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(static hissing)
(gentle instrumental music)

(dramatic music)

(thunder rumbling)
(eerie music)

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- That was Chris trying to come with

the darkest scariest thing
that he's really afraid of

in real life

And I think we all are.

- I just like the mythology around it.

I like the idea of a communal
feeling of end times,

like, let's examine that.

What is that?

What is the human race
at the end of its time?

Who are we?

- I think Chris has the
ability like Rod Serling

to tap into these deep
questions that we all have

like, why am I here, what's out there?

- It's not just some sci-fI fantasy,

I'm not saying that there's anything wrong

with sci-fI fantasy, but
there's a lot of truth

and a lot of fascination with
what the show represented

and the metaphors in the
battles between Good versus Evil

within ourselves and the world.

- It was dark.

Talk about a dark show

And I couldn't believe that

that show would make it on the television.

- A mini serie on television
getting darker was,

I think it kinda started with Seinfeld,

where Larry David and Jerry Seinfeld said

no hugs, no lessons.

And then after that, The Sopranos.

What is it, the fourth episode,

he strangles a guy with his bare hands

on a college trip with his daughter.

- You took an oath and you broke it.

- Then we get Dexter.
(saw whirring)

And Walter White.
(Krazy-8 gagging)

- Millennium was kind of
way before all of them.

- If something is driven by character,

if you're interested in those people,

the rest of it becomes a sort of context.

- Frank is a real hero and he's
trying to protect all of us

from the darkness that he
sees inside of himself.

- You know, I say about The X-Files,

the reason for the success of the show

is ultimately Mulder and
Scully, it's that relationship.

And I believe that
Millennium is the same way.

I believe it's the power of Frank Black

as played by Lance Henriksen.

- Chris once said something to me,

and he said that I had to really dig deep

to do that character, and he's right.

He was right, he saw it.

- Bizarre that it didn't get
to the actual millennium,

but we felt we had to
deliver some kind of order,

at least avoiding breakdown and chaos.

- I wanna see Frank in our
political landscape now.

He would be dealing with
all the crazy right now.

- Yeah.

- I think it's crazier now than it was.

- Oh, it's totally crazier now.

- [Anonymous] We are Anonymous.

- They're bringing drugs.

(guns popping)

- There is no evidence
any classified information

ended up in the wrong hands.

- There was an integrity in Millennium.

Now 20 years later,

we're seeing all the more
reason to have integrity.

(dramatic music)

(eerie music)

- 20th Century Fox, that would
be Peter Roth, came to me,

this is during the I think
third season of The X-Files,

and asked if I would do another TV show.

I had this character in mind.

Frank Black had sort of come to me

as a result of an X-Files
episode that I had done

called Irresistible.

We really dealt with a human
monster in Irresistible

and dovetailed with my interest

in the behavioral profiling
work that the FBI was doing.

I just thought it would
be interesting to do

a tortured FBI agent who saw evil.

- What do you see?

- I see what the killers see.

- He actually began to see beyond reality

into the minds of killers.

- And I think the best
episodes of The X-Files

that they're about something.

There's a reason we've
chosen to tell the story,

whether we know it consciously or not,

we're trying to ask an
interesting question

by creating a monster.

And I thought Millennium

really had something powerful to say

about the world we live in.

- I was doing films, and my
agent called me and said,

"I have this script,
you've got to read it."

And I said, what is it?

And he says, "I don't wanna tell you.

"I just want you to read it."

But anyway, he sent the
script, and it was very dark,

that was the pilot, very, very dark.

I said, if it was a movie,
it would be a great movie,

I mean, you wouldn't have
to worry about the darkness,

people can take that, you
know, for a period of time

and then they move on.

But as a series,

I didn't know how anybody
was gonna hang in with it.

I met Chris Carter and the
director at a restaurant.

I said, I got one question for you, man.

Where is the light in this?

Where is the light?

I don't know how this is
gonna work as a series.

And all Chris said to me
was, "The yellow house."

It sort of struck a nerve with me.

I meant, what did you mean by that?

He said, "The core of the story

"is the family in the yellow house,

"and that's what makes it all survivable."

And then I finally went, all right.

I didn't realize what a
commitment all right would be.

You know what I'm saying?

You just let it out, you go, okay.

- [Chris] I developed
Millennium with Lance mind,

that he wanted to do it was, you know,

kind of a dream come true, obviously.

- As I started reading the
pilot and getting really,

investing in it, I suddenly realized,

wow this is a really educated character.

So one of the biggest challenges was

to overcome my own judgment
of myself about it,

and just try to get on the journey ride

on this guy's intelligence.

It's not mine, it's written.

- And I remember the one
thing that I told Lance.

I said, I don't want
you to use your hands.

I just want to use your
voice and your face.

I felt that the use of his hands

was a kind of salesmanship in a crutch,

and that if he was a man

who dealt with you
squarely and forthrightly,

that he wouldn't need
to sell his opinions,

his beliefs, and his convictions.

I do see him as kind of an idealized hero.

He was a moral man, a family man.

His control of his anger
and his rage and his outrage

is what made him exceptional.

It's that paradox and that dichotomy

that I think makes the
character interesting,

that he can put it away.

That's the reason he does
it is for them, really.

And that he paints his house,

he paints away the darkness
by painting his house yellow,

or in this case, buying a
yellow house is, I think,

indicative of a man who is very aware

of the forces of darkness and light.

- I could just see the possibilities,

I mean, Chris talked to me about Catherine

and what she was meant to be

and how she was meant to
function in terms of the story.

I thought it was pretty clear

that she was sort of hearth and home,

and a little bit of his
conscience and, you know,

that their Connection in the
story would be very important.

They had this little girl.

Little did I know it would
be this adorable Brittany,

but she was such a cutie, oh, my god.

- So I don't remember the first audition,

but I remember the call back

because there was a puppy in the room,

and I love dogs, then and now.

And so, I was obsessed with this dog,

and they really wanted to
see my natural reaction

to the puppy coming out of the cage

'cause there was a puppy in the pilot.

And then I remember them
basically telling me in the room

that I had the gig.

And I didn't know that meant

because there was a puppy
in the room and I was five.

- Had done, like, nothing before.

I think she'd done a commercial
or something like that

before starting Millennium,
and Chris wanted that,

he wanted somebody who is really fresh.

She didn't know what the word cut meant,

and then she learned
that print was, you know,

that meant that was a good one,

and then we could go on to other things.

So she was absolutely delightful.

Really, really cute and funny,

and always had a great questions for me,

and we just had a good time together.

I just really liked hanging
out with her, she was great.

- I do remember shooting the pilot

and spending that time with
them, especially with Lance.

- I have two daughters.

And I've been through those
years with my daughters.

It's the most beautiful time in the world.

Brittany was just an incredible kid.

I don't know what words
her and her family used

about Frank Black, but
I know she trusted me.

And I know we had an affection going

that was very, very right
and simple and pure.

It had a pureness to it.

- There's some really candid
moments in the pilot episode

that were not written
and that just happened

because I was little,

and this is my first
real time on set tonight.

I think there's the scene where
I lick his nose in the car,

and that was not scripted.

I just did that, I don't
know why. (laughing)

And I remember hearing the whole set

start bursting into laughter,
and I looked around,

did I do something wrong?

And my mom, I remember looking at her,

her being like, oh, what did you do?

- She licked my face.

Most innocent gesture in the
world, and I went, (chuckling)

I knew we were gonna be fine, all of us.

(eerie music)

- We did the little piece in the pilot

where they go and they find
the body down by the river

at night, with lips all sewn
together, and I thought,

man, there's no way they're
gonna let that show on TV.

It's absolutely not going to happen.

- Well, I saw the pilot
at a screening at the DGA,

and I brought a bunch of
friends, and it was terrifying.

I mean, I will always
remember the image of the guy

with sewn shut mouth, oh, my god, I mean.

- It was so dark.

I mean, compared to,
you know, anything else

that was out in the world and
on television at the time,

it was very, very dark.

It was kinda mind-blowing.

