Second Sight: "The Thin White Line"

“The Thin White Line” (14 February 1997)

Writers: Glen Morgan & James Wong
Director: Thomas J. Wright
Editor: Stephen Mark

Quote: “Can you see what I see, FBI? Can you see your fear? Can you see what you really are?” --Richard Alan Hance


Overview: At Millennium’s very center is an intrinsic concern with the nature of dreams and visions. This is, in part, because Millennium is a television series that continually embraced modes of alternate perception, both stylistically and thematically. Through the eyes of its visionary heroes and its delusional villains, the series explored the ways in which our memories, emotions, and instincts reveal themselves in the way that we see the world around us.

Perhaps no installment of Millennium’s first season embraces this more fully than “The Thin White Line.” The manhunt for copycat serial killer Jacob Tyler, who murders innocent men and women based on wishful fantasies, forces Frank Black to confront his own past. Thanks to an inventive script, the story that unfolds allows him to do this somewhat literally in some scenes. Our hero’s remarkable inner eye is expanded yet again as his trademark visions are supplemented with recurring nightmares, dreams in which the profiler is forced to relive one of the most terrifying confrontations of his life. One of these dream sequences in particular, in which the present day Frank joins forces with his wide-eyed younger self in an effort to rewrite history, beautifully enacts the psychological struggle of the story. “The Thin White Line” stands as one of the first season’s strongest episodes and this remains one of the first season’s most memorable moments.

In both nightmares and flashback sequences, “The Thin White Line” also offers us a number of minor tidbits that contribute to the mystery and mythology surrounding our hero’s remarkable talents. Dialogue suggests to us that Frank’s “feelings” had earned him something of a reputation among his colleagues as early as 1977, when he was a member of the FBI team that captured Richard Alan Hance. Marked on his palm as one of this fearsome killer’s victims, staring into the face of his own death as he endures Hance’s vicious taunts, Frank experiences the sudden flare of one of his visions. This is the first occurrence of one of Frank’s visions, chronologically speaking, shown to us in the series thus far. Whether they represent the hero’s intuitive imaginings or some prophetic insight, we now know that Frank Black was seeing what the killer sees as early as the late seventies.

This scene also marks out “The Thin White Line” as one of the few Millennium episodes in which the hero’s visions are in some way internalized, offering a self-conscious glimpse of his own fears, his own potential fate. Glen Morgan and James Wong remain true to form with this script, forever aiming to more deeply explore Frank Black’s unique way of seeing the world, to ensure that his visions contributed to the themes of the story rather than providing highly-stylized distraction or plot loopholes. This is the same writing duo that first hinted at Jordan Black’s inheritance with the bad dreams of “Dead Letters,” the same team that first turned Frank Black’s visions inward in a feverish nightmare seen in “522666.” Yes, dreams are undeniably key to understanding this series and the struggles of its characters. Under the direction of Morgan and Wong, dreams and visions would become an increasingly intrinsic element of Millennium’s deepening mythology.

Connections: Jacob Tyler’s delusional fantasies, in which he imagines his victims to be volunteering themselves, are based on the hallucinations of real life serial killer Herbert Mullin, who murdered thirteen victims in California in 1972 and 1973. Frank Black’s visions were first utilized for introspective purposes in a nightmare he experienced in “522666,” also scripted by Glen Morgan and James Wong. Serial killer Richard Alan Hance has been previously profiled in Adam Chamberlain’s What the Killer Sees.

Trances in Total: 5 (0:16)

Gore Score: 4/10

Second Sight: "522666"

“522666” (22 November 1996)

Writers: Glen Morgan & James Wong
Director: David Nutter
Editor: Chris Willingham, A.C.E.

Quote: “When I got the call I got so scared. I heard you that night, Frank, on the phone. Dr. Bowman says you have a mild concussion. But it’s not your body healing that worries me. It’s your spirit.” --Catherine Black


Overview: It’s well known that Glen Morgan and James Wong were less than enthused about the way in which Frank Black’s visions were occasionally utilized--as a sort of miracle plot device--during Millennium’s first season. Perhaps because of this, “522666,” the duo’s second episode for the series, eschews that sometimes gimmicky reliance on the hero’s visionary powers. Take a glance at our usual tally below and you’ll note that this episode features the fewest visions yet from our dauntless forensic profiler. That’s not to say that this story about a self-obsessed serial bomber is absent of the highly-stylized, dream-like sequences we’ve come to expect. For every mental show reel missed by Frank we are granted a further glance from the perspective of Raymond Dees. Not since “Pilot,” also directed by David Nutter, has an episode so extensively relied upon hallucinations presented from the point of view of the killer. Dees is forever anticipating or reliving the explosions he perceives as glorious art. The visuals in these sequences are undeniably upsetting, especially with references to incidents such as the Centennial Olympic Park bombing being bandied about. They serve to remind us of the great sacrifice that Frank Black accepts by willingly subjecting himself to the experience of such horror in the pursuit of villains like Raymond Dees.

