The panel ran 50:03 in length.
[ROSE ENTERS as AUDIENCE CHEERS]
[BRYANT ENTERS as AUDIENCE CHEERS]
[BALFOUR ENTERS as AUDIENCE CHEERS]
[COPELAND ENTERS as AUDIENCE CHEERS]
PRESENTER: Executive producer Shawn Piller.
[PILLER ENTERS as AUDIENCE CHEERS]
PRESENTER: Executive producer Matt McGuinness.
[McGUINNESS ENTERS as AUDIENCE CHEERS]
PRESENTER: Executive producer Gabrielle Stanton.
[STANTON ENTERS as AUDIENCE CHEERS]
PRESENTER: Co-Creator Sam Ernst.
[ERNST ENTERS as AUDIENCE CHEERS]
PRESENTER: ...Colin Ferguson!
[FERGUSON ENTERS and takes podium]
FERGUSON: What's up, everybody! That's right! Having a good time so far? Yeah?
FERGUSON: Good! Alright! So: we got a panel to do. It's gonna be fun. Here's the deal with the questions: these people are– are humans, so you can trick them. Right?
FERGUSON: They're not suposed to reveal anything about this season, but you can make it happen here today.
FERGUSON: Alright? So keep that in mind when you're doing it. I'm supposed to talk to them for about forty minutes before we open questions. That sorta sucks, so we should probably open up questions sooner. You guys like that idea?
FERGUSON: Awesome! Alright: form a line! Come up! Start asking questions! We'll start it right out of the gate. No joke! I'm not kidding; you think I'm kidding? I'm not kidding.
FERGUSON: Excellent! Good! Come on up. Fantastic.
BALFOUR: I'm just glad that I actually remembered to button my fly. I was actually really concerned about that.
FERGUSON: Oh, by the way: here's a pen. I'll pass this down. What you guys can do is these things because, um, you can hand them out when we're done. And, uh, if you guys want to keep those...
FERGUSON: See: we're givers! We're just constantly providing presents! Alright: fire away. What's your question?
Question 1: LocationEdit
[QUESTION 1]: Hi. Um, I actually started watching the show because of where you film, in Nova Scotia, and, um –
BALFOUR: The Scosh.
[QUESTION 1]: So, I wanted to, I guess, ask you: what is it like to film in such a, I guess, rural area, compared to what you would be used to in typical filming locations.
FERGUSON: Great. You guys want to where someone, if they have an answer, they can jump foward –
FERGUSON: – and if nobody jumps forward, I'm just gonna stick you with the question.
ROSE: It's like camp. That's what I feel like. Every year, it's like going off to camp. Everybody packs up, we head out, we have our, you know, our little cabins that we go to at the end of the night. But it's literally fantastic; it's a small little town. I was just saying this on the way in: I– we– a– a brass band plays every Sunday night, so I get to walk around. We have the same place we go to breakfast, the same place we go to dinner. You know: we always see each other. It's really fun.
BRYANT: A brass band plays every morning to wake me up.
BRYANT: It accompanies me to work, and then the brass band plays as I drift off to sleep.
BRYANT: It's lovely. No. We do: we have cabins. Some of ours– some of our cabins are nicer than others.
BRYANT: That's right.
BALFOUR: I have a tent.
BRYANT: No: it's amazing. I– have you been there?
[QUESTION 1]: Yeah.
BRYANT: You're from New Brunswick. I've never heard of it, but–
BRYANT: I think it's close to Nova Scotia.
[QUESTION 1]: It's just four hours away.
BRYANT: So it's beautiful. I mean, really, a lot of– a lot of times you can end up spending, um– I mean, if you're lucky enough to get to spend this much time shooting a TV show, you could be in some disgust– uh, disgusting, industrial part of some yucking city –
[MAN IN AUDIENCE]: L.A.
BRYANT: – in some terrible, uh, season.
BALFOUR: You can say it. Hamilton.
BRYANT: You could be in Hamilton. Um– it's amazing, it really is. Especially now: we got our boat in the water.
FERGUSON: And do you guys find that shooting in a place like that informs the, uh, the show in any way? Like being able to shoot on location in a small town: does that sort of provide a flavor, or like does it– what does it provide, sort of specifically when shooting?
PILLER: Can I– Can I take this one?
PILLER: Hello. I don't think they turned the writers' mics on. Um, actually, well because this is a Stephen King show, and all of it takes place in– in–
[COPELAND MOVES MICROPHONE CLOSER TO McGUINNESS]
McGUINNESS: Thank you. Uh, Stephen King is– he likes me.
BALFOUR: He's a producer. He's still learning how to do this.
PILLER: He's from Maine. I'm– uh, actually, I was lucky enough to go out with my partner Lloyd Segan when we were scouting, and we looked at Vancouver, Montreal, and, uh, Toronto. An we– we went to Nova Scotia, and the big challenge there, that we heard, was there were no crews. And when I got there, fell in love with the place, went to Lunenburg, which is the town that is Haven, and, uh, turned out there is a crew, and it's a great crew, uh, led by Ginny Duzak, who's this, like, pirate-woman who just –
PILLER: – drives the crew, and gets us all through our days, and, uh– but truly, I mean you always hear that in filmmaking, the character is– is, um, you know, the– the location is a character in the show. But in this case, it's actually really, really true.
BALFOUR: The town motto is: "We're a drinking town with a sailing problem."
BALFOUR: That's totally true.
ROSE: It's very true.
[QUESTION 1]: Thank you.
FERGUSON: Thank you very much. How'd you guys like that first question? That go good for you?
FERGUSON: Yeah? I got a good feeling.
Question 2: TroublesEdit
[QUESTION 2]: Um, I just, uh– my question was about the Troubles. Um, as a person with a facial difference, with, you know, going out in the world, um, I really identify with that aspect of the show, and all of that that you guys do for it. Where do you pull, I guess for the writers, um, your ideas? How do you guys come up with those, `cause they're all really great.
BALFOUR: Let our writers handle that question.
McGUINNESS: Um, I– I'll try and take this one. Um, we– we always think of the Troubles as sort of coming organically from– from sort of different aspects of the world. Um, we try and find Troubles that sort of emotionally resonate with people, and things that can then in a weird way almost elevate them and at the same time be a challenge for them. And, um, we try and think of stuff that's really, really cool, that's going to take these characters that we're always trying to know better, and we try and find a Trouble that will allow us a way to, uh, elevate– to figure out a way that we can get to know them better. That's– that's always sort of where we come from when we do that. I wish that was a funnier answer.