How are they gonna get that on television?

That's gonna be a series?

Whoa, what's gonna happen every week?

- It was obviously kinda
sexy and kinda violent

and kind of cool.

But it was also intense in a way

that I came to kind of understand
only after I worked on it.

- The pilot, we shot for a month,

and I remember being in the
last scenes of the pilot

knowing that this was the
last scene of the pilot,

and then we were gonna have a break.

And I said to Chris,

Chris, are we gonna have
a month for each show?

I mean, he said, "No, every eight days."

And I went, what?

What did you say?

I was, like, stunned.

Yeah, it was an exciting time,
but it was also overwhelming.

It was like surfing on a giant wave.

And you have to have skill,
but you also have faith.

Terry O'Quinn is this
wonderful kind of actor that,

he was so supportive to me.

There would be times
where I'd get a script,

I'd be memorizing that one,
the second script would come in

before I'd finished memorizing that one,

and then I got all the way
to the end of the first one,

the second one would come in.

By the time I was finished
halfway with that one,

another one would come in.

So was an awesome amount
of learning they had to do.

And I remember Terry saying to me,

"Lance, don't panic over this stuff.

"Here's the thing to do,
let's just read it, accept it,

"and it will come to
you right in the middle,

"it will come to you,
don't worry about it."

He was right, it did.
(eerie music)

- When I got the call to do
Millennium, I'd just finished

or was still on a series
called Strange Luck,

which was an interesting show

because partway through
they lost there lead writer

and it kind of lost its way a bit,

and we had to dictate from long
distance through a producer

to just keep doing whatever
it is you're doing.

We were being extremely
creative with the camera.

We were just trying all
kinds of kooky stuff

to get people from A to B and
to tell the story and stuff.

I think Chris really
just wanted to make sure

that I sort of, I kind
of got the aesthetic,

which was really sort of enhanced,

what I now call enhanced naturalism.

- I think the show gets into your fear.

It gets into the place where
you're scared and alone,

and you're in the dark, and you
don't know what's happening.

And it does it not directly,

it does it kind of atmospherically.

And through the photography,
through the staging,

not really so much the events,

through the events that you
don't know are going to happen,

that you're unsure about.

- It was hyperreality.

- Hi, there, how are you?

(dramatic music)

Hi, there, how are you?

Hi, there, how are you?

- Hi, there, how are you?

- Hi.

- And I think that's what
made it scary for me,

is that I always said that I'm struck

by the sort of everyday evil,

and the fact that you can be
in line at the supermarket

and be next to a serial
killer and not realize it

that what evil looks in the minds of men

is what we were after.

- Because it was reality-based,
we didn't have the license,

I didn't think, creatively,

to do the kind of writing you can do

with something that's more
in the science fiction world

of The X-Files.

So, all our writing sources
were sort of reality-based

and motivated, and that sort of drove it.

And Mark Freeborn was
the production designer

on almost all the episodes.

He was brilliant.

So that was great for Lance, I think,

because he got to come in,

and you could literally smell
the locations you were in

sometimes, I mean, they were
so real, they were so well done

even if it was set on
a stage or something,

it really took you into it the space.

- To go up to Vancouver and
meet the incredible craftsmen

and craftswomen who made that show,

every single department was
at the top of their game.

They put a enormous love into the thing.

And so, your prop person would go,

"Okay, these are the
different severed heads,

"we can have one of them in
a plastic bag, if you prefer.

"This is that would look like.

"And here's the other severed head,

"and my brother works
in the emergency room,

"so I know how to do bruising
and amputations really well."

And you're like, wow, I love you.

Right when you think it
can't get any better,

you get amazing crew, amazing cast,

amazing production team, amazing editors.

Then you go to Mark Snow's
garage in Santa Monica

and he plays the music cues for you.

- Mark was almost like the
soul, in a way, of Frank Black.

And I told him when I
saw him not long ago,

where I said, you were like
a core element in that show.

- And I think now we're so
used to beautiful television

and cinematic television,
it's easy to forget

that that was really unusual, you know,

at the time the Millennium pilot was made.

And I do think, you know,
Chris should get credit

for having that ambition for television

and really understanding
television can be this.

I think it's important to remember sort of

the landscape of television in the 1990s,

which was cop shows,
doctor shows, lawyer shows.

That was pretty much it,
and David E. Kelley, right?

And when you're doing a show
like The X-Files or Millennium,

you are such an oddball.

And it was really hard to find writers

because all the scripts we'd get

were for procedurals and
stuff, and that's like,

well, that's not what we're doing.

- It was all sort of TBD.

Chris did not lay out some
idea for the season even,

as I recall, but.

And I think that was intentional.

He wanted to open up the
unconscious of the writers

and see what it would produce.

- My recollection is that

you were kind of hung out to dry a little.

It was like sink or swim.

Are you gonna get this or not?

And there wasn't a writers' room.

At least on Millennium,
the way, there is now

because every episode
was standalone really.

I mean, I know there was
this mythology thing,

but really standalone episodes.

And so, as a writer,
you came up with an idea

that got approved by Chris, as I remember,

but he might guide it a little bit,

but then it was like you were
really supposed to come back

with a finished story.
(eerie music)

- [Lance] I remember speaking
to the people in Virginia,

The Academy Group.

And they said two things
to me about it, they said,

I wish I could solve everything
by nine o'clock, you know.

And I know they were
digging at me with it.

And the other one they said,

if I had been able to grab a doorknob

and see who touched it before
me, that would be great.

- Frank Black would have
his visions, you know,

he'd be at a crime scene,

and you'd have all these flash frames.

And it was shot on film, and on film,

when you shut off the camera,

it slowly slows down and you
get what they call rollout,

which is like multiple images,

and just weird like three
and four and 10 frames

of garbage under most
circumstances, and we'd use that

to intercut with the
images that he was seeing,

which were usually shot on 16-millimeter

to give them a more grainy
look as opposed to the 35.

- In the beginning, I think
those visions were meant to be

intuitions or his tapping into
the collective unconscious

or it was just, because on a deep level

that Frank Black himself
didn't understand,

he had insight into the evil
that these people were doing,

he can make sense of it.

It was a darkness in his own heart

that connected to the darkness
that other people were doing.

So it was like a deep intuition
or insight that he had

into these murderers and their crimes.

- I have intuition as a person.

We all do, you do, we all do.

And sometimes, if you really are able

to listen to your own intuition,
it's not a magic trick.

It's an accumulation of
elements that you noticed

that become intuition and has a message.

- Chris didn't think that
it was a supernatural gift.

I think that when the show went
more to a paranormal thing,

you wanted to believe that
he had some kind of gift

that he could put himself
in the mind of a murderer.

- It's the psychological equivalent

of Arthur Clarke's observation

that any sufficiently advanced technology

is indistinguishable from magic.

And any sufficiently developed intuition

like Frank's has seems supernatural,

maybe even to the person who has it.

So it's either a highly developed gift

or it crosses over into the supernatural.

And we wanted to, I think once
you say it's supernatural,

it takes the steam out.

You go, absolutely, it's supernatural.

Then you go, it's a different show.

But if you say this guy is extraordinary

and it may be supernatural,

then all the rules of real
world trouble come into play.

- I was brought in to do episode
number two of season one,

Dead Letters.

Chris basically gave me the
show to produce and said,

"Tom, you're Mr. Millennium,
so, any problems,

"just give me a call."

- As far as Tom was concerned,

I mean, one of the things was,

he was a fixture almost from the get go.

He directed almost every other episode.

And he's just so good and so
buttoned-down and so prepared,

it made all the rest of
our lives that much easier.

He and I had a sure hand,
he could say, you know,

if you had a script
ahead of time, you'd say,

you know, I think in terms of such a movie

that's the feeling that we
want here and, of course,

we're all familiar with the
same references and stuff,

so it was easy to,
creatively, to drive the ship

and lead the whole crew
where they needed to go.

- From Ten Thirteen and from Millennium,

what was our obsession
that we talked about,

I mean, we talked about
this point of view,

so the whole visual style
was set up to support that,

was that sort of Dario
Argento horror vocabulary

but with the very tight sight lines.