One of the few visions that Frank Black does witness during the episode stands out as entirely unique. Lying in a hospital bed after being caught by the blast wave of an explosion, he experiences a sort of nightmare presented in the same cinematic fashion as his investigative insights. This sequence is different from what we are accustomed to, however, for mixed in with images of the victims of the recent bombings are the screaming faces of both Catherine and Jordan. Because of his impenetrable demeanor and tireless perseverance, it is sometimes easy to mistake Frank Black for a man who lives without fear. The startling nightmare he experiences while hospitalized in “522666,” coupled with the commentary that follows from his caring wife, serves as one of those subtle yet poignant moments in Millennium that remind us all that Frank fights on in spite of his fear, a consuming fear that is forever gnawing away at his psyche. By internalizing Frank’s visions for the first time, by using his mysterious gift for introspective purposes, Morgan and Wong once again manage to offer us a fresh perspective on our hero and his abilities. Here and in future installments, they continue to seek innovative uses for the dreams and visions of Millennium.

Connections: Frank’s introspective vision is reminiscent of the family-focused, fear-fueled nightmare experienced by Jordan in “Dead Letters,” also written by Glen Morgan and James Wong. Bomber Raymond Dees was recently profiled in Adam Chamberlain’s What the Killer Sees.

Trances in Total: 3 (0:11)

Gore Score: 1/10

Second Sight: "Dead Letters"

“Dead Letters” (8 November 1996)

Writers: Glen Morgan & James Wong
Director: Thomas J. Wright
Editor: Chris Willingham, A.C.E.

Quote: “Do you know all about bad dreams?” --Jordan Black looks to her father for comfort


Overview: “Dead Letters” is a powerful and affecting story largely because of Jim Horn, the prospective profiler played with such tragic desperation by guest star James Morrison. Horn serves as a brilliantly effective foil for Frank Black; he is a flawed and wounded character who, by contrast, shows us what is so special about Millennium’s singular hero. Horn is utterly incapable of the sort of incredible insights that have been harnessed by Frank Black. In attempting to avoid problematic descriptors such as “paranormal” or “supernatural” in discussions regarding Frank Black’s gift, Chris Carter has often described the profiler’s abilities as “empathic” in nature. It is that uncommon empathy for his fellow man, that selfless willingness to become one with the thoughts and feelings of both victims and killers, which shows Frank to be such an exceptional hero. “Dead Letters” reveals just how essential empathy is to the equation by progressively eroding Horn’s own facility for emotional and intellectual identification. Without the empathetic connection, Horn is blinded and soon becomes a reckless and vengeful man who is only able to see the serial killer they seek as a dimensionless bogeyman. “These killers can’t be simply cases or psychological anomalies anymore,” Horn bemoans. “They’re just... monsters. Just monsters.”

This episode is also noteworthy for its preoccupation with young Jordan Black. With “Dead Letters,” Glen Morgan and James Wong slyly add a significant layer to the mythology quickly building up around Frank Black’s unusual flashes of insight. It is an idea acknowledged by Frank Spotnitz when he conceded, “I can see why people thought there was a psychic component to it.” Spotnitz attributes this impression of Frank’s gift in part to the inheritance implied in this episode’s unnerving teaser: “It was certainly hinted that his daughter, Jordan, had the same gift, if you will… that Jordan had the same ability.” Jordan’s nightmare--a darkly playful sequence dominated by the figure of a fearsome clown--is not easily forgotten. At its heart this is an episode about “bad dreams,” a story concerned with the imaginative visions that torment slumbering children and the grim knowledge that can torture waking adults. (Given the role such visions will play in our understanding of Frank’s own abilities, Jordan’s nightmare has been included in our usual tally of trances below.) Though Jordan’s dreams are of a sort that have troubled every boy and girl at one time or another, as the sleepover with T.C. Horn implies, their prominence in the episode poses a persistent question, a question that would come to serve as a key component of Millennium’s continually evolving mythology: Could Jordan Black have inherited some abnormal ability from her visionary father? The first hints of the prophetic bond between father and daughter are to be found in the chilling cackle of that black-and-white clown.

Connections: The nameless figure that inhabits Jordan Black’s nightmares instantly evokes Pennywise, the monstrous, clown-faced antagonist of Stephen King’s It (1986).

Trances in Total: 6 (1:00)

Gore Score: 1/10

Win EXCLUSIVE autographed prizes during Lara Means Week!