BALFOUR: You and I have spoken on Twitter, haven't we?
[QUESTION 2]: Yes, we have.
BALFOUR: Don't I owe you a hug?
[QUESTION 2]: Yes, you do.
BALFOUR: Okay, come on.
[AUDIENCE CHEERS as BALFOUR STEPS OFF-STAGE, HUGS WOMAN, POSES FOR PICTURE]
FERGUSON: See: that's what you get when you follow cast members, everybody!
FERGUSON: Let that be a lesson to you!
[BALFOUR STEPS ON-STAGE, PATS FERGUSON ON THE BUTT]
BALFOUR: Good game.
WOMAN IN AUDIENCE: Hey: do that again!
BALFOUR: No, that's totally legal. If you say "good game," you can hit anyone you want on the butt.
Question 3: VanguardEdit
[QUESTION 3]: First I want to say: I grew up in Maine. Thank you so much for not trying to make a Maine accent.
PILLER: Yes. You're welcome. We tried that once; it was dismal.
FERGUSON: You haven't seen my work yet.
[QUESTION 3]: I've watched enough shows that they've tried to set in Maine, and I'm just like: stop, please, stop. Uh, the second thing isn't actually a question: I promised my daughter that I would do this. She is a junior at Vanguard, so she wanted to say: go Lions!
ROSE: Yes! Awesome!
BALFOUR: Go Lions!
BRYANT: Go Lions!
ROSE: Fantastic! Yeah! Fantastic! Don't I owe you a hug?
[AUDIENCE LAUGHS as ROSE STEPS OFF-STAGE and HUGS WOMAN]
FERGUSON: That's right: best panel you've seen so far.
Question 4: AudreyEdit
[QUESTION 4]: Well, first of all, I pretty much thought I was the only person watching the show, and I was so incredibly lucky that Syfy kept bringing it back.
[QUESTION 4]: Um, but I was trying to explain the show to my fifteen-year-old grandson who's never seen it, and I got to Audrey Parker and who she was before –
ROSE: Story of my life, trying to explain that.
[QUESTION 4]: Oh, my gosh; can somebody give it to me like in a nutshell –
[QUESTION 4]: – that a fifteen-year-old can understand?
ROSE: Yes: can somebody –
BALFOUR: Sam, I think that's a question for you.
ROSE: – can someone give that to me in a nutshell?
ERNST: Yeah: co-creator of the show right here. Uh, Jim– Jim Dunn and I came up with the show on my balcony– on my porch, uh, it was about ninety-five degrees, and I said, uh, "dude: what if there were all these cursed people, and they– all the curses went away? And then they stared coming back...Friday night...at ten p.m.?"
ERNST: One at a time.
ERNST: And to go back to the question of are the Troubles hard to come up with: I will say they were a lot easier in episode one, two, three. Not so much in episode twenty-one, twenty-two, twenty-three. By the time it was thirty-seven, thirty-eight, we were like, okay: he's a Republican.
ERNST: But he lives in a family of Democrats, and his soul is eating itself out.
FERGUSON: So no one-line on Audrey?
ERNST: And she's really, really hot.
BALFOUR: The show–
FERGUSON: Um, no, we didn't get you an answer.
BALFOUR: That didn't help you, you're still confused.
ROSE: We didn't help you.
FERGUSON: We need a concise version of Audrey.
BALFOUR: The– the– the– the show is about a cursed town where people– ah, man, I can't even do it.
ERNST: The problem is, you can't do it, because if I tell everybody who Audrey is, it's– it's– I can only do that `til Season Ten.
ROSE: Actually, Audrey, um, Audrey Parker, actually is Sam Ernst's daughter. So there you go.
ERNST: That's right.
ROES: `Cause he has– his daughter's name is Audrey Parker, right? Yes.
ERNST: And just like the fictional Audrey Parker, she has a hell of a mouth on her.
BRYANT: But this isn't going to help your case at all.
ROSE: No, it's not.
FERGUSON: So I guess the answer's you're gonna– you're gonna find out the answer later on in the series...
FERGUSON: ...and you'll be so happy then, and we wouldn't want to ruin that magical moment for you.
PILLER: If– if this helps at all, we often– the writers often get asked this question, and we pretty much have the same answer, which is a lot of, sort of, tapdancing and...
[QUESTION 4]: So I don't get an answer, and I don't get a hug?
ROSE: Actually –
[AUDIENCE LAUGHS and CHEERS as FERGUSON STEPS OFF-STAGE and HUGS WOMAN]
BALFOUR: I told you guys there would be hugging. I don't know why you're surprised.
Question 5: WilliamEdit
[QUESTION 5]: Hello, how are you?
ROSE: Good, thank you.
BALFOUR: Hello, how are you?
ROSE: We love your shirt.
[QUESTION 5]: Oh, thank you so much.
ROSE: That's fantastic.
[QUESTION 5]: Isn't it nice?
[QUESTION 5]: It's about a show of some kind, I'm not really sure what it is.
[QUESTION 5]: Colin: I love you in that other Syfy show you were in, can't quite remember the name of it.
[QUESTION 5]: But you were awesome in it, and I'm sure we're all dying to know what kind of a character – I'm sure not specifics – but what kind of a character you might be playing in this one.
[QUESTION 5]: `Cause it's the best show on TV.
FERGUSON: Yeah, I– I–
FERGUSON: Um, yeah, my character's name is William. I come in and, um, I do a bunch of stuff with Audrey off the top. And I guess what I'm allowed to say, at this point, is that, um, there's a connection between Audrey and myself, and we're not quite sure if it's physical or if it's just friendship or if it's even good.
ROSE: Mm. Naughty.
FERGUSON: So, long story short: I'm a problem.
FERGUSON: Not so much a Trouble, but a problem.
[QUESTION 5]: I'm mentally hugging all of you. And Colin: good game.
BALFOUR: I like– I like her.
ROSE: You guys are– seriously, you guys are great fans. This is good. This is good. This is the beginning of a very long relationship.
Question 6: AttractionEdit
[QUESTION 6]: Um, thank you, Syfy. I've been doing, like, mass, just, like, catching up on everything. Um, Haven happened to be what I just started doing, like, maybe, like a month before, and I think I've caught up on everything in, like, a week.