- When I read the script,
I would always see it,

I thought or I tried to see
it through Frank's vision.

Was more or less what his vision was

from the case he was on.

What he was seeing it, how he saw it.

And I would get as close
to that as I could.

I thought it was the
best way to approach it

because it was all his world.

And Rob and I would get
into these conversations

about the look of the show,
how dark we can make it,

and, you know, people
fighting us on all that,

and, you know, it was always something.

But we would push it everyday
all as far as we could.

I remember on Dead Letters,
the first when I did,

man, they came on strong about
what the visuals and things.

So one scene, the only way
I could get it across was

to take the photographs and I put 'em,

exhibit 'em up on the wall,

and then I put the lead
actor or guest actor

in front of the the
wall to play the scene.

That's the only way I
could really show those

because they weren't gonna
let us show 'em at all.

- Well, initially, they were
super excited about the show.

I mean, the pilot episode, they
loved, they flipped for it.

They recognized it was a work of art.

I mean, I use that word
advisedly, but it really was,

and they saw the integrity of it,

and they went to a lot of
trouble to promote the show.

But I remember after
four or five episodes,

they called us in for a meeting

'cause they just thought the show

was unremittingly bleak and
dark and depressing, and like,

Jesus, guys, can't you get
some humor into this thing?

Something, you know, 'cause
they thought it was too much.

And we heard that argument,

we were kinda sympathetic
to what they were saying,

but we also struggled

because there's something
you want to say with the show

and we didn't wanna compromise
it for commercial reasons.

If you're gonna deal with
dark stuff like this,

you must horrify people.

You can't sanitize it and soften it.

I actually think it's kind
of dangerous to do that.

It makes it entertaining and safe,

and it should be disturbing,

you know, it should trouble you,

otherwise it becomes
kind of obscene in a way.

It's inviting you to enjoy suffering

and perversity and cruelty.

- I did a new play by Lee
Blessing at La Jolla Playhouse

in which I played a serial killer,

a composite of all these
different serial killers

from the '70s and '80s.

So I read everything I get my hands on.

In fact, I read too much.

You can do too much, especially
with that dark stuff.

- Well, I think Dead Letters
is one of most important

early episodes of Millennium

because it juxtaposes Jim
Horn with Frank Black.

Both of these investigators are candidates

to enter the Millennium Group,
but they're very different,

and the important thing
about the episode is

their differences illuminate
the character of Frank.

- The stuff that I went through,
my character went through

was a way for him to sort of
look into the future and see

what happens to these guys.

When I look at the victims,
when look at their faces,

all I can see--

- [Boy] Daddy, Daddy.

- Now, when Frank works his cases,

he gets into the mind of the killer.

He sees what the killer
sees, and implicit in that

is the idea that he takes
himself out of that.

Jim Horn is exactly the opposite.

He can't separate himself like Frank does

from what he's seeing or what
he thinks the killer is doing.

- If you make every one of these
personal, you'll go insane.

And that's from having been there, James.

It was really important to me

to have Frank Black be a
non-judgemental person.

You knew that people had
to be taken off the street

that were causing mayhem and
great pain to other people,

but it wasn't about judging anybody

because you're not gonna
get any information

once you made that decision.

Somebody has to stay
sane in that situation,

and I thought Frank Black was that way.

- I don't think the show was meant to be

sort of a procedural drama
like so many procedural dramas,

because they really do just become about

there's a bad guy out there

and what clues are we gonna find.

He was going to get the bad guy.

So you needed other pathways,

other things, other relationships.

- I could see the child in everyone.

When you see anybody, any
person, stranger or not,

wherever you are, if you
look in a very relaxed way,

you can see the child in them.

And I'd rather engage somebody

in having that piece of knowledge.

Because there's a lot of forgiveness,

and a child struggling to find an answer,

and a lot of people, in life,

they're struggling for an answer,

and some are successful and some are not.

(eerie music)

Originally, they were
gonna call Millennium 2000,

and they changed it to Millennium.

And I thought, what a great idea,

because 2000 is just as cold as ice.

Millennium makes you
think, it implies a lot.

- That flaw that got put into the system

in terms of two digits
for a date instead of four

has become, over the last 25
years, absolutely pervasive.

- People don't remember that
at that time, '97, '98, '99,

this millennial thing was real

And there was a sense of anticipation,

a sense almost of foreboding.

- [Newscaster] 70% of Americans
buying emergency supplies

to welcome the new year.

- Y2K, you know, there was
gonna be this Y2K thing.

Everybody was a little
bit on pins and needles

about the millennium,

and this show is the only
show in popular culture

that I know of that
really tapped into that

in a very real way.

- People were not so much
afraid of the millennium bug

as they were afraid that
there would be some sort of

soul-wrenching worldwide change.

And I never believed that the
Y2K bug was gonna be anything.

But Millennium, which started
a lot earlier than that,

started in '96, was about
the fear that there would be

some kind of worldwide change.

- If you look back on the show now,

I think it was actually more
on target than we realized

at the time.

I think looking back on the show now,

I think something did end
as it turned out it ended

September 11th, 2001
not December 31st, 1999

but pretty close to the
turn of the millennium.

(somber music)

- [Newscaster] We see the
lights shining from the spot

where the Twin Towers once
stood, a symbol of what was lost.

- And I think it was a sense of dread

that something was coming to an end

and we didn't know what it was.

My memory was, very clearly,

there was nothing
supernatural about the show

in the beginning.

And that, really, Chris
wanted that to be a way

to differentiate Millennium
from The X-Files.

And Chris, in my recollection anyway,

was not somebody who
believed in the supernatural.

So we thought this was being truer

and it was gonna be more
terrifying than The X-Files

because it didn't give you
the out of well, it's monster,

well, that's an alien.

It's like, no, this is
real, this is the real evil

that's out there in the world
that you're afraid to look at.

So it would be even harder for
you to go to sleep at night

after watching Millennium.

But I think what he became aware of

and he ultimately embraced
with the Lucy Butler character

was that it was hard
to make a show of ideas

and not start to embrace the
supernatural on some level.

- So Lucy Butler was kind
of the devil personified,

and while I, you know, as
I stated that, you know,

I don't think that the devil himself,

the guy with the pitchfork
is running amongst us,

I believe there are people
who do personify evil.

I've met these people,
I've look them in the eye.

I've experienced that kind
of perfect self-interest

that evil is, and the lack
of compassion and empathy.

- I had an audition for
Millennium, and I went home,

and a couple of days later,

the casting director called me at home,

which is pretty unusual, and she said,

"Well, I have good news and bad news.

"And the bad news is
that the part got cut.

"And the good news is

"Chris Carter has written
a recurring role for you

"on Millennium to play the devil.

"Would you like to take it?"

- I have worked with Sarah-Jane
a number of times since then

because of meeting her on Millennium,

and she is, first of all, she
is such an unusual actress.

Her speech pattern is slightly different,

it's very interesting.

She's very sensitive.

She is powerful, in a way,

I would say Sarah-Jane is powerful.

- Oh, what do you wanna know about Butler?

Well, first of all, she's
probably the one of the most

naturally sensual people in the world.

I mean, if there was a devil,

he's not gonna come at you
with horns on his head.

He's gonna come at you and seduce you.

- Was it a woman

- Why do you ask?

- The way you were looking at me.

- She was very seductive.

She was super intelligent.

And everything she said was
like, maybe that's true,

maybe that's true.

And I do remember,

these were conversations I
would have with Chris like,

the devil always says so much that's true

that it confuses you.

It tempts you to lose your way.

- Mike Nichols said something incredible

that there's only three
elements that make up all drama,

negotiation, seduction, or warfare.

Butler was a great seductress

- There's a scene in
the interrogation room,

that's one of my favorite scenes.

If you remember, in the episode,

I'm sitting on the edge of the desk.

And Frank Black comes into the room,

and without looking at
him I say, hi, Frank.

