I had a birthday one night on a farm we were shooting on. I walked into the tent, and there were 150 people waiting for me, all wearing masks of my face.
Because of all the concurrent stories going in 24 and its fast pace, it can be complicated in terms of the story, so I thought sound could help with the storytelling.
Each environment has its own signature. Sound tells a story: You make choices about what you're hearing, where to look, how you want to feel about what's going on.
Knowing that Gene and Morgan were playing those roles made it much easier to put the script together-we knew who we were writing it for. It took some mystery away.
I directed 24's pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn't always what it should be, to suit the reality of the premise.
24 isn't like other shows, where you set the look once and you're done. The show started at midnight, then moved to a pre-dawn look, and now we're at dawn and we're warming up the day.
I had no special effects, no monsters running around, nothing blew up; those things are all things I've done so many times that they lose their allure after a while.