[QUESTION 6]: Um, what I–
BALFOUR: How do you employers feel about that?
[QUESTION 6]: I work from home.
BALFOUR: Oh, awesome.
[QUESTION 6]: And I'm on-call IT, so I can just keep on watching; I'm like, yeah, turn it off and on again.
[QUESTION 6]: Anyways, uh, what I love about Haven is that it's not really tied to any one mythos. It's just kind of like a collection of, like you said– stems more from, like, um, emotional drive. But, um, I guess I'm wondering for the cast, it's like, um, which Trouble did you have, I guess, kind of like, the– the most fun with? Either filming, or just, like, acting out?
ROSE: Yeah, that's a good one.
COPELAND: Well, uh, coming into the show in the second season and having the Trouble that I attract bullets...
COPELAND: ...I don't know if "fun" would be the right word...
[QUESTION 6]: You seem to be okay.
BALFOUR: Where's your sense of adventure?
COPELAND: But it– it strangely has been fun. I– I truly thought, though: okay, this guy's not around for long.
[QUESTION 6]: No redshirt.
COPELAND: ...and here we are in the fourth season. But, um, they're– they're all, uh– they're really interesting. There's some– some really fun ones this coming season. Um, the– the first episode, it was, uh, it was so well shot that you're standing there going: whoa. Wow. Gosh. Like, I&nadsh; I truly believed what I was seeing. Um, so just– just stay tuned, because if you– you think you've see anything, ya ain't seen nothing yet.
BRYANT: Ya ain't seen nothing yet.
FERGUSON: Um, did you guys want to chime in? Is there any Trouble that you guys had fun with or had fun watching someone else have to do?
BALFOUR: I– here was a– here's just a fun story. So, as you guys remember from Season 2, Jason Priestley was on the show, and he –
ROSE: That was a fun Trouble.
BALFOUR: Now, our– our amazingly talented, incredibly creative, masterful, genius, brilliant writers wrote a Trouble where if you look at this guy, you fall in love with him.
ROSE: Not a big stretch, obviously.
ROSE: My husband is here. I gotta be careful about it.
BALFOUR: And granted, that's true. The problem is: God forbid you ever have to do a scene with him where there's something actually happening, you couldn't get through the scene. So it– it turned into a game of me and Lucas having conversations with Jason, where we were like – [DUCKS HEAD and COVERS FACE; BRYANT DUCKS HEAD] – "What'd you say? Yeah. No. We got it."
BALFOUR: And the– and the poor director of that week would be like: "Why– why– why are you doing that? That's weird, `cause you're not looking at the camera." We're like: well we can't look in the camera, `cause he's next to the camera, so we have to, like – [DUCKS HEAD and COVERS FACE; BRYANT DUCKS HEAD]. So all these conversations like this; it became very uncomfortable.
BRYANT: Yeah. You'd look up and you'd see the nine actresses that are shooting that day just like – [MIMICKS OGLING]
ROSE: That's when it works out to be immune to the Troubles, right? Yeah.
BALFOUR: My girlfriend actually had dinner with Jason Priestley, uh, while we were shooting.
BALFOUR: Just to have dinner with Jason Priestley. I showed up at the restaurant, like: hey. She's like: oh, hey.
FERGUSON: Good. Thank you very much.
[QUESTION 6]: Can I have a hug from Nathan? Please?
BALFOUR: Yes. I–
BALFOUR: I'll answer for him.
[AUDIENCE CHEERS as BRYANT STEPS OFF-STAGE and HUGS WOMAN]
FERGUSON: Now, so far, if you guys are paying attention, we have one, two, three, four, five hugs left.
STANTON: Nobody wants to hug the writers.
BALFOUR: We all want to hug the writers.
Question 7: ChristianEdit
[QUESTION 7]: Hey: I'm the first guy to ask a question.
[QUESTION 7]: Thank you very much. Uh: hey, I'm a big fan of the show, but I'm also a big fan of wrestling...
[QUESTION 7]: I really love wrestling.
ROSE: I know who you're–
FERGUSON: And you're the first guy to ask a question?
[QUESTION 7]: Yeah, I know; isn't that weird? I know: that's so crazy, right? Uh, this is, uh, directed –
BRYANT: It's for me, or for Colin?
[QUESTION 7]: – toward Edge.
COPELAND: I thought it would be for Lucas.
[QUESTION 7]: Okay. Uh: is there any plans to have Christian come, uh, upon the show, maybe grace us with his presence?
COPELAND: Um, I don't know if you've noticed this, but he's really ugly.
[QUESTION 7]: Oh, no...
COPELAND: So he just played by brother on TV.
[QUESTION 7]: Yeah, yeah, yeah...
COPELAND: So– uh, I have no idea. I– I truly don't. I– I really just show up, uh, grow facial hair, and pick things up. That's–
COPELAND: And that's what I do, and if you want a hug, I will give one hell of a bear-hug.
[QUESTION 7]: I want a hug!
COPELAND: You and me? Alright, here we go: first man-on-man hug.
[AUDIENCE CHEERS as MAN STEPS ON-STAGE and HUGS COPELAND]
[QUESTION 7]: Thank you!
BALFOUR: That was really a hug.
COPELAND: I did not expect the mounting.
[QUESTION 7]: Thank you.
BALFOUR: Are you joining the panel?
COPELAND: I was not expecting that, and he's about 220 pounds. So...
BRYANT: No, we just hugged. That's all that happened.
FERGUSON: Awesome. Take it away.
Question 8: UnexpectedEdit
[QUESTION 8]: Okay. Haven's one of those shows that I actually didn't plan on watching, and just watched `cause it was on, and I was completely hooked by the end of the first episode. And–
[QUESTION 8]: The reason why I love– I think it's my favorite show – is because I can never expect the ending, and I was wondering: what do you do as writers to make it so that we– it's very difficult to guess most of the endings? And also: how is as actors to read the script the first times?
STANTON: Well, from the, uh, writing standpoint, it's– it's tricky, because we're– you know, in addition to the emotional stuff we're doing, trying to create kind of a compelling, cool mystery every week, and it's hard. We sit in the writers' room and– and try to say, you know, okay, if you're watching this, what do you think is going to happen? What do we want to happen? And what is just someone totally not expect is going to happen? And sometimes we nail it, and sometimes people are like: oh, yeah, I saw that coming.