I think it was written

that I was just sitting
in the interrogation room

waiting for him, and I said to Thomas,

can I sit on the edge of the
table with my legs dangling

with my back to the door,
so that when he comes in,

I already know who's coming in the room?

And Thomas said, "Yeah, I
love that, that's fantastic."

Hi.

- You were in my house

- And then it just started this whole

kinda different vibe to it,
of this playful kind of,

don't think you have the power,
you don't have the power.

- The equivalent to suddenly getting dosed

like walking into a
marijuana lounge in Amsterdam

when you suddenly, can I have a Coke,

and then suddenly you're stoned.

And that's what it was
like to be around her

because she was always like
touching, hitting that button,

touching that button.

Yes, she's a wonderful
actress, by the way.

But she had that naturally

and then put her talent on
top of that as an actress

and really, yep. (laughing)

- It was electric.

That's the only way to describe it.

It was looking right at somebody

and really daring them to
play, and to play dangerously.

- The character evolved.

I don't think that any
of us really realized

what that character
would be when we first,

that very first episode,

as I think a lot of things in
Millennium, you learn a little

and then characters and
storylines would evolve

and it turned out to be
something completely different

than what you thought it would be.

- There was a guy who played
a captain at a police station

in the show, and he
ended up getting killed

They hung him from the ceiling by a hook.

And then it got almost supernatural

because I had to talk to him
while he had his throat cut.

(intense music)

And he's sitting in a chair,

and I'm trying to almost
supernaturally talking to him

like it was a dream.

(dramatic music)

Some things that came into
the show were like, whoa.

You know, because I'm such a primitive

that I need some reality.

I mean, is this a dream
or is it really happening?

I mean, and I have to make the choice

because otherwise my
reality would be corrupted.

- We did open the door to the supernatural

and the show evolved to
allow for that over time,

which I think was the right thing to do.

It was just something we
understood as the show went on.

- I kinda like the idea of
the yellow house, really.

And that was Frank's safe haven.

Of course as time went on,
a lot of the problems he has

slowly crept into the house,
with his wife, his family,

the house, everything.

- We're raising a daughter, Frank.

The real world starts to seep in.

You can't stop it.

The thing that really would
frighten you, I think,

is not your own personal
loss or being harmed yourself

but the kind of pain
that you would go through

for the loss of someone else,

the danger of having your child in danger,

that's scary stuff.

That's where I don't
think people even know

how they would deal with
a situation like that.

- Once certain perpetrators
had attacked my family,

it's a whole other thing.

Now I'm as vulnerable as
anybody, with the thought of,

how am I gonna live up
to what my beliefs are?

(eerie music)

- When we did Millennium,
the first season,

Chris let go of the guys who
were supposed to run the show

almost right away.

And that was a big problem
because suddenly Chris and I

were literally running
two massive shows at once.

I mean, that was, what,
48, 49 hours of television.

When that first season ended,

we knew we couldn't do that again.

so he asked me if I wanted
to take over Millennium,

leave X-Files and just
take over Millennium,

and I didn't want to leave X-Files,

I was emotionally attached
X-Files, and I didn't feel ready.

- When 20th Century Fox saw

what was happening with
the movie, X-Files movie,

and with The X-Files,

they actually sort of
went out on their own

and reached out to Morgan and Wong,

who had just come off of their own show,

and asked them to step in.

So, actually, that announcement

kind of came as a surprise to me.

But, you know, they're fully capable folk.

They had done great work on The X-Files.

I thought they would continue

to do great work on Millennium.

- It was just different.

It was a different take on the show

and it was more anthology, I would say,

that they didn't focus
specifically on killers.

It was more about the Group.

- When we went in the second season,

it became a whole new show,
as far as I was concerned.

And I liked the first season,

I liked where it was going, first season.

I liked the grittiness.

Second season got a little wandery.

And even though we did
some interesting stuff,

really interesting stuff.

- Except it wasn't really
into the kind of procedural

serial killer kind of
stuff then, but I liked

when it started to get
into more of the mythology.

- Yeah.
- More biblical mythology.

- Yeah, and we were really interested

in the Millennium Group specifically,

and what they might really be,

and that was what they were gonna do,

so we were, yeah, we
actually just walked into

exactly what they were planning.

- Glen said, "We're not gonna do

"too many internal POV visions for Frank.

"We're gonna try to tone
that down a little bit,

"so use it sparingly and, you know,

"when it's really important."

- It was interesting too
because at the beginning,

of course, in the first
season, it was all intuition.

So that and the visions were used

to just visualize his intuition.

But we really like the idea
of taking everything further,

taking the Millennium Group further,

and then taking the
visions further and saying,

there is something, he is
connected to something.

(dramatic music)

- I've had these visions before you.

(gasping)

- And, you know, that
he's able to handle this.

I think that was one reason
for Laura and for her

not being able to handle it,

'cause she was having the same
sort of thing that he was,

but he was able to deal
with it a lot better.

- Frank Black in the middle of season two

begins to go through this change.

Who am I when I'm not the Frank Black

who's the profiler working
for the Millennium Group?

Who am I when I'm not
married to Catherine,

when I don't have this
sanctuary of the yellow house

to go back to?

Who am I if my father is gone?

(dramatic music)

- We wanted to do like a
kind of Christmas mythology

type of episode,

and we like the idea of
using Frank's father.

That was really a
collaboration to come up with

what his relationship
was like with his father.

- Well, take off your coat, stay a while.

We've got a lot of years to talk over.

- I don't think we do.

- We also wanted to further explore

where his visions came from

and the idea that his mother
was sort of contacting him.

- She told me that her
grandmother helped to draw it.

- So?

- Not my mother, Frank.

Yours.

- The Christmas show we did,
which I loved, I really did.

It was so fantastical.

But the people in it were
real and they were wonderful.

And so, to have a theme that
comes like different rivers

meeting at this moment
and then branch out again,

but keep the audience
connected so they're involved.

You can talk more about
things, you know what I mean?

So rather than solving
them at nine o'clock.

(dramatic music)

- [Lecturer] To us on Earth,

the stars are fixed, and
the planets, sluggish.

- Luminary was one of my favorite shows

because it was so understandable.

I remember myself as a
young man back in the '60s.

If I wanna go from New York
to the northern tip of Canada

or Alaska, I would have done
it if I'd gotten the idea.

I felt invincible.

- I didn't wanna die.

I wanted to be alive.

- And if you add spirituality to that

and try to find your soul, you know,

a young man trying to find
his soul, it was, again,

it was Frank Black putting
himself out on the edge

trying to rescue someone.

Alex, Alex, come on.

Alex, come on.

I think there is an element of rescuer

in Frank Black for sure.

I mean, there has to be, because
otherwise, what drives him?

That's got to be it.

One soul is worth all
the people in the world.

One at a time.

- And I had people say to me,

"John, how can you like
this show about monsters?"

And I say, well, you have
Millennium all wrong.

Millennium isn't about these monsters.

It's about how people like
you and I respond to monsters,

to the evil in humanity,
and Frank Black is our icon.

He's the person who cares,
he's the person who steps up

to fight these monsters.

The second aspect that
was important to the '90s

and to the context of Millennium

was the ascent of the internet.

- There were, in the early
days of the internet,

people who would point
a camera at a turtle.

They'd call it Turtle Cam.

They'd say, look, my turtle.

And you could anytime day or night see

what this guy's turtle is doing.

Then, a girl said, a
girl named Jenni said,

I'm going to create JenniCam.

- I am Jenni from The JenniCam.

- It's gonna be just like Turtle
Cam, except it will be me.

She put a camera on
herself 24 hours a day,

and it included her doing
mostly mundane tasks,

but also having sex and eating
dinner and who knows what.

But when I saw that,

I realized that we
could have a crime scene

that no one knows where it
is, no one knows who it is,

no one knows who the
victim or the murderer is,

that's a brilliant setup for a classic

kind of locked room mystery.

- Millennium specifically
featured this aspect

in a second season
story called The Mikado,

where there was a serial killer
who was committing crimes

on the internet and Frank
had to go and try to find out

where are these crimes
actually being committed,

we can see the website,

and when it reaches
certain number of hits,

he's going to livestream
his murder of this victim.