As Lara Means week draws closer and the excitement builds, we here at BacktoFrankBlack wanted to let you in on another little nugget of news that I think you all will enjoy. We have talked with Kristen on several occasions the past couple of weeks and she is both touched and surprised at the popularity of her character Lara Means.

As a special thank you, we will be having a special competition during the week and will be giving away a couple of signed items from Kristen herself. Who knows, Glen's signature may appear as well! Remember, ONLY here at BacktoFrankBlack will you have a chance to win these cool signed prizes! Stay tuned!

Morgan and Steinmetz salute BacktoFrankBlack

BacktoFrankBlack will be having a slightly sleepy period over the next two weeks as I'm moving house which will make my internet use sporadic at best (through Troy has some updates planned in that interim period, don't but before I depart for hopefully more improving pastures, we thought you'd like to see this!

These pictures were sent by Glen Morgan, showing himself and Selfosophist Mr Smooth, Richard Steinmetz both wearing BacktoFrankBlack T-Shirts, skilfully designed by our very own little wonder artist, Barry Renshaw.



Want a T-Shirt? Of course you do! Click the link at the side of the page marked T-Shirts and follow the yellow brick road!

Morgan and Wong Week: Glen Morgan's reply.

We had a message last week from Glen Morgan regarding Morgan and Wong Week. We felt we'd share it with you on this lazy Sunday.

"Darin, Jim, Kristen and I really enjoyed it. We were quite honored. Thank you so much for being crazy enough to have an interest in our work!! It sincerely means a great deal. Please pass that along!"

Thanks Glen! From all who were involved, that means a hell of a lot!

MORGAN AND WONG WEEK: DAY 7 - GLEN MORGAN INTERVIEW

So this is it, what you might call, our "Final Destination". Yes. See what I did there. Waited all week to say that. Anyway, you're about to embark on an exclusive interview with Glen Morgan. I will do my best to keep this intro short and brief.

Before I can do that, I have to say thank you to: Glen Morgan, William Johnson, DiRT, Tiffany Devol, John Kenneth Muir, Josef Gunnarsson, Steven Trotter, Graham Smith and of course, my esteemed colleague Troy Foreman. Troy was not only vital to bringing this week together, but supplied the prizes as well.

And on that note - competition winner results are announced at the end of the podcast! Want to know if you've won a copy of Space: Above and Beyond, Final Destination 1-3 or X-Files Season 4? Listen to the podcast - if the exclusive interview with Glen Morgan wasn't enough.

• Or download our MP3 file directly by right clicking this link and selecting "save target as"

• You can also subscribe to the Millennium Group Sessions on ITunes by searching for the Millennium Group Sessions and selecting subscribe. The latest podcasts will then automatically download to our ITunes player.

Subscribe to our twitter feed, subscribe to Itunes or simply check back each day to this blog!

So thank you all for reading, listening and watching Morgan and Wong week - thank you for your kind feedback. Any further feedback send to info@backtofrankblack.com.

MORGAN AND WONG WEEK: DAY 4 - DEAD LETTERS

In case anyone has lost count, or was thrown in part by yesterday's second part to our third part of our part Morgan, part Wong week, this is day four.

Today we make a welcome return to the ouroborus and the Millennium, having drifted into some of M&W's other rather excellent circles. To take us on our ever circular trip, we welcome the return of our favourite-reviewer-in-a-mask, DiRT! Today, DiRT will be talking to us for ten on the exciting world that is Millennium, on an episode from season one that was touched by the penship of Morgan and Wong... Dead Letters!

So without further ado, let's do the flashy player thing, and press play! And watch out for the blooper! Nice come back DiRT! :)

A reminder that our competitions are open until Sunday. To win a copy of the X-Files Season 4 Boxset, or Space: Above and Beyond boxset, simply put your name and address on an email to info@backtofrankblack.com - with "X-Files Competition" in the header for the X-Files competition, or "Space: Above and Beyond" in the header for the Space: Above and Beyond Competition (please send separate emails for both competition entries).

Please note, with humble apologies we've discovered we've been having a few problems with our emails for the first part of this week - if you've sent us a comment or competition issue entry on Monday-Wednesday night, could you PLEASE resend so we're sure all entries and comments have got to us for that period. Apologies again.

Finally, thank you to Steven Trotter for the base design that I used to flash up our Morgan and Wong week header. He's been using a similar one he created to promote the Morgan and Wong week on his Millennium Facebook Group. I think both looks great, don't you?

Morgan and Wong Week

Your Chance to ask Glen Morgan a Question!