STANTON: But, um– but it– it's hard, you know, and as Sam said, it was a lot easier Season One than it is now. But, uh, we still have a lot of fun with it. How the actors respond, I don't know. Maybe they look at it and go: what?
ROSE: Well, I remember at the end of Season One, um, I– and some of you may have heard this story before, so forgive me for repeating myself, but at the end of Season One, I was really upset. I threw the script down on the ground, and I called Sam right away, `cause I was like: "Is this your creative way of recasting me?"
ROSE: "You're bringing in another girl named Audrey Parker. You don't think I see this for what it is?" But in a lot of ways, it was fantastic, because I really understood how she really felt in that moment...
ROSE: ...and, um, so those– that's one of those, you know, moments where you're really thankful for that twist. `Cause I can tell you: I did not see that coming at all.
McGUINNESS: And that was another twist that we were like: "how are they not going to see that coming? It is so obvious."
McGUINNESS: With the picture of her: "It's her mother." Really? Everybody bought that? We're like: "oh, we're gonna get away with that for two episodes, three episodes." I'm watching, uh, Twitter and chat boards– I'm like: "Really? Nobody is getting this. Great."
[QUESTION 8]: And I would love to get a hug from one of the writers.
[AUDIENCE LAUGHS as WOMAN STEPS ON-STAGE and HUGS McGUINNESS]
FERGUSON: Aw, she's taking one for the team. You're welcome, everybody.
BALFOUR: He is such a big, cute bear.
[AUDIENCE CHEERS as WOMAN CONTINUES HUGGING McGUINNESS]
BALFOUR: Go ahead, hun. Ask– what's your question.
FERGUSON: And just so you guys know, you know, in a panel like this, usually there's somebody up there screening the questions to make sure that, like, you know, nothing untoward or anything. There's no one there.
FERGUSON: There's no security at all. So that– that's amazing. Take it away.
Question 9: IterationsEdit
[QUESTION 9]: ...during the commercial breaks, and we're like: "Oh my God!" So you guys are like– are my– you are in my life every week, and you help me stay in touch with my best friend halfway across the world.
ROSE: Thank you.
BRYANT: Thank you. Thank you.
[QUESTION 9]: So you guys are in my life. So, uh, my question is actually to Emily, who I love in every single way...
[QUESTION 9]: ...because I played every single Uncharted.
ROSE: Oh; oh! [THROWS UP ROCK HORNS]
[QUESTION 9]: You are such a strong waif, and I am GirlNeighbor, and you give me– I'm like: "Oh my God, I love her everywhere."
[QUESTION 9]: So, speaking of everywhere, you are several different Audrey Parkers, or iterations of yourself, and as an actor, how is– how hard is that for you to portray those different people and still kind of keep the same core? `Cause each one of them is a little bit different, not only because of the time you are, but also with, you know, what that– what that Audrey is there to do.
ROSE: Uh, yeah, I have to say that– and first of all, thank you. Okay? You're like my new favorite–
[QUESTION 9]: You're welcome, and if you want to give me a hug–
ROSE: I will–
[QUESTION 9]: Three– all three of you.
[QUESTION 9]: You know, I'll hug everybody, I'm okay with that.
ROSE: Okay. Yes. Yes. We, um– I, first of all, like, when I auditioned for Haven, I had no clue. I had just gotten married; coming back from getting married and going, "I really hope I get work." And–
ROSE: Um, I was so, like, excited when I read the script, and I had absolutely no clue that I would get the opportunity to be–
BRYANT: Work with me. Oh.
ROSE: Well: that. That. And that I'd get to play so many different people. You know, it's an a– it is an actor's dream to be able to do that. And so I was really excited when I found out that not only was I not going to be just photographed as these people, and stand there silently looking very sad on the beach, but that I'd actually get to live in scenes as these people. And it's a very exhilirating, scary thing, `cause you just wonder if you're going to be able to pull it off, but when you have a group of people that support you and are all for you changing your voice and changing your look and just taking a risk, it's so exciting when it pays off. And to be able to be in 50s, you know, makeup and hair and do that, and then to go into, like, the late-early– late-70s, early-80s, is really fun. it's a blast, so I'm really excited and thankful for them for writing it, `cause...
[QUESTION 9]: You guys are awesome. Thank you.
ROSE: Thank you.
[QUESTION 9]: I mean it.
BRYANT: Thank you.
ROSE: Yes. I'm giving you a hug.
FERGUSON: Alright. Please, take it away, while they're hugging. It'll be great.
Question 10: FeelingEdit
[QUESTION 10]: Um, so this question's for, uh, Lucas.
[QUESTION 10]: I have been so impressed–
FERGUSON: He's very busy right now.
ROSE: He's drawing a cat with a halo around it, and poo.
BRYANT: And there's poo. Yeah. So, but– I– it can wait.
[QUESTION 10]: I've been so impressed with how many different emotions and behaviors you've had to play. Which one was the most fun for you?
BRYANT: Well, first of all, thank you for noticing.
BRYANT: Um, which one was the most fun. Any time that I get to feel...
BRYANT: ...is fun. There's a certain– I won't– there's a– there's something coming up that was a little awkward. Um, arguably fun. Um, you'll s– you'll know what I mean when you see it. But there was– someone asked before what a– what a fun Trouble was–
ERNST: Is– Lucas, is that because you're naked in that one? Is that why that was awkwards?
BRYANT: I look naked. But, I– I'm not. It's, uh– there was that, Sam. There's a little...[SIGHS]...now I'm...
BRYANT: There's a little, uh, nudity coming your way, into your future.
BRYANT: But, um, I was going to talk about– actually, there was a moment, what, last year, I think, that Nathan lost his Trouble momentarily, and that, for me, was– was a blast, to get to play, you know, ah, that new sensation, which was, you know, every thing. Not just this one anymore, but all things.
ROSE: Like he could feel his phone vibrate.
ROSE: You know? Yeah. He doesn't have to have it on silent.
BRYANT: Yeah. I could feel it. I'd be like: "Are my pants always this way?"
BRYANT: That was fun. And just the wind, you know? The wind in my hair. And the feel of my– there were times, actually, where– uh, Shawn, you were– I think Rob was directing that episode, and both of them would come up and they were like: "Uh, I like what you're doing. Um, but you're– through this whole scene, you're...touching yourself a little..."
BRYANT: "...too much...maybe. So try one without...this...this..." [TOUCHES FACE and JACKET] That was fun.