(dramatic music)

(computer beeps)

(all gasping)

- God!

We gotta tell somebody.
(modem screeching)

- What are we gonna tell them?

- We need proof, hit print or something.

Hit print, hit print!

- A big part of Y2K fears,

where the fear that
the technology of world

is outrunning our ability to deal with it.

And The Mikado was a lot about that,

about how technology not only helps you,

it helps the people who
are victimizing you.

(eerie music)

There was like a very
millennial thing that happened

while in between the two
seasons in real life,

there was a suicide cult
that believed that a comet,

it was crossing paths,
and visible from Earth

was gonna transport them to heaven,

and they're called The Heaven's Gate Cult.

They all killed themselves.

I thought, this is a terrific
idea for a Millennium episode

because nothing could be more millennial.

Broke the story with
Morgan and Wong, actually,

and then wrote the script,

but by the time the script came out,

I think they were on to a
whole different conception

for the season than we had started with.

And that was when you go to the
Owls and the Roosters stuff.

- [Mr. Dean] Only twice in 2,000 years

has the Millennium Group been so divided.

But this is our darkest hour.

- I never thought members
would kill members.

- [Peter] You think the
Owls took the cross?

- It's my feeling that,
it's a classical feeling

that all power is corrupted eventually.

And they all are power only
because they are so clandestine.

They don't rear their head,
they don't face the music

for everything they manipulate.

And so, it wasn't a
terrible surprise to me.

The hardest thing was Peter Watts

because I did grow to really respect him.

But as the Millennium Group goes,

he was so mysterious and so at a distance.

I was always wary of them and
knew that it can be corrupted.

I should have called the police.

- Are you with them?

I'm not even sure I'm with you.

I don't know who or what you are exactly.

There is a line in
Shakespeare where it says,

to sup with the devil,
you need a longer spoon.

And I felt about them that way.

Terry O'Quinn did a great
job of playing Peter Watts,

and I thought he has, talk
about a seduction of friendship,

this guy, he was my buddy,
he was this, he was that,

but he always had an agenda,

and I could feel the agenda
whenever I talk to him.

So it always kept me
like a little on guard,

supping maybe with the devil.

- So Anamnesis, basically,
was going to be,

we were going to be doing the
Easter episode. (laughing)

I mean, I can't even imagine the blasphemy

we would have gotten if that had been--

- Been the Easter episode.
- The Easter episode.

♪ Oh god I feel for you ♪

♪ The plot of our lives ♪

♪ Sweats in the dark ♪
(gun firing)

(people screaming)

- I don't really remember
there being any problems

until the first day of shooting,

- Yeah.

- when suddenly Standards and
Practices went, wait a minute.

- When they realized we were saying

that Jesus and Mary
Magdalene had had a child,

which they didn't really pick up on then,

and then our Standards person
got, she was wonderful,

and she goes, "You guys can't do that."

- And Glen goes, "Why not?"
- Yeah.

And so, we were on a
conference call for hours.

- [Both] Three-hour conference call

- going, we're shooting right now.

- Yeah, and, yeah, that was crazy.

And it was funny because part of that call

became Darin's inspiration

for Suddenly Satan Got Behind Me,

because at one point
Linda actually did say,

- Because I am Broadcast
Standards and Practices,

and I bear the burden of
maintaining a nation's morality

on my very shoulders.

- There was so much
comedy in that episode.

You're killing yourself laughing,
watching those old guys,

and all that prosthetics.

- You're talking about
the devils, you know,

having lunch at the donut shop.

- Hey, maybe I'm
old-fashioned, but I tell you,

things didn't use to be this way.

- I actually screamed from the rooftop

at the guy that wrote that.

He was down on the street
and I was up five flights

on a roof.

And I holler down at him,

is it your intention to mock
everything that you respect?

I screamed it at him.

I just had to surrender.

Again, look, man, I'm only an actor.

And I have a limited education.

And these scripts come in

with guys that have been
in college, graduates,

they write well, they're very inventive,

and now it falls in my lap

like I was catching an unborn
cow in my arms, you know.

(chuckling)

Bloomp, there it is and I
gotta live with it, that's it.

You know, anyway, there you
go, one of my metaphors.

(chuckling)

(Twohey groaning)

I'm Rocket McGrain and
I do whatever I want

to maintain my upbeatness.

- Every show takes on a life of its own

because people come in
and add to the voice

and/or find their own
passion in the project.

There were people who investigated things

that I actually hadn't imagined.

- Yes, we drew really
interesting talented writers,

but I also think they were
shaped by that experience.

They had to say something
or they weren't any good.

So the writers had to think
about them differently

than they would think about
any other show on television.

♪ His head against the locker ♪

♪ Started laughing hysterically ♪

♪ When suddenly ♪

- You know, I'll be honest,

I was gonna leave after season one

'cause it was just so hard,
it was honestly so hard,

I never experienced that
much difficulty doing stuff,

you know, getting episodes out the door

because the story process
was extremely difficult.

For me, you needed a story
that was as interesting

as something you could make into a movie

for it to be a good episode,

and it was very, very hard
to come up with these things.

- What I remember more than
anything about that show is

I've never been so tired,

I've never worked so hard in my life.

I mean, it was a really, really hard show.

Everybody will just say
it was very satisfying

because the end product was so good

but boy, oh boy, it was hard.

- When you're working
hard on a show like that,

what happens is you get
very, very fatigued,

and what happens is you have this,

you're carrying around
a feeling of despair.

Yet, the only solution is rest.

- I liked Glen and Jim enormously,

and they're hugely talented.

And we talked very frankly
about how I would exit the show,

what was happening.

- It was introduced that
Catherine would be leaving,

and that that's how season
three would continue.

I remember my mom and her

having a deep conversation about it,

and then my mom coming to tell me,

and I remember feeling very confused,

that I didn't understand
why, and like, I didn't know.

I felt sad about it, I really loved her,

and she was really fantastic.

- If I get sick,

I don't want you to watch me die.

Well, at least I saved
my daughter. (laughing)

And again, so, if there was
a way for mom to exit a show,

that was kind of the
most noble thing to do.

(eerie music)

- When it was announced that
Millennium would come back

for season three, which was very exciting,

and Morgan and Wong would be leaving,

I had to look, sort of take an overview

of what they had done
and where they left off.

I had to shuffle and think
about the character Frank Black

and how we would be reacting in my mind,

how I wanted him reacting
to the facts of his life

as they were set out in season two.

- I just absolutely assumed
as did many other people

the show is over, they
killed many main characters,

and I think 80% of the Earth's population.

I was interviewing for
other shows and they asked,

"Is it going to be renewed?"

I said, let me tell you the final episode.

I told them exactly what was
gonna happen, and they go,

"Oh, nobody would ever renew that."

Then they renewed it, we
just rolled up our sleeves,

we went in, we said,
let's brainstorm ideas.

- Chris and I were not eager to resume

running two TV shows simultaneously again.

And Chip had done really good work.

And Ken was really experienced,

was part of Ten Thirteen
at that time, and so,

I think we felt Chip and Ken
together would be a good team

to shepherd season three.

- They burn down the world
at the end of season two,

and I thought they were
doing it kinda out of malice,

and they really were not.

I found out just from Jim
Wong in the last month.

He said, "Oh, you should
have come by and asked us,

"'cause we had a million
ideas about what to do."

I think there's something
that I wasn't so excited

about then which now after I
don't know how many seasons

of Homeland I'm much
more comfortable with,

which is that you paint yourself

into really difficult corners

and it's fun to get out of them,

that you can have situations
you think are impossible,

that you think will stop the storytelling,

that you think will do
everything, and they don't.

And it's better just to live with that,

so that was a lesson I feel like I learned

looking back at season
three of Millennium.

That was one of those
things I would never do

that same way again.

And in that one,

it would have been just
so much more interesting

to deal with the specifics
of that contagion

and slowly open up your world,

instead of, yeah,
pretending it didn't happen.

