| Cop
Shop
A
Q&A with producer-writer David Black
Cop
Shop, the latest production from the acclaimed drama series
PBS Hollywood Presents, stars Richard Dreyfuss (pictured
with co-star Rosie Perez), Blair Brown, Rita Moreno and Jay
Thomas in two original teleplays  involving
police who work on Manhattan's Upper West Side. The pieces were
originally conceived by executive producer-writer David Black
as part of a series exploring the off-duty lives of a group
of New York City cops. PBS sat down with Black, whose award-winning
work for television includes such groundbreaking dramas as Hill
Street Blues, Miami Vice and Law & Order,
to talk about the origins and style of Cop Shop.
Q:
How is Cop Shop different from the crime and police
dramas you've done before?
A:
Unlike traditional cop shows that revolve around guns
and crime, I wanted to do a show about people who happen to
be cops for a living and are struggling with the same kinds
of problems ordinary citizens face. I was interested in painting
a much more realistic picture of what it actually means to be
a cop and move beyond the stereotypes we see on TV. It's important
to remind people that the vast majority of cops never pull their
guns and when a shooting does occur, it's a traumatic event.
Q:
Where did these two story ideas come from?
A:
The idea for "Fear" was inspired by an actual
event that happened in my neighborhood. A serial rapist was
on the loose and we held a community meeting with the police
to discuss the situation. I found myself thinking about the
tension that exists between the police and the public. We all
want cops to stay out of our lives except when we need them
and then we expect them to solve our problems. The reality is
that the world isn't safe and the police can only do so much.
We all have a responsibility to look out for each other.
"Blind
Date" came about after I met Robin Shamburg, a terrific
young journalist and author who had written a series of articles
about the sex industry in New York. Her insight into that world
is evident in the way she wrote this story. Unlike stereotypical
"TV hookers," these women are three-dimensional characters
who we can easily relate to. The realistic depiction of their
interaction with the cops in this piece really appealed to me.
Q:
What made the shooting of this project different from other
television dramas?
A:
Our goal was to simulate the experience of live television
as closely as possible to tell dramatic stories in continuous
real time that would capture the energy of live performances.
This was a tremendous challenge and although we had to modify
the plan for "Blind Date," we accomplished this with
"Fear." Not only were the actors blocked -- almost
choreographed -- so was the entire crew. There was no proscenium,
so the crew had to learn a kind of technical ballet to get their
shots. The cameramen and boom operators held their equipment
for 46 minutes straight without casting shadows and getting
in the way of the actors. It was a stunning thing to watch.
At the end of the continuous 46-minute take, everyone, including
the teamsters, erupted in applause.
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