[QUESTION 10]: Can I have a hug?
[AUDIENCE CHEERS as BRYANT STEPS OFF-STAGE and HUGS WOMAN]
FERGUSON: Take it away. That's awesome. Ah, kick her back out of the way, it's fine.
Question 11: FarmerEdit
[QUESTION 11]: So of all the Troubles are created, which ones were your most favorite. And this goes to the whole panel.
FERGUSON: All the Troubles. Or one that you enjoy. I'll take the superlative off it. Maybe not your favorite; maybe one that you really enjoy. Wait: we sort of had a question like this. I can ask it again.
FERGUSON: Is there one that you enjoy. Maybe the writers had one that you particularly enjoyed writing, that came very easily.
ERNST: Well, um, any time you can see Nathan feel something...
ERNST: `Cause I like to do my impression of Nathan furious: [LOOKS DEADPAN]
BALFOUR: That's pretty–
ERNST: Uh, this is my impression of Nathan thrilled: [LOOKS DEADPAN]
ERNST: I will say this, though: uh, Lucas is exactly what Jim and I had in mind when we created the role of Nathan, almost to the letter. And that's absolutely true.
ERNST: You know, I liked, uh– I liked one– I'll just pick one that I actually wrote, but it was, uh– Jim and I wrote– which was, uh, "The Farmer." And it was a gorier episode, but we liked the idea – and I do love my father very much – we had– we– we liked the idea of a father harvesting organs from his children, uh, and killing them. Uh, but what happened in there was a beautiful moment which, uh, we shot very late at night, and it was really cold, and it was at the– the Gull, and, uh, Audrey had betrayed Duke. And we did the scene maybe four times, and each one – we had these people who had been friends for so long – and I– I don't remember if there were lines in the scene or not. Maybe there was one line; I think– I think Oldrey– Audrey had only lines, and I just sat there and watched Eric, um, say volumes, and I don't think he had a single line, and, uh, and cried, and– the one we used, I think he cried– but they were all equally spectacular. And– and that– that's really– the best kind of Trouble is what brings it out our characters, not that they're just cool and gory and all that kind of stuff. And that was a beautiful moment.
FERGUSON: Thank you very much.
Question 12: PranksEdit
[QUESTION 12]: First: love you all. Thank you so much for, you know, being on my TV, and bringing these stories to life. This is something that I absolutely love watching, and I'm very happy that Syfy has kept you around.
BALFOUR: So– so are we.
ROSE: So are we. Thank you.
[QUESTION 12]: Uh, like Colin's other show that we will not name, we all know, that we wish could keep going on forever.
[QUESTION 12]: But, um, I see that you guys are up there; you're smiling and having a good time, enjoying Comic-Con `cause we all do. Uh, I'm wondering: on the set, when you guys are there, the writers put in these Stephen King references. These little tidbits. Do you guys do any kind of tricks on each other to kind of keep, you know, the fun little, I don't know, sibling rivalry? Or just little fun kind of things that you do to each other?
BRYANT: Are you asking about pranks?
[QUESTION 12]: Yes.
BALFOUR: You mean besides the "good-game" butt thing?
[QUESTION 12]: Yes.
[QUESTION 12]: Something that requires planning, and...
ROSE: I don't know if it's necessarily– I, you know– we really should&nash; well, I shouldn't say that.
[QUESTION 12]: Oh.
ROSE: `Cause then it could get bad.
[QUESTION 12]: You can whipser that to me later.
ROSE: No. I know. I– I don't think that we're necessarily pranksters on the set.
[QUESTION 12]: Mm-hm.
ROSE: But I would say that we're really not afraid of making the other person ruin their take.
[QUESTION 12]: There you go!
[QUESTION 12]: There you go!
ROSE: That's all gone out the window. It's kind of like– it's just– it's as much fun and laughting about– `cause these Troubles are great, but sometimes when you're saying these things out loud, you're like: "What are we saying right now?"
ROSE: You know? And to get the other person– like, I've distinctly asked Lucas to not be there when I do my coverage at times, because–
BRYANT: Yeah. Some scenes, she prefers to act to a wall, instead of this.
ROSE: To– yes–
[QUESTION 12]: I could see that being distracting on occasion.
ROSE: Totally. And I can't– there will be times when I have to be extremely serious, and I just cannot say it if he's standing there. So I ask him to leave.
BRYANT: Makes no sense.
[QUESTION 12]: None, whatsoever.
BRYANT: Highly unprofessional. This one.
FERGUSON: It is– it's also the nature of shows like this, it's very hard to– to shoot it. It's very, uh, taxing. There's so much you have to shoot in such a short period of time. So that idea that you spend, you know, a lot of time coming up with these pranks and executing them? You can't give up your day, you know, to half-an-hour of like, "Ah! Soaked you with water!" That's just not cool.
ROSE: But, however, Lucas– Lucas–
BALFOUR: Although our transportation department has a lot of time on their hands.
ROSE: I was going to say, Lucas has had a–
BALFOUR: And they like to play pranks on Lucas.
ROSE: – a long-time war with our transportation department.
BRYANT: Yeah. I did one– I did one, uh, on– kind of by accident, on you... [POINTS TO ROSE] First season.
BALFOUR: Oh, you mean the martini?
BRYANT: When you were talking about giving up half-an-hour to water– I probably told this story, but we were at the Grey Gull– I'll tell it very quickly.
ROSE: Oh, that's right!
BRYANT: She was sitting down below and having a little scene with someone else...
ROSE: And a marguerita.
BRYANT: They were talking over drinks, and I was just...ah...screwing around up on the top deck...
BRYANT: And then we had a little– and there was a little plate of gummy bears there on the craft table– there's always delectable treats– and I took one, and I...was...just...excitedly dangling on the edge of the... And I dropped it, and it landed straight in her drink, which splashed–
BRYANT: The whole table, the whole her, the whole staff; got the microphone wet. She looked up; she's like: "You're a [MOUTHS "fucking"] idiot." And I...just had like that horrified teenage, you know, ashamed feeling, which happens still.
ROSE: So, which he, of course, disappeared. He wasn't there.
BALFOUR: It took you six months to get back in her good graces.
ROSE: He wasn't there. He dropped it; it went everywhere, and he took off.
ROSE: He took off.
BRYANT: They had reset the table. They had reset the mic. They had to– everyone, like, the camera guys had to move away. They're like: "What a douchebag."