- It wanted to go back to
the procedural season one.

And so, that's what we, we came in

and we started coming up
with those kinds of stories.

- It was a much trickier season, yeah,

we weren't really sure
what kind of stories

we were going to be telling.

- We needed another female character,

and something very different

from what Megan had brought to the show,

and obviously it's a
completely different character.

- Emma Hollis, I believe
was a Chris character.

I think he wanted to bring
in a female character

that was more operational, that is,

Catherine have been sidelined

both by their marriage problems,
right, but also by the fact

that she was maybe not conceived
properly in the beginning,

that this family wasn't
really quite functioning

the way we were hoping.

- I feel like she was brought on

because I think everybody realized

that the workload for Lance,

if it's a one man show, was too much.

And she was there to help
shoulder some of that weight,

to be his partner.

- Whath I remember mostly
was seeing Klea Scott

and just going, we have
to get this actress.

- At that point, Lance had
a relationship with his wife

that was sort of male-female baLance,

and then Kristen Cloke's
character, Lara Means,

and that male-female baLance.

But after, you know,

everybody died at the end of season two,

they needed (laughing),
they needed a new chick,

and they needed a new
partner, FBI partner.

That's how they wrote
themselves out of the end times,

was that it had only affected
the Pacific Northwest

and he was going back to the FBI in D.C.

and was gonna get a young partner.

So they opened, you know,
the casting was for that.

Anything in particular you're looking for?

Learned afterwards that
the network felt like

the demographic for Millennium
was white males 18 to 35

on a Friday night, that's
what they were going for,

and they didn't feel like seeing
a black woman. (chuckling)

You know, that wasn't the
audience, that's how they say it.

My agent at the time, Craig
Wyckoff, threw down for me,

I didn't know that, with
the woman who was casting,

and he said, "Look, if Klea is awful

"and a total waste of time,

"I will never send you another actor,

"I won't bother you again.

"Just take a shot.

"Let her do the first read."

- Now it's all diversity,
diversity, diversity, diversity.

It was not then.

This is now 20 years ago, right?

And it seems crazy but
it was hard to get her,

not approve, ultimately,

but it was hard to get
people into the idea of her

'cause it was seen as this kind of nerdy,

white college show, you know.

But we saw her and she just blew us away.

And she had this kind of great physicality

that most TV actresses do not.

She was just kinda
magnificent, the way she moved,

and the way her hair was,
and she was just so cool.

- But I thought Klea had so much humanity

and poise and dignity and beauty.

I just think she's lovely, I
think she's a lovely person,

and a lovely actress.

And I felt like that kind of light

was what you needed to contrast
against Frank's blackness.

- Interesting thing you had
an older man, a younger woman,

a white man, a brown woman,
and there was no sexual energy,

it wasn't about that, it was
about something different.

And so, we thought, like,
what is this relationship?

And Lance told me early on that

he had had somebody come
up at a fan event and say

that he had been a mentor to them.

And he'd been really surprised

because he didn't think he
was old enough to be a mentor.

He just couldn't believe
his life had brought him

to a place where he was a mentor.

And I was so clear, that's
what was happening with us.

It was not gonna be
just any old acting job.

We were gonna invest.

- First two-part episode of season three,

which is The Innocents and Exegesis.

It's very interesting for what
it protends for Frank Black,

because he encounters here these oracles.

Basically, these people who
were part of a CIA program,

they were remote viewers,

meaning that they could put themselves

into the heads of other people.

- Preparing for the role and knowing,

really believing that
you have to do something

that's gonna take down a
plane full of innocent people

for the good of your sisters,
is a lot to work with.

(gun cocking)

Oh, god, no!

(gun firing)

I love the idea that they were clones,

and it made me wonder, do they
all have like a hive mind,

like one knows what the other is doing?

Because in the script, I
mean, this woman is willing to

back off over a cliff
and kill the young child

to keep people from knowing the truth.

So, it added a lot of
elements for me to work with.

- Frank realizes through
his exposure through them

that they're a family like his family,

and it was wrong that his family was used

as part of the agenda
for the Millennium Group

in season two.

So it's just as wrong for him

to try to use them for his agenda now.

And what he eventually does
of course is he lets them go,

they go into hiding,
and he doesn't use them

the way that would benefit him

because he realizes they're
a family, they're people.

Their abilities don't make them
a commodity, they're people.

- You know, the idea of an
overarching story in Millennium

is obviously troubled in a certain way.

And I think that one of
the things that, you know,

we never kind of nailed
properly was what that would be

or, honestly, if you even had to have one.

- Eventually, if you kept
going the way we're going

in season one, which is a
serial killer every week,

that may have also gotten tiring.

It's hard to say.

I mean, once we got into the
anthology thing in season two,

could you have continued on that way?

Maybe, that may have
been a better way to go.

Then what we did in season
three, but it's hard to know.

- I mean, one of the reasons

the mythology maybe never
got pinned down properly

was that there were a series
of people that came through

that had their own opinions about that,

and so it didn't have a
proper custodian for that.

Like, Chris had an idea in the beginning,

and then Morgan and Wong
came in, and then I came in,

and it was a little bit scattered.

On the other hand, the same people

in some of the standalones
made just absolutely, to me,

like, fantastic television,
like, the best I've ever seen

in a lot of ways.

- We didn't know exactly
where Chip and Ken were

in their charting of the
mythology, if you will,

serialized elements of
Millennium as we were doing that,

'cause we were preoccupied with X-Files,

so really, all the episodes
we did in Millennium

season three were pretty self-contained

'cause we weren't
following it closely enough

to weave ourselves in successfully.

So we tried to come up with ideas

that we thought were powerful
and wouldn't conflict

with the rest of the flow of the series.

♪ Yeah ♪

- There was ones that were
fun and a little lighter

that you could like giggle, and like,

Kiss guest starring, and
that was crazy. (laughing)

- FOX decided the way they
were gonna save Millennium was

have this very dusty rock
band Kiss, sorry, (chuckling)

they're like, it was like, it wasn't like,

we're gonna hook you up with U2.

It was, no, we're gonna hook you,

which was even a little
dusty then, but Kiss?

Okay, but we want a
Kiss crossover episode.

Everybody is like, there's no way, uh-uh,

this would never happen in
the Millennium universe.

- That's it, no twist, no mystery?

- It's supposed to be scary.

- Kay and Erin came running
over to my office, saying,

"We have a scene you have to do."

I'm like, what is it?

They go, "It would be Frank
profiling fictional killers,

"and it would be boring to him
because he's such a genius."

I was like, it's in.

- Where's it go from here?

- A lot of people get killed?

- That was a great idea for a scene

and it turned out to be a great scene.

The cast were troopers,
you know, they always,

whatever they got,

they would figure out a
way to bring soul to it.

And I think you have to admit

that Lance brought a very
interesting performance

to that piece.

But they rolled with it.

It was not what they were
expecting, but it's Millennium,

a lot of stuff can happen in that show.

(eerie music)

- When you're an actor
at a show like Millennium

and you don't know what's gonna happen,

you start writing it
yourself in your head.

It's very difficult not to
just suggest things to people.

You know, like, the director said,

wouldn't be great if,
you know, it turned out

that I was really a bad guy,

that I was running the
Millennium Group clandestine,

you know, head of the hydra, you know,

behind the Millennium
Group, and stuff like that.

And there was a lot of
speculation about that

because nobody knew what was going on

in the minds of the writers.

- The first episode, I
remember, season three

that I really liked, that felt like

we were getting back into our
groove with Skull and Bones.

- Skull and Bones is one
of my favorite episodes

of the third season, I think.

It's a really strong story

that exposes some of the machinery

behind the Millennium Group.

Frank is tracking down
someone else like him,

someone named Ed.

And Ed has for the last 15
years, taken down notes,

and he's written all these notebooks

about what he's seeing in the world.

He'll look at a newspaper article

and he'll start taking down notes,

and he'll start to to see
what's behind the curtain.

What is this current event story

and what's really behind
the current event story.