If you've ever wanted to ask Millennium's Glen Morgan a question, here's your opportunity to do just that. BackToFrankBlack will be speaking to Mr. Morgan on Sunday so there's plenty of time to come up with a teaser or two. Simply mail them to the usual address, info@backtofrankblack.com, and don't forget your name and location for a mention, and your submission will be considered for inclusion.

So, get those thinking caps on, strain that grey matter and get those comments and thoughts to us as soon as you can! We wish you all the best of luck!

MIDNIGHT OF THE CENTURY WEEK DAY FIVE - EXCLUSIVE INTERVIEW WITH MILLENNIUM WRITER, KAY REINDL!

Kay Reindl and partner Erin Maher are talented writing partners who work in TV. They have a unique, consistent and strong voice which they have used since 1997 on shows like the dark paranormal dramas "Millennium" and "Haunted". They have also been involved in the "Twilight Zone" revival of 2002, "The Dead Zone", the critically acclaimed "Moonlight" and the syndicated series "Legend of the Seeker". As one half of that team, Kay Reindl co-wrote some of Millennium's most widely celebrated episodes such as Anamesis, A Single Blade of Grass, Matroyshka and the episode we are celebrating all week, Midnight of The Century. I was delighted that Kay took time from her busy schedule to speak to BackToFrankBlack and share with us her recollections of being part of the creative team that brought us Millennium.

MARK HAYDEN: Could you tell us how yourself and Erin became involved in Millennium and what you think it is about the combination of 'Reindl' and Maher' that makes for such a successful writing team and how the process of your collaboration works?

KAY REINDL: I met Glen Morgan through mutual friends. He knew Erin and I were writers and asked to read something because they were shooting a pilot for Fox (The Notorious). The pilot (sadly) didn't go, but they went to run Millennium and asked us to come in and meet. We were completely on the same page with them, with regards to where they were going to take the show.

We’d started writing when we were working in the feature story department at Universal Pictures. The great thing about working in a story department is that you learn about the process of development: How scripts are submitted, covered, passed on or bought. And you read a lot of coverage and scripts, which is imperative if you’re going to write. So we just started writing. And we had a lot of the same interests and developed a similar voice, so that made it easier. I think it was easier since we hadn’t written scripts on our own. So we hadn’t developed individual habits. That’s a problem a lot of writing teams have and why most writers just shudder at the thought of writing with someone else.

MARK HAYDEN: When 'Season Two' of Millennium went into development do you recall the thinking that necessitated the various changes to the shows' thematic? Was this a collaborative process with the writers privy to the new direction the series would take that year? I believe the restoration of Frank's visions was a particular suggestion of yours for example?

KAY REINDL: We weren’t privy to those discussions but when we met with Glen and Jim, they told us where they wanted the show to go, with more of a focus on the Millennium Group and its history. When I saw the pilot I remember thinking how cool the Millennium Group was. And my favorite episodes of the first season were the more genre episodes, like the Lucy Butler episode, which is one of the scariest episodes of TV I’ve ever seen. So it was easy for us to talk about exploring more of that in season two. We weren’t responsible for Frank’s visions coming back. It’s just that A Single Blade Of Grass had so many of them because the episode came in short, so we played twenty-one with his visions. I think if you count his visions, there are actually twenty-one.

MARK HAYDEN: Anamnesis is particularly well received by fans of the franchise which is no mean feat considering it is the only episode of the canon not to feature 'Frank Black'. Could you tell us about the evolution of the story from the concept to the screen?

KAY REINDL: Initially, we wanted to do an episode about girls having visions of the Virgin Mary, sort of a modern-day Fatima. But when we started doing research, we came across Holy Blood Holy Grail and Ean Begg’s Cult Of The Black Virgin, and decided on that direction. Glen and Jim approved it and we basically went nuts with it! It was supposed to feature Catherine but what became obvious after awhile was that it would be a stronger episode without Frank. Lance worked almost every minute on the show and I think he appreciated the break. Anytime you can still tell a good story and give your lead actor time off is nice! We’re very proud of that episode, especially in light of all the Dan Brown hoo-ha. The teaser, for example, was shot exactly how we wrote it. There’s nothing more thrilling than that.

MARK HAYDEN: I recall reading an interview with Glen Morgan in respect of 'A Single Blade of Grass.' In it he stated that the original vision for the episode was originally very different but that he allowed himself to be influenced by the network and shape the episode a little differently. Do you recall the mechanics that influenced the episode's development and what the original vision was?

