IMDB has finally listed Drive on Amy’s filmography as well as the name of the first episode: The Starting Line — this suggests that Amy will be in the pilot, at least in ‘flashback’ mode — an interview with Tim Minear backs this up. Excerpts of the interview with GeekMonthly.com are below. Not long to go now.
GEEKMONTHLY.COM: You mentioned earlier that you had to do a lot of reshoots on the first episode?
TIM MINEAR: We’re basically reshooting the pilot, for a whole host of reasons. Again, as you say, the concept is unusual. Now the studio and network were very enthusiastic about the project and they all really love the pilot and they want to give it the best possible chance. That’s why we [Minear and co-creator Ben Queen] rewrote the first act so that we could get into the story a little differently. As cool as that four minutes on the highway was, there really wasn’t anything to hook you in emotionally because there wasn’t anything to hook you into these people emotionally. You didn’t quite know what they were doing and it was funny and quirky and absolutely a joy to look at, but we were creating, at that point in time, a sales tool.
GEEKMONTLY.COM: Something that would entice the network.
TIM: Even though I probably would not have said that to you at the time; I thought I was doing the first episode. But a lot of choices that were made on that pilot were made to demonstrate a, the technology; b, the tone; and c, what the show could be. It was very important for us to demonstrate right out of the gate how this would not look or feel like anything else. That’s why we front-loaded it with all this stuff. Now that it’s a beginning of a long journey with a bunch of characters, we want to get into it with the characters as opposed to the driving. We’re actually doing a little bit of both, because we start on the highway as we did. We do fly through all the cars, but instead of it going on for six minutes, we’re flying through all of these cars in about 40 seconds. When we get to the head of the line where we find Nathan Fillion, we kind of go into his head and we cut back to his life in Nebraska. We then end up back on the road and do that with all of the characters, and sort of place them in their own worlds and then show the moment of crisis when they ended up leaving to go and be in this race. That’s kind of the first two acts. We’re not ruling out flashbacks, because I’ve been doing them way before Lost, but I’d like to not do that as much as possible. The way these stories are told is in fact by going back into the worlds that these people left behind.
GEEKMONTHLY.COM: So you’re seeing the worlds that they’ve come from, but from a present perspective.
TIM: Exactly. And in subsequent episodes we’ll focus on one or two worlds left behind, and the people left behind by the people in this race. They’re all in this race and it’s all a secret. It’s like a wife is left behind with her child, a man whose wife has disappeared has left and is starting to look a little like Scott Peterson. We’re going to go back and follow those stories as those stories start to constrict around our people on the road.
Read the interview in full (opens in a new window.)