And what's behind that is the conspiracy,

is the Millennium Group.

- There's this Turkish proverb,

no matter how far you go down
the wrong road, turn back.

So we started to do that
not even just in seven

but in the episode before with
Skull and Bones, to start,

like, talking again about
what the show is really about.

- Who, Agent Hollis, is
prepared to do what is necessary

to assure our future?

- Yeah, that was where
we first started to see

the Millennium Group, you know,

in text as a kind of bad
thing possibly, right.

They started a conversation
with Agent Hollis

at the end of it where he
talked about their role

in sort of turning back the tide of chaos,

whatever that was.

We started to get their sense of

what they felt their
role was in the world.

- The only thing I wanted
was a little more resolution

to the Millennium Group.

I personally felt like we
needed to figure that out,

and I felt we were always
right on the brink,

on the cusp of it.

I was always hoping it
would happen in my episode

that I would, like, figure
out the Millennium Group.

- So season one you think
the Millennium Group

is just a consulting group.

Season two, you realize,

oh, they're an ancient secret society.

And then season three, you
rectify both of those things

by saying, they were, and
then Tolson and Hoover

co-opted it.
- Yeah.

- And that's why FBI agents

are also in the Millennium Group.

- But I do think in season
one, Peter Watts was like,

he didn't have Frank's gift,

and he was there to enable
Frank to do his best,

but he wasn't able to see what Frank saw.

But I do think as life
goes on, unfortunately,

people do get defeated by life sometimes.

- I think it made it much more interesting

and compelling character to
play, to have him have secrets,

to have him have friction with Frank.

And so, by having him have
the sort of secret life,

it gave a lot of color to the character,

which I thought was pretty cool.

- I really liked Terry.

But when he became the enemy,
suddenly I started seeing,

and they would light him different.

So now we're standing in the
shadows and I'm looking at him,

and is supported my feeling
of, have you been lying to me

the whole time we've been
dealing with each other?

And I felt it very strongly, you know.

- Frank undergoes a very
important development, I feel,

at the back half of season three,

starting with Borrowed Time.

And we see very emotional
scenes in that episode.

Frank breaking down over
the idea of losing Jordan,

his daughter, who has
become mysteriously sick,

and he feels he cannot go on.

- You're talking about
the only great thing

that ever happened to my life.

Do you understand that?

- It came out of a father's
deep concern for his daughter.

My daughter had been
through a fever episode.

It was just the most frightening thing.

And they're just burning up
and they're in such pain,

and there's nothing you can do about it.

And, in a way, it started with that.

- When did this start?

- She was fine in school an hour ago.

(Jordan groaning)

- Lance actually really, really
committed in that episode.

First of all, his pain that
his daughter was dying,

I think for him was, as I remember it,

was sort of done privately, and like,

a lot of people were cleared off the set

'cause it was so raw for him.

And he also suggested a lot
of things for the script.

So, for example, when
she's put in the ice bath,

the way it scripted it was
that a doctor did it or nurse,

he said, "No, no, no,
I will do it myself."

- I know, I know.
- No!

- I'm here.
- Daddy, Daddy.

Daddy, help!

Daddy, help!

- "Because if she's gonna go through that,

"I'm gonna be with her."

So there were a lot of
things he brought to it

that had to do with bonding with Jordan.

- Well, I think that he
was connected emotionally

to not only his movie
daughter, to the actress,

and to watch a child struggle
with being on the edge

of life and death, and for
him to put himself as a father

through those emotions, I
think it was wrenching for him.

- Why is this happened to him?

Why is he facing these trials?

Why after losing his wife,

is he now in the position
to lose his daughter?

And I think this is sort of
a necessary break, you know,

they put the brakes on Frank here.

It stops him from being angry,

and it stops him, and he says,

okay, I have to take stock
of where I am in my life now.

And what's important isn't this agenda,

isn't me taking down the Millennium Group.

What's important to me is my daughter.

- While I feel that Frank
Black maintained his integrity

as a character, I think that
over time, he did change.

- I think he was battered,
for sure, and had lost a lot,

and had not been able to protect

everything he helped to protect

at the beginning of the series.

But I think he was still hopeful.

- Do you know there was
an element of sadness

that the show was gonna go out

and I wasn't gonna be on
the right side, you know.

I wanted to be running down
the hall with Frank Black

or I wanted to be, at least
have the car waiting outside,

and then they would get in
jump in the back of the car,

we zoom off together.

I wanted to somehow be a
part of, be on the right side

at that ending moment, and I felt like

the compromises that
she made for her father

put her on the wrong side,
but that's what I love.

What was I supposed to do?

He's my father.

- Do what you have to do.

- That's why Lance and I
we had this all this thing.

Where are we gonna go from this?

I mean, I'm thinking they
weren't going to cancel us

in 1999 for sure. (chuckling)

They wouldn't do that,
that would be ridiculous.

The show's called Millennium.

Why would they cancel us right now?

This makes no sense.

They'll at least give us six episodes

so we can finish the story.

But we had this idea that,
oh well, we will come back

and it'll be like time has passed

and Emma Hollis is deep,
deep in the Millennium Group,

and you think she's totally
evil, and now we hate her.

She's bad, so we're gonna
let the audiences hate me.

And then, you see her and Frank meeting,

and you think he's the bad,

but then you find out
she's just deep cover,

like she's just gone so deep
into the Millennium Group

and it's all to undo the working,

and she's actually
secretly meeting, you know,

so we had all these ideas together,

how we could swing back
around and be a team again.

- I came here to put a bullet in you.

But I don't have to, the
Group will do it for me.

- And it's become
fashionable now on a TV show

to sort of kill off the most important

and most beloved characters.

I don't think that's why we did it.

But it certainly is powerful
to lose somebody emotionally

on the show for the writers,
not only for the writers,

because they had made a
connection to this person,

but for the lead character Frank Black

and what that meant to him.

- [Frank] Catherine.

- They're very romantic characters.

They're heroes, they truly are.

And I think Frank remained
a hero to the end.

(eerie music)

- I was really hoping there
was gonna be a season four

just because it would have
taken us to the millennium,

and it seemed like such a no-brainer.

- Well, we were all kind
of making bets on it.

How can you cancel a show in
1999 that's called Millennium?

- The crew was dedicated,
totally dedicated.

They loved the show.

We had really solid fans
that loved the show.

And then, when they didn't pick it up,

well, there were a lot of disappointment.

- Because you've been
promising the audience this.

Really, what was happening
kinda behind all the layers

of the story, where you
were promising the audience

that this thing was gonna kinda burst

when the millennium happened.

And it just never got a chance to burst.

- So, it's such a
terrible trivia question.

When was a TV show called
Millennium canceled?

Right before the millennium.

- You know, it's funny,

I think the show would have
gone into a fourth season.

The ratings were such that
it supported a fourth season.

I think, really, I'm to blame

for the fact that it didn't go longer

because I had another show that
was coming out on its heels,

Harsh Realm, and one thing
supplanted the other.

- FOX was always chasing
the ratings The X-Files got

on Friday nights.

And every show that came in to
that time slot after X-Files

got lower ratings.

And what they didn't
realize, I think, was that

it was the beginning of the
decline of network television,

and they were never gonna
see those ratings again.

And so, unfortunately, for Ten Thirteen,

every show that we put in that time slot

never reached the aspirations
they had for ratings-wise.

- X-Files visits Millennium came up,

which was an interesting
idea, but, you know,

you had to bring everybody into it,

and people, some were interested,
some weren't interested,

and it got made.

- First of all, it's all
X-Files writers writing it,

so there's always gonna be places,

are we gonna lean toward
the show that's a huge hit

and makes billions of dollars for FOX

or are we gonna lean
towards the one that we love

that was canceled?

And all the forces, all the vectors,

sort of leaning toward

we're gonna give short
shrift to Millennium.

- And this may seem like so
obvious from the outside.

But it was only when we
actually tried to do it,

we realized, yeah, but
this is The X-Files.

This is actually The X-Files,

which is a completely different series

and has completely different requirements

than the Millennium series had.

