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“In the beginning I thought that this will be like a mentoring thing where he should be learning quite a bit from dad,” Levy said. “You hit those moments where he has own take on something and you say, ‘Well that’s not what I would necessarily have done here — you might want to rethink this.’ ‘I feel pretty confident,’ he says, ‘that this is the way to go on this thing.’ And so, OK, go for it, we’ll see how it works out. And it works out. His track record as we’re going along is proving him to be a good writer with very funny ideas, and I’ve now got a great partner I’m working with, it’s not a father-son thing anymore.”
They had O’Hara in mind for Moira from the beginning.
“We work the same way, Catherine and I,” Levy said. “We’ve spent our lives in comedy, and yet I don’t think either one of us think of ourselves as funny people. We love to get into characters that are credible, real, grounded. It isn’t just, ‘Wouldn’t it be great to work with Catherine?’ You’re working with the person who really does this kind of work well.”
“He just doesn’t like to meet new people,” O’Hara said.
“That’s the other thing,” Levy said, nodding. “But you I’m comfortable with. You don’t criticize me that much.”
Also wanted from the start was Chris Elliott to play Roland Schitt, the town’s mayor and Johnny’s chummy nemesis; Elliott, a comedy loose cannon whose canon includes “Get a Life” and “Eagleheart,” gives the show an element of almost horror, as a man whose lack of boundaries combined with an unpredictable sensitivity and fealty to his own inscrutable code make him dangerous; he can make a dinner invitation sound like a threat.
“It’s hard to describe what it is about Chris — the insanity in his humor that I took to when I first saw him on the Letterman show back in 1982 as the man who lives under the stairs,” Levy said. “But he does have a kind of a smarminess to his on-camera persona, or that just seemed like, ‘It’s there, that’s what it is, that’s what we want.'”
“Chris is not worried about being liked,” O’Hara added.
The show, whose cast also includes Emily Hampshire as the hotel proprietor, Jennifer Robertson as Roland’s wife and Sarah Levy (Dan’s sister) as the town waitress, has been airing in Canada since January and has already been renewed by the CBC for a second season there. (Its best qualities, as the Roses begin in small ways to acclimate to their new world, are revealed post-pilot; keep watching.)
Would it have been the same sort of series, did he think, if it had been developed for an American broadcast network?
No, said Levy. Here, “they take your scripts and your outlines, and it goes through different departments, and you get notes back that you may or may not agree with, but you don’t have final say, and so the show kind of morphs from what you started out to make — and it works for you or it doesn’t, but it’s not really yours. But we’ve also worked very hard to make sure that every hole is plugged and every gap is filled so that there’s really not a lot to pick apart.”
Their experience with Pop, which they pitched before the shows were finished, has proved similarly satisfying. “They got it right away,” Levy said. “‘We want it’ — that’s pretty much a very supportive statement.”
“It’s nice to be trusted, isn’t it?” O’Hara said. “To be treated like people are happy to have you there. ‘Wow, you’re doing this for us?’ It makes you try to do your best.”