KAY REINDL: Well, it wasn’t quite as procedural at first. And I think there were other production factors involved that kind of screwed the episode up, too. The biggest issue was that we were making changes quite deep into prep, which usually causes a bit of chaos. Our idea with that episode was to do a Ghost Dance episode, to deal with that mythology. Even though there were problems with the episode that includes the 21 visions, it was a terrific learning experience, too. And it was our first time in the editing room. We had the opportunity to see how an episode can be fixed in post-production. And believe me, the episode turned out as well as it possibly could have, given the circumstances.

MARK HAYDEN: Matryoshka marked a return to the mythology of the Second Season and whilst it attempted to reconcile some of the difference in tone between the first and second season's depiction of the 'Millennium Group' some fans feel the third season was lacking by not returning to the threads created by the Second Season finale, would you agree with this at all?

KAY REINDL: I’m always drawn to mythology and I loved what we got to do in season two. Season three was a different direction, which was another good learning experience for us. The most important job of a writer on staff of a TV show is to fulfill the vision of the showrunner and/or creator. And we lost our showrunner fairly early in the season, so there was a lot of adjustment that had to go on. I don’t know what the network or studio wanted of the show and that’s always something you have to take into consideration.

Of course, we wanted to do mythology anytime we could, but I think we were able to do it in a way that kept with what the third season was about. I love the guys who ran season three and have worked for one of them since. I’m proud of that episode and of course I’d love to do a whole season with Hoover and Tolson and the modern Millennium Group, but I love that we basically did Cold Case before Cold Case!

MARK HAYDEN: We've been in the process of tracking down a number of un-produced episodes of Millennium, for example Michael R Perry's 'Dirty Snowball.' We believe that during the Third Season of Millennium yourself and Erin spent a significant portion of the season working on drafts of another script, an episode with the working title "Fallen Angel," concerning Frank Black's attempts to arrange an FBI sanctioned exorcism. Could you tell us if there is any truth in this and what became of the episode?

KAY REINDL: One of the things we wanted to do right at the start of season three was a Millennium version of the Paul and Karla Homolka case, but we couldn’t crack it. It wasn’t Millenniumistic enough! So we took some of the elements we liked and added the Garden of Eden and Lilith. There’s an awesome hedge maze in Vancouver (you’ve seen it dozens of times on other shows) that Chris Carter would up using in his return of Lucy Butler episode. We had our Garden of Eden idea tied up with the hedge maze, so the script ended up getting tossed out. But that happens on every show. More now than it did then, certainly, but it happens.

MARK HAYDEN: As we are celebrating "Midnight of the Century" with a week focussed upon that episode, I recall reading an interview that proclaimed one of the more enjoyable aspects of that episode was watching the growing friendship between Frank Black and Lara Means. Some fans have viewed some of those scenes as indication that there was a romantic fondness growing between the two, what's your take on that?

KAY REINDL: Regarding any perceived romantic leanings, there were none. Lara's function was to add an element of danger to Frank's visions, to show how they could adversely affect him if he hadn't been as grounded as he was. Their affection for each other war borne out of what they had in common and not any romantic interest.

MARK HAYDEN: It's been over a decade since Millennium's cancellation, with hindsight how would you describe your experience of being part of that show?

KAY REINDL: Best experience ever. Even at the time we knew we were lucky to get to work on such a quality show. It’s still the high water mark for us, both for the types of stories we got to tell, and the people we got to work with. The only other show we’ve been on that came close to that was Haunted. We learned a lot on Millennium and I would love nothing better than to get a chance to explore those themes and stories again. Like Twin Peaks, the show was obviously ahead of its time. I think it would be much more popular and appreciated now.

MARK HAYDEN: I wondered with regards to your work if it's becoming easier now to get work/interviews than when you started or is the recession squeezing out people other than well-knowns?

KAY REINDL: It’s not, actually. The shows that are hot now are the straight procedurals, like CSI, and shows with humor in them. Millennium was a hybrid type of show, neither genre nor procedural, so that experience is hard to pigeonhole. And the industry has to pigeonhole writers because there are so many of them! Basically what’s happened in this business is that the middle has been totally squeezed out. Sort of like what’s happening with the middle class in this country. So anyone at midlevel is finding it harder to even get meetings.

MARK HAYDEN: What can fans of yours keep their eyes open for with regards to the continuing career of Kay Reindl?

KAY REINDL: Good question! We just signed with new agents and feel like we’re getting some good traction out there. I wrote a novel during the strike and just finished another, so I’m going to be delving into the publishing world and trying to get familiar with it. Mostly, we want to work with great people on great shows, whether they’re ours or someone else’s.

A distressingly high number of writers have a lousy first experience. We were very lucky and we know what TV’s like when it’s good and when a show’s well-run. So everything we do is about getting back to that, and also letting our writer friends know that things don’t have to be awful. Showrunners don’t have to be mean and restrictive. The ultimate goal, of course, is to get our own show on the air. And just to put added pressure on us actually writing the thing, we’re working on a spec pilot that has a lot of the Millennium elements we love. So hopefully we’ll get that written soon.