And so, ultimately, after
many, many permutations of it,

we realized this has to
be a scary monster show

to some degree, which is not
really what Millennium was.

And so, it ended up
becoming an X-Files episode

with Frank Black as a guest character,

and I didn't love it, you know.

I was a bit disappointed in the
result, but we did our best.

- You armed?

- Oh, yeah.

- Shoot for the head,
that seems to stop them.

(dramatic music)
(eerie music)

- I think when a show
outstays its welcome,

even if it's a great show, some
of the luster comes off it,

and that didn't happen with Millennium.

There's nothing about it that feels dated

except the fact that it's
longer, the episodes are longer,

and there are fewer commercial breaks.

- You know, I think
people still care about it

after all these years
because Chris was right

in inviting the writers

to basically liberate the unconscious

and to put our greatest fears,
our cowardices, and shame

onto the screen.

- From the beginning, he said to me,

when I came on The X-Files, you know,

"I don't wanna do television

"that is consumed and thrown away.

"I wanna do television that
lasts, that people go back

"and look at years after it's done."

- I think you could
practically make that show now,

and a bunch of people
have tried to make it.

It was very influential.

A lot of shows have copied it

and copied the general tone and feel.

- I knew a producer on Profiler

who referred to his show
as Millennium light.

- I'd put it with The X-Files.

I put it with 24, Twin Peaks.

The shows they're making now
are drawing from those shows

to do what they do now.

They just took it to the next level.

- I think people are kinda
catching up to it in a way

'cause it is so dark, darker than anything

that was on television at the time.

- There used to be the TV style
and the feature film style.

And TV style, when you slammed
the door, the sets wobbled.

And it was brightly lit and
everything had a happy ending.

And cinematic style was
much more like Millennium.

Millennium was on the vanguard

of let's make these little movies.

- It just looked great,
played well all the time.

I love the characters.

I really love the characters.

- Frank Black, who's this
very complex character

and who was such a good person,

and has all these
terrible things happening

but is always striving
to make things better

and to make things come out right.

And I think that a character like that

is always gonna really
speak to a lot people,

and of course Lance was just so good.

- He brought this weird intensity
that certain actors have

who can carry a series, and
Lance is just one of those guys.

When the storytelling
supported him properly,

you just couldn't look
away, he's fantastic.

- Frank was just someone
you wanted to root for.

He's kinda that Gary
Cooper silent hero type,

so I think that everyone
is gonna root for that.

And Lance is just great, he just is.

I think, you know, you have
instant empathy for him

on the screen.

- What I loved about that show was

the examinations of the nature of evil.

Because bombs are still going off,

because we do terrible
things to each other

and we don't know why,
and we don't know if it's,

we don't know what happens.

Is there something in
the nature of humanity

that wants to self-destruct?

Is it innate in us?

Can we battle it?

Is it outside of us?

Is it in us, is it a psychological evil?

Is there a devil?

- You know, you want the show
to be considered a success

in its longevity, but
you also want the show

to be considered a
success in its artistry,

and that's where I'm
really proud of the show

is that I think some great work was done

by some really talented people.

And I think when people
go look at the show,

I think it stands up as a whole,

and I think that its legacy
is that it wasn't just

a flash in the pan, it
wasn't just a second effort

that it had integrity.

It makes me feel good that, you know,

people connected to it.

- I've never had that many
friends, 'cause in real life,

if you have five friends that
you call your best friends,

you're a very rich man.

But to have hundreds
of thousands of people

from all over the world
expressing that they love the show

and they like Frank Black, you know,

I'm grateful and humbled by it.

I'm not just saying
that, I really mean it.

- Looking back now, I think
that there was still good work

to be done on Millennium, maybe
still good work to be done

in the future on Millennium.

Certain people would
love to see it come back.

I think there are ways to bring it back.

(eerie music)

- I as the director would
have liked to have seen

some of the stories go further,
particularly with Frank,

and even Watts when all that happened.

I mean, he was also one
of my favorite characters.

- What I would do.
(Erin laughing)

- Wow, Kay has thoughts for them.

- Yeah, I do.

It would be the Jordan Black Show.

That's what I would do.

And it would be Jordan being
involved in the new version

of the Millennium Group,
whatever that would be.

- It is a shame that the
show got cut off when it did

'cause it was just getting
into the meat of that character

and there was so much
room to grow with it.

And so, I am really curious

where they would have written her.

I don't know, maybe she'd
follow her father's footsteps

and go that way with her career.

She would have become

a really strong female lead growing older.

(dramatic music)

(voices screeching)

- It would be interesting
to see how she grew up

and what happened to her, you
know, how she's handling it.

- Yeah, it's a really
natural way to do the show.

- I would be really intrigued

to see what Frank is
doing now. (chuckling)

- Is he completely out of it, or?

- I don't think so.
- Yeah.

- I think Frank would still be out there

trying to make things better,

and, yeah, I would be really curious

as to where Frank is today.

- I'm sure in some
fictional alternate world,

Frank is still having a
relationship with Lucy Butler.

- Frank.

- What?

- I just want us to be together.

- She's connected to him
and she understands him

probably better than anybody else,

which is kind of horrifying and scary.

- I'm a lot stronger as a
person than I was actually

doing the show 20 years ago.

I think it would be a lot more fun to be

not so nice this time round.

And I think I'd play a
little more hardball.

- There were so many layers to that show

that if you were into fan fiction,

you could just write 1,000
books on each episode,

there were that many
quantum layers of plot.

- I would like to see him
pouring through Ed's notebooks

from Skull and Bones,

putting together this alternative history

of what the last 15 years
were really all about.

And putting it together
and trying to couple that

with his own knowledge, and figuring out

did the Millennium Group really go away?

- I would try and get in something

that's a very public
failure of law enforcement

in which avatar would use
it to make fools of them,

would use encryption,
would use social media,

would use all the tools that
we have in our current age.

- I wanna introduce this
idea of information sickness.

Right now, the information
we deliver to ourselves

as a society is not good.

It's full of errors.

It's full of undecidable arguments.

It leaves people depressed and confused.

If you look at the news.

- And I want you all to know

that we are fighting the fake news.

It's fake, phony, fake.
(crowd cheering)

- You either wind up as
part of a howling mob

or cowering in terror under your desk

because that's the worthlessness
of the information product

that's being delivered to
us, and we need to fix it.

- I'd like to see Frank
Black called in on a story

in, say, Bulgaria, where he
doesn't speak the language,

every sign is in Cyrillic,
and he has to get involved

in something that
happened and find a person

in the most foreign
difficult place on Earth.

And how does he do it?

There's a lot to talk about in
this world, there really is.

And I don't think we would
ever run out of material.

- I think, you know,

Frank Black seeing the evil in the world,

but seeing it in himself
as well, that's key.

That's key to me, that's key
to the world we live in today.

And I think, right now,
people are frightened

and looking for someone to blame,

and they're not, too many people
are not their best selves.

And I think a character like Frank Black

offers the opportunity to
face the darkness in the world

with hope and goodness.

- Well, I think with The X-Files

doing that six-episode event series,

I think that's an interesting model.

(dramatic music)

People definitely want dark stuff on TV,

no question about that.
- Yeah, there's definitely,

I think there's room for it.

- We could do it on FX, and
make it really down and dirty

and super violent and everything.

- I dare them to do one
like pilot length thing

for Millennium, I dare 'em.

It would be like dropping a
rock on David Duchovny's head.

(laughing)

He actually said that to me at one point.

We met, you know, Millennium
had started and everything,

and he said, "You know what
you're like to me, Lance?

"You're like a baby brother in a crib,

"and I just wanna drop
a rock on your head."

And I said, really?

And I thought, looks like
we're gonna be friends.

(chuckling)

And then, now I sit here and I go,

if they dared to do a Millennium,

it would be like dropping a
rock on David Duchovny's head.

(chuckling)

That's where we should end this.

(clapping)

(chuckling)

I dare you to put that in there.

(laughing)

(gentle instrumental music)

(dramatic music)