[QUESTION 12]: I would love to get a hug with all three of you.
FERGUSON: Alright, all three! Alright. You guys wanna do it?
[AUDIENCE CHEERS as WOMAN STEPS ON-STAGE and HUGS ROSE, BRYANT, and BALFOUR]
FERGUSON: Hey; I was the policeman, I was being the bad guy.
BALFOUR: There's no more can't.
FERGUSON: Yeah; exactly. If you could have asked one of the members of the cast a question, what would it have been?
Question 13: WomenEdit
[QUESTION 13]: My name is Amean Toth; I'm a rocket scientist.
FERGUSON: Oh, me too.
[QUESTION 13]: I really– no, I really am. I really appreciate the strong woman character that Emily plays. I think that's awesome. Um, I– I want to ask the writers: uh, we've had one other strong woman character with a Trouble. Are we going to get more strong women characters in the show? I've watched it since the beginning; I love it; I'd like to see more of that.
ROSE: From the rocket scientist.
[QUESTION 13]: Like maybe a rocket scientist.
STANTON: As– as a matter of fact–
BALFOUR: You guys have been put on notice.
STANTON: Um, as a matter of fact, we do have a character such as you speak of, who will, uh, joining us for the upcoming season.
[QUESTION 13]: Awesome.
[QUESTION 13]: Woo-hoo.
[QUESTION 13]: Do I get a hug, now?
[QUESTION 13]: From Emily?
FERGUSON: Choose your flavor.
ROSE: Oh my God! I'm giving them out! Yea!
FERGUSON: It's a kissing booth, basically, is what it is.
[AUDIENCE LAUGHS as ROSE STEPS OFF-STAGE and HUGS WOMAN]
[WOMAN in AUDIENCE]: You'll have to start charging.
FERGUSON: Yeah, yeah, exactly. And I'm double.
BALFOUR: We can all just hang out– we can all just hang out after the panel and hug.
[WOMAN in AUDIENCE]: Yes!
BALFOUR: We don't have to do it in, like, a succession after questions, like it's a reward for a good question.
BALFOUR: We can just hug. It's cool.
FERGUSON: I do want someone to ask such a bad question that they get rejected.
BRYANT: No. Won't happen.
BALFOUR: Don't let that be you, brother. Dude: this better be good.
Question 14: CopsEdit
[QUESTION 14]: I– I– I'll try. But first off: Adam, I challenge you to a bear-hug, `cause I g– guarantee I give a better bear-hug than you.
FERGUSON: No hurting Adam!
BALFOUR: The bear just had neck– the bear just had neck surgery.
[QUESTION 14]: I– I– I won't hurt him that bad.
COPEAND: But, uh, you know, if– if– yeah, I mean, hey– ey, if– more power to you.
[QUESTION 14]: But, uh, my question is: I come from a family of cops, and I'm more like Duke in the show, from my family.
BALFOUR: Good man.
[QUESTION 14]: Yes. Um, how– you know, how's it, one: to play a cop. And then, two: deal with the supernatural, being a cop, thinking, like, logically. My dad's a cop, and he's like: "What is this crap? Turn it off. Go away."
ROSE: No, it– I– I wrestled a lot with that question in the first season, and I know the writers at the time were trying to conceal, uh– trying to hide it from me, obviously, that I may not actually really be Audrey Parker, you know? But I remember at the time, saying that, you know, we're– we're cops, we're going into this place. How are we doing it? Let's do it right. I don't want cops sitting around going, "What is this crap?"
ROSE: Right? I don't want that happening. But in hindsight, it worked out really well, because, you know, she may or may not be that. You know? So, um, I was thankful that they kind of, like, let that go. But we spend a lot of time with guns when we can, before, trying to, you know, make sure– and you, actually, Eric, were technically sort of a cop, right?
BRYANT: You were a cop.
ROSE: In real life.
BRYANT: In real life.
BALFOUR: Well...I wanted to be a reserve officer.
BALFOUR: But apparently I couldn't– I didn't have one weekend a month to go to training.
FERGUSON: Protect and serve...sometimes.
[QUESTION 14]: Thank you all.
BALFOUR: It was not– it was not– I– I commend you. It was a good question.
[QUESTION 14]: Oh, thank you.
BALFOUR: You didn't fail at all.
[QUESTION 14]: Alright. Now, thank you all for the show, I really appreciate it, and Adam, if you're– you're ready?
COPELAND: Let's go. Everyone else is giving hugs; I'm getting a hug.
[[AUDIENCE CHEERS as COPELAND STEPS OFF-STAGE and HUGS MAN]
FERGUSON: Take it away.
Question 15: KingEdit
[QUESTION 15]: Alright, so I'm here from...
COPELAND: That was a hell of a hug!
FERGUSON: But we're not answering!
[QUESTION 15]: Actually, two part. One is: with Stephen King being a producer on this, uh, but his book, Colorado Kid being out of print, how much input does he actually have now that you're into multiple seasons? And the second question, for everybody actually, is: what is your– what is the Stephen King project you wish you were starring in other than Haven?
PILLER: I'll take – [CLEARS THROAT] – I'm fighting a cold, and we went out pretty late last night, so...
BALFOUR: You're not fighting a cold; you stay out all night.
PILLER: Alright, buddy–
BALFOUR: Stop telling them–
COPELAND: No. It's not a cold.
PILLER: Don't tell everyone.
BALFOUR: I was with you there.
FERGUSON: I think I might have the same cold.
BALFOUR: Don't tell them you're fighting a cold, man.
PILLER: Um, so I– I'm going to tell a story, um, about Stephen King. Uh, this is my second Stephen King series I had the pleasure of producing. The first one was called The Dead Zone.
PILLER: Pretty good time. Um, I produced that with my partner, Lloyd Segan, and I actually co-wrote and created that show with my father, a guy named Michael Piller. And, um, when we picked Sam and Jim to give this book to, um, he did– they did such a great job writing the script, and before we actually turned it in, we sent it to Mr. King. And he wrote back a note to– to us. And, um, it was funny, because I had never actually spoken to him personally; it's always been through lawyers and– and, uh, agents and stuff, and... We knew he was a big fan of the show, uh, on The Dead Zone, um, back in the day. But I was very jealous, because Sam got this wonderful note that said: "we love the script"– "I love the script. Thanks. Steve King." And, uh...
PILLER: I was– I'm gonna kick your ass later.