MARK HAYDEN: Thank you so much for taking the time to talk to us Kay and may we wish you and yours and truly wonderful Christmas!

If you have enjoyed our Midnight of The Century Week so far and enjoyed our interview with Kay Reindl then please leave some comments for her attention on this Blog and remember folks why we are doing what we are doing. We are a campaign first and foremost and all we ask is that if you enjoy the work that we do you consider adding your voice to the countless voices that have, already, asked for a return of Frank Black. Add your voice today!

Avatar Vision Proudly Presents: It's still Midnight - a tribute to owls and roosters.

Time once again for another Millennium music video courtesy of our video guru Josef. Each and every week Josef locks himself away in The Spotnitz Sanitarium and creates another musical montage in the hope that we can reach another potential campaigner via the power of Youtube and I know you guys have come to enjoy his work and look forward to it. You can help this campaign by joining Josef and making a video of your own. It needn't be something as complex as a music video, a simple recording of yourself talking about support for this campaign is all we need. Give it some thought.

This week turn our attention to Season Two's episode two part extravaganza, Owls and Roosters. Civil unrest is abound at the very heart of the episode as two of the factions of The Millennium Group, the theological Owls and the secular Roosters, fight for supremacy in the midst of the discovery of the The True Cross. Millennium group members, Frank Black and Lara Means find themselves caught in a struggle as the very existence of The Millennium Group is threatened by the nefarious Odessa.

An epic two-parter needs an epic musical treatment right? Well it has one. Sit back and enjoy these seven minutes and more dedicated to one of the darkest eras The Millennium Group was to face.

So don't be shy. Let Josef know what you think of his latest creation and tell us what you think about the episodes in questions. Are they really as epic as I have made them out to be or did all the civil unrest leave you, well, a little restless. We want to know your thoughts so please do leave us a few comments as we really enjoy hearing from all you good people.


As promised, each music new release from Josef will be accompanied by a postcard that we urge you to send to Steve Asbell at 20th Century Fox. Making 20th Century Fox aware that we are here to stay and active in our support of a Millennium Movie is a vital way you can help this campaign achieve its ends. We are regularly asked what is the best way to help this campaign and there is no finer way than sending this postcard. The only way we can bring this show back is to make some noise and continue making that noise. That's how we will bring Frank Black back.

Mark

To see the address you need to send this to as well as a range of others you might like to send, click here!

• To visit Josef's Youtube page and ch eck out his own collection of videos, click here!

• To check out his myspace page and listen to some of his original compositions, click here

HERE'S DIRT'S THING: BEWARE OF THE DOG!

Ladies and gentlemen it's time, once again, for our masked avenger, wrestlemaniac and super powered reviewer DiRT to cast his x-ray vision upon another episode of Millennium and direct his considerable following in our direction in the process. This time it's time for a wander down to Bucksnort for season two's Beware of The Dog.

Beware Of The Dog sees Frank travel to Bucksnort, a small town where residents fear for their lives outdoors after the sun goes down, when packs of blood-thirsty dogs roam the streets. Here he discovers that the Millennium Group and its members may be far stranger than is common knowledge and that there may be truth to legends of demons who took on the form of canines. Whatever you think of this episode, kudos has to be given for introducing R.G. Armstrong as The Old Man, a character who was to become beloved of fans and rightly so. So grab some coffee with half-fat cream (and don't forget the cinnamon this time) let's see what DiRT thought shall we?

So did he get it right or do we we have to send a pack of baying hounds after his blood? Here's where you tell us what you thought of his thoughts. Rest assured, DiRT does check out your comments so please do share them. And whilst I'm here, I hope you will join me in wishing all our US friends, including DiRT, a truly wonderful Thanksgiving Day.

As always, every new video we add to Youtube, or is added to Youtube for us, reaches out to a whole new audience and may find a Millennium who never knew of our campaign in the process. Don't forget, keep sending those letters and postcards to Mr. Steve Asbell.

As always, lend your considerable support to the man and go visit his own websites and find out what it's all about. Remember, every video made for the this campaign is an indispensable way of reaching out to a potential new campaigner.

Mark

• To visit his website and enjoy the numerous things he has on offer, click here!

• To check out his Youtube channel and view more reviews from the man himself, visit here!

BACKTOFRANKBLACK EXCLUSIVE INTERVIEW: MILLENNIUM DIRECTOR ALLEN COULTER TALKS SEASON TWO!

