super villains from the PZ, which is why I'm so glad we have these people. They're somebody that can actually hurt Clark.
Q: We know Rosenbaum is directing fifteen, is there anything you can tell us about writers and directors from Promise on?
SDK: I think I'm doing twenty, which will be directed, I think, by Mat Beck, who you've seen a little of his direction before. He actually directed the sequence in Hidden where Clark jumps on the missile, which I thought was phenomenal. Such a classic Superman moment.
Promise is being written by Kelly Sowders and Brian Peterson. I don't know who's directing it.
Crimson was written by Brian Peterson and Kelly Sowders and directed by Glen Winter, our DP/director extradinaire - who did a great job on Justice, btw.
Combat is written by Terry Myers and Al Septian and being directed by the incomparable James Marshall. [The episode] is pretty cool. Cross my fingers it won't get slaughtered by the budget ax, which is always a possibility.
I don't know who's directing eighteen or nineteen. Eighteen is being written by a new writer - Geneveve Sparling - a fantastically bright, funny, talented woman.
Nineteen is being written by Caroline Dries.
I can assume that twenty one and twenty two will be some variation of Todd Slavkin/Darren Swimmer, and Kelly Sowders/Brian Peterson. I'm calling it quits after twenty. That's it for me...