PILLER: Uh, but, no– uh, uh, Stephen has been hugely supportive of us, and his team– um, we actually– Sam can tell you we have another– he just gave us the rights to something else.
ERNST: Yeah. His name is Steve King to some of us.
PILLER: Steve. Sorry. Sorry about that.
ERNST: You're supposed to call him Steve. Um; we have a, uh– Steve, uh, and us– uh, we– need a writer. Um, we– uh, we actually just, uh– we're doing, uh– we just sold a pilot script of another Stephen King, uh, short story, uh, to ABC.
[WOMAN in AUDIENCE]: Oh my gosh.
ERNST: Um, "me" meaning, uh, my partner, Jim Dunn and I, along with Shawn and Lloyd Segan. The same producers from Haven. And we are writing that now, um, and it– that is based on a– on a short story called "New York Times at Bargain Rates." Uh, the– the fun is that, uh, The Colorado Kid was 110 pages and had not one supernatural element in it, and we made this. This story is seven pages long. Um, and it is now a 55-page script. Um, and, uh, it's really, really a lot of fun. And it actually– it– it– it's not at all like, uh, Haven, uh, but it is– at the foundation of it – and I hope we're not revealing too much of what saps we are – is, uh, is a love story. And that really is at the foundation of Haven. What that love story is, I can't tell you on Haven, but it's really cool, and it's coming.
BRYANT: How is that show gonna work, because we're all starring in it at the same time as we're doing Haven, Sam?
ERNST: I'm a very, very slow writer.
[QUESTION 15]: And then the shows you– you guys would want to be on that– Stephen King's movie or TV show that you would want to be on?
FERGUSON: Is Monkey Shines the one with the monkey?
[QUESTION 15]: That's not Stephen King.
FERGUSON: It's not?
[QUESTION 15]: That's George Romero.
FERGUSON: I'm just the moderator. Obviously.
ROSE: I think of movies, and I would have loved to have been in Stand by Me.
ERNST: Which boy were you going to play?
ROSE: The one– no.
BRYANT: The one with the...
ROSE: Yeah; no.
BRYANT: Titanic, for me, definitely.
BALFOUR: Wait: she brought them home.
[QUESTION 15]: Thank you.
FERGUSON: That's what you get. Burn the moderator? Doesn't go well for you. Take it away.
BALFOUR: We're a loyal pack.
Question 16: EyesEdit
[QUESTION 16]: Hi. Normally I don't do this, `cause I have extreme stage-fright, but, um, I just want to say: I found out yesterday, because we– uh, we were celebrating my birthday yesterday– uh, I actually got Season One and Two on DVD, so I'm, like, suh-weet– um, but I had a question for Eric and the writers. Um, why steel-grey eyes when he gets the blood? Uh, my name's Athena, so– the grey-eyed goddess– so why steel-grey? I mean, you are very– you're character is very wise, but why steel-grey? Other than that?
BALFOUR: That question is so far above my pay-grade.
PILLER: Uh, it's actually not– I mean, I could come up a better answer, but– he's got brown eyes. You have brown eyes, right?
[QUESTION 16]: No...
BALFOUR: Thanks for noticing.
[QUESTION 16]: The– when– when the– when the blood touches his hands from the– from the Troubled, or any k– or when the–
PILLER: No, I– I–
BALFOUR: Let– let the fan explain the show to you. Can you tell him what the show's about?
PILLER: Basically, we did it for–
BALFOUR: And this is what we deal with every day.
PILLER: We did a bunch of tests. These two have blue eyes. He also has blue eyes. Um, we did some tests on different colors that would show up and look good.
[QUESTION 16]: Yeah.
PILLER: And so– I–I know, I'm boring the sh– I'm boring myself right now. That's why– I– he– I'm answering the question.
BALFOUR: He's one of my best friends; I can totally make fun of him.
PILLER: We grew– we grew up together. He taught me how to surf. Um, I'm still a terrible surfer.
BALFOUR: I don't know how to surf.
ROSE: This question is so far above his pay-grade.
PILLER: Um, so, and– and it just looked the best. And, uh, we didn't want to go too weird; we wanted to keep it organic, um, and it definitely needed to read in wide-shots and close-ups as well, so...
ERNST: As you may have noticed, Shawn is the producer-director, and, uh, mostly what he wants to know is how cool can I make this look.
[QUESTION 16]: Okay.
ERNST: Uh, and I'm pretty sure that, actually, the silvering eyes– was that Shawn's idea? I can't remember.
STANTON: Well, you know, and– from the writing standpoint, we kind of thought about, you know, different things– we didn't want to do black, because that kind of said "alien" to us; we didn't want to do red, because that kind of "vampire"; so we kind of ran through a whole bunch of different things. We wanted something that would be kind of unique to Haven.
BALFOUR: There was a really nice chartreuse version.
BALFOUR: But I ixnayed that one.
[QUESTION 16]: Well, now, brown eyes rule, `cause I have brown eyes, so...there you go.
ERNST: But the way we came up with that– that– well, that– we don't call it the Trouble per se, but whatever it is, uh, is, uh– Jim– Jim Dunn actually came up with it, and we were coming up with– the question was: what's the worst possible thing that could happen to Duke? And the answer is for him to be, uh, inextricably, uh, tied to the whole thing, in a way that he could never possibly get out of. What's the worst thing that could happen to him. And I think the line that sort of sums it up is: "Why does everyone"– for Duke, is– he said it in, uh, episode 201 or 301, and it was: "Why does everybody always think I want to help."
ERNST: And– and I think that's–
BALFOUR: Why are you laughing?
[QUESTION 16]: It– it– it's funny because I end up helping everyone out even though I don't want to. So I know what you mean.
BALFOUR: At least somebody understands.
[QUESTION 16]: Thank you, guys. Thank you.
ROSE: Thank you.
BRYANT: Thank you.
BALFOUR: Thank you.
FERGUSON: Thank you very much.
Alright: we got like a little under fifteen minutes left, so we're– we'll try to get through the line there. Let's cap it for sure, and hopefully we can get through you guys by the end of it.
Question 17: DwightEdit
[QUESTION 17]: Um, I want to say first of all, uh, I love the show, um...
FERGUSON: This is not helping us, kid.
[QUESTION 17]: Good point.
FERGUSON: No, it's not. Alright.
BALFOUR: Whoa, whoa, whoa, whoa, whoa.
ROSE: That's a bit hole.