Allen Coulter is the director of a number of very successful television shows including "Sex and The City", "The Sopranos", and "Law and Order" and for his work he has thus far received six Primetime Emmy nominations amongst a slew of other accolades. In his career to date, he has directed one feature film entitled Hollywoodland, a film regarding the questionable death of George Reeves starring Adrien Brody, Diane Lane, and Ben Affleck. It was released September 2006. Allen's name will no doubt be familiar to fans of Millennium as he joined the cast and crew of season two to direct three episodes that year, "Beware of The Dog", "Siren" and "The Pest House". When I spoke to Allen he was in the midst of completing post-production work for a movie as well as lining up further projects but he kindly agreed to take time from his busy schedule to talk to us at BackToFrankBlack.com and I am sure you will all join with me in thanking him for that time.

MARK HAYDEN: You began your career as a writer, I believe, writing for 'Tales from the Darkside' and 'Monsters.' Could you tell us a little about your journey to the role of directing and your appraisal of that role after twenty one years in the business? Do you ever itch to return to the written word again?

ALLEN COULTER: I've always considered myself more of a director than a writer. I really enjoy working with writers and I consider that a strength of mine in creating a film or a show. I have written some feature scripts in collaboration with other writers. I may return to that, but really what I find the most fulfilling is forging a script into a film or TV show.

MH: You've directed three episodes of Millennium, 'Beware of the Dog', 'Siren' and 'The Pest House'. If we take your first Millennium outing, 'Beware of the Dog', could you offer us a brief synopsis of a director's activities from first receiving the script to actually directing the episode?

AC: Like all episodes of television, it requires a great deal of preparation. I have to understand the series, know the look and feel of the show, read the script many times over and start to develop a plan for how I want to shoot it.

A lot of my process happens during the prep period, so when we begin shooting I can focus on the performance and working with the DP to achieve the look I envisioned. I believe that episodic directors are a large part of the success or failure of a television show. It is our job to give life to and enrich the words on the page.

MH: All three of the episodes you directed were written by Millennium's then show-runners, James Morgan and Glen Wong. Does this present any difficulties as a director or are you literally given free reign to bring their written vision to life without too much pressure from above?

AC: Like all series, Millennium required collaboration with the writer-producers. I presented them with my ideas for the show and we worked together to create the show as it exists today.

MH: I wanted to ask about 'Siren' in particular. In an episode as ambiguous and open to interpretation as that one is it necessary for the director to form an opinion as to what are the truths and the intentions of the narrative in order that it works for the viewer or
are you able to apply your skills to an episode even if you are undecided what the story is saying on all its levels?

AC: No matter how confusing and mysterious the show may be, I always have some idea of what literally happens in the episode. I need it to guide my direction. But I also believe that the audience must interpret it for themselves. Too often in television, writers and producers want to tell the audience exactly what is happening all the time, for fear of losing their interest.

I believe that what makes television shows great, is their willingness to trust the audience with conflicting, ambiguous and challenging situations. To me this kind of approach resonates with audiences because this is how life is- full of conflict, ambiguity and challenge - and this is what makes something like SOPRANOS a truly amazing and popular show.

MH: We know Lance in particular was very passionate about his character, often challenging certain story aspects and plot developments if he felt they betrayed the integrity of the show and Frank Black. How do you recall the experience of directing Lance as Frank Black and of
working with the cast and crew of the franchise in general?

AC: I had a great time working with the actors on Millenium. They were very devoted to their craft and Lance clearly created an indelible character for his audience.

MH: I wanted to ask, in terms of personal satisfaction, how those episodes compare with one another and how does the experience of working on Millennium compare to other shows you have worked on e.g. 'Six Feet Under' and 'Sex in the City?'

AC: Every show has its own challenges and rewards. It's hard to compare Millennium to something like Sex & the City because the cast and crew are so different, the style is very different, and I was at a different place in my career. Suffice it to say that I learned a lot working on Millennium and that would serve me well later on in my career.

MH: We exist as an entity primarily geared to raising awareness of the groundswell of support that exists, and grows, with regards to a movie adaptation of Millennium. From a behind the scenes perspective, do you agree that this particular franchise is ripe for such an adaptation and agree with the fans assertion that Millennium has a quintessential something that has oft been imitated but never bettered?

AC: I think it's great that Millennium fans are so devoted to a show that has so much meaning for them. I think it's important that we treat good television the way we treat other forms of art - as representations of life that we can reflect on and learn from.

MH: Millennium fans are very excited about the prospect of 'Rubicon' which we believe you are involved in, talk of global conspiracies and secrets and lies activates our genre radars if you will. Are you ableto tell us anything about this project and about what lies in the future with regards to the continuing career of Allen Coulter?