[QUESTION 17]: – for so long.
STANTON: I know, right?
[QUESTION 17]: Um, but I had a– a two-part question for Adam.
[QUESTION 17]: Um, your asides aren't helping it either.
[AUDIENCE LAUGHS and CHEERS]
PILLER: Have you ever produced for television? You should come on Haven. I could use no-nonsense like that to deal with these guys.
[QUESTION 17]: Um, but Adam: when you– first, when you read the script, when you take off your shirt and the tattoo's on your back– like, how did you react to that? And also: how much are we going to find out about your role with The Guard this season?
ROSE: That was a good question
COPELAND: We– we've– we, uh– I always have kind of looked at, uh, Dwight as the rudder on the ship. Um, you know, he is a little bit of a– the– the moral compass when– especially this season when everyone goes off, Dwight's trying to keep everything intact. Um, without giving anything away. The shirt thing? I– I just thought: "Okay, I get to expose my nipples again."
COPELAND: Uh, strangely– here's the thing: I jumped around in tights, half-naked with sweaty men for my entire adult life...
COPELAND: But it was so weird and awkward for me that day because it was– it was this monsoon– it was a torrential downpour, the rain was sideways, and that does not read when you watch it. Everyone is head to toe in, like, this rubber, you know, wetsuit, and I'm half-naked going: this– I'm the one thing here that doesn't belong. It was really, really weird. Uh: we're going to find out more about Dwight, to answer the second part of that question. Was that– was that...good enough?
FERGUSON: That was great.
PILLER: I'm not sure– I think– I think we're allowed to say this. We had, like, a list of things we're allowed to say. Um–
FERGUSON: I got it right here.
PILLER: Can I s– ? Do you want to say it?
FERGUSON: No, no.
PILLER: Okay. Uh, he– Dwight– Dwight gets a bigger role this season. Um...
PILLER: And, uh, he's a really natural actor, and can do more than just beating people up all the time. Although, this season– do you– you get to beat up– he gets to become a cop, actually. He becomes–
PILLER: – part of the Haven PD, as a– there's kind of a six– I'm gonna let you talk about that. Do you want to talk about that?
McGUINNESS: Actually, that's more than we wanted to say about that.
PILLER: Something about six. I didn't say– I said "six."
ROSE: We could actually use you to wrangle Shawn, actually. If you could come on set.
FERGUSON: Yeah. I mean, that's right here under "Things We Cannot Reveal or Talk About."
[AUDIENCE LAUGHS and CHEERS]
PILLER: I thought–
McGUINNESS: Here you go, bro.
[QUESTION 17]: You said we were allowed to trick `em, man.
PILLER: That's– Oh, dyslexia.
[QUESTION 17]: It's all you.
PILLER: Got it.
McGUINNES: I was furiously looking for the piece of paper that said "Things We Are Not Allowed to Talk About on This Panel." I didn't look fast enough, I guess.
FERGUSON: Glad you came, though, huh?
[QUESTION 17]: Thank you so much.
FERGUSON: Thank you very much.
Question 18: AutographsEdit
[QUESTION 18]: Hi, my name's Candice. Um, the reason I'm here is, uh, I was at the party last night, and someone stole my DVD, and I lost all the signature...
[QUESTION 18]: I was wondering, if it was possible, could I have everybody sign it including the writers–
[QUESTION 18]: – sign my DVD?
BALFOUR: Bring it up. We'll sign it.
ROSE: That was quick.
BALFOUR: Bring it up.
FERGUSON: And watch this multitask: ask your question.
[AUDIENCE LAUGHS as CANDICE STEPS ON-STAGE and CAST SIGNS DVD]
Question 19: BarnEdit
[QUESTION 19]: I'm actually surprised no one asked this yet, which is why I came up. Um; the last time we saw Audrey and Duke, they were disappearing in the Barn. Um; should we expect a time-leap, and are we going to see what happened inside the Barn while they were gone during the season?
STANTON: Hold on. Let's look at that list again.
BALFOUR: Should we get that piece of paper out?
ERNST: Well, there's things we can say, which is, um, the question of the time-leap was discussed for a very long time. But we can't say what we came up with.
STANTON: We will see the Barn again.
McGUINNESS: And: yes.
[QEUSTION 19]: Thank you.
Question 20: TransitionEdit
FERGUSON: Thanks. Alright, boss, ask away; come on up! If somebody could lower the mic for him– isn't there a kid there? You're jumping in front of the kid?? What's going on??
[QUESTION 20]: He's with me.
FERGUSON: Oh, he's with you. Alright; that's okay.
BALFOUR: Oh, they're your kids. Okay. You know we're a big cast.
[QUESTION 20]: Yeah, I just, uh– hi, Adam. These are my kids, and they– they're big fans of yours, uh, since you've been wrestling. Especially this one: he's always wanted the– at WalMart, you know, the toys– figures from the Edge. And, uh, my question is, uh: how hard has been that transition from acting in wrestling to acting in– in TV?
COPELAND: Uh, well, the– the biggest difference, I think, was, with wrestling, it's– it's instant gratification. You know right away if something worked or not. Um, it's live: at nine o'clock, I'm going out through the curtain and I have ten minutes of speaking to fill with like five bullet-points. So that's a fun challenge, but I really enjoy having a script. It's nice to sit down at the end of hte night and go: okay, what do we got coming up, I want to try and take a certain tone into this, um, and be able to work with the directors and really try and get direction instead of just it all being on my shoulders and trying to figure this thing out. Um, plus, I'm not half knocked-out half the time at work.
ROSE: Well, let's be honest...
COPELAND: So it's a lot easier to think.
BRYANT: Well, we all really try to– we try to really help Adam's transition, so sometimes if he's in the middle of a scene with Emily, say, then, you know, when the camera's on him– and usually if– we'll try and make it his close-up, so he's like really concentrating and still. Balfour and I'll just come flying in on him –
BRYANT: – and you know, I'll go high and he'll go low. Just to keep him on his toes.
[QUESTION 20]: Can Kevin get a hug?
[AUDIENCE CHEERS as COPELAND STEPS OFF-STAGE and HUGS BOY]
FERGUSON: Alright, so guys, you know what? That– that looks like the last question. Thank you guys so much for being a part of this; for coming out here to the Haven panel. These people are phenomenal people to work with. We love you people to no end. And you guys and them are a good fit. Thank you guys so much for being here!