AC: I too look forward to the launch of Rubicon and I hope it pleases. I also shot a movie this summer in New York called REMEMBER ME starring Robert Pattinson, Pierce Brosnan and Chris Cooper among others. I don't know what lies in my future, but I'm always on the look out for good material, be it in television or feature film.

MH: Many thanks for taking the time to talk to us Allen.

AC: Best of luck to you and the Millennium community.

If you've enjoyed reading, or listening to, any of our interviews and want to see these good people have the opportunity to work, once again, on our beloved franchise then here's what you have to do. Send those postcards and letters to 20th Century Fox asking for a return of Frank and Millennium. Your postcard could be the one that clinches the deal so what are you waiting for? The Time is Near!

AVATAR VISION PROUDLY PRESENTS: HEY MAN NICE LINE!

Time, once again, for MusicMonday™ and our jaunt into the world of Millennium Music Montages. This is one is a little special as it comes with a dedication. Our very dear friend, Vivi, was an essential cog in the machinery that made BackToFrankBlack.com possible and despite being an active staff-member in the Millennium Fan Community she also finds time to be a driving force in Filter fandom, a band she holds very dear to heart. Putting the two things together she cares about, Filter and Frank Black, had to be dedicated to her. So to Vivi and to all the fans of Filter and Millennium, this one's for you guys.

Josef takes the time to make these videos because he feels as passionately as we do about bringing Millennium back and anyone who frequents Youtube will know how much support and interest he is enjoying because of it and how many people have discovered us through his work.

The Thin White Line is a season one episode penned by Glen Morgan and James Wong and is clearly inspired by the real life interrogation of serial killer, Edmund Kemper. It's an notable episode for the commanding performance given by Scott Heindl as Jacob Tyler, an actor who would be forever immortalised in Millennium mythology as the male incarnation of Lucy Butler, The Long Haired Man. Telling the story of Frank Black reliving his first case, this is Josef's tribute to that episode. Dim the lights, grab the popcorn and and enjoy the show.

So don't be shy. Let Josef know what you think of his latest creation and tell us what you think about the episode. A good one, a great one, a very thin and white one? We want to know your thoughts so please do leave us a few comments as we really enjoy hearing from all you good people.

As promised, each music new release from Josef will be accompanied by a postcard that we urge you to send to Steve Asbell at 20th Century Fox. Making 20th Century Fox aware that we are here to stay and active in our support of a Millennium Movie is a vital way you can help this campaign achieve its ends. We are regularly asked what is the best way to help this campaign and there is no finer way than sending this postcard. The only way we can bring this show back is to make some noise and continue making that noise. That's how we will bring Frank Black back.

To see the address you need to send this to as well as a range of others you might like to send, click here!

• To visit Josef's Youtube page and ch eck out his own collection of videos, click here!

• To check out his myspace page and listen to some of his original compositions, click here!

THE CURSE OF FRANK BLACK WEEK BEGINS: HAPPY HALLOWEEN!

Happy Halloween dear friends and may the season be full of tricks and treats for each and every one you! What better way to celebrate Halloween than to turn our attention to one of the most celebrated episodes of our beloved franchise, "The Curse of Frank Black", with a week of themed happenings dedicated to Glen Morgan's finest creation. Something wicked this way comes....

To launch event, movie director and campaign supporter Brett Hart put his team to work creating a trailer that we could use to help publicise the event and ourselves in the process. Brett Hart should need no introduction to you all, his film Bone Dry (starring Lance Henriksen) is heralded as one of the true greats of Lance's memorable career to date and his support of this campaign has been unswerving. In the last few weeks he has been the subject of considerable speculation that he is to helm a potential Millennium Movie Project and though he is as much in the dark as we are about such speculation he remains a confirmed admirer of Chris Carter's vision and of Millennium. Sit back, and enjoy the show.....

Now here's where you come in. Brett has kindly allowed us to share this trailer with you as a download in the hope that you will join us in spreading the word about BackToFrankBlack and The Curse of Frank Black Week. Download the movie by clicking Frank's Jack-O-Lantern below and upload it to your Youtube profiles, social networking profiles, video hosting sites: anywhere you can put a video put one. Join Frank's Army and help us spread the word this Halloween.

Mark x

Here's hoping you will enjoy the rest of the week, stay around for a few surprises, but join with us for the first push. You can all make a difference and in such a simple way. Happy Halloween folks!

In addition to Brett Hart (Editor), BackToFrankBlack would like to thank Chuck Taylor (Motion Graphics), Johnathan Stapleton (Assistant Editor) and Liz Rodriguez (Mr. Hartt's Publicist) for making this trailer possible and for continuing to support us and Millennium. You guys are the best.