'Lights' may be out, but to makers, it burns bright

July 19, 2011|By Jake Coyle, Associated Press
  • Kyle Chandler as coach Eric Taylor on the now-ended "Friday Night Lights." Those involved in the show said they felt like a community and, as one said, "a part of something special."

NEW YORK - On Friday, the small-town Texas drama Friday Night Lights ended its five-season run as one of the finest, most humanistic shows on television.

Though never a ratings success, the show gradually found a fervent following. Shot on location around Austin, Texas, and in a collaborative and improvisational style, FNL will be particularly remembered for its naturalism.

Instead of elaborate sets and rigid blocking, scenes were typically captured by three cameras following the action of the many characters of Dillon, a football-obsessed town anchored by the moral centers of coach Eric Taylor (Kyle Chandler) and guidance counselor Tami Taylor (Connie Britton).

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On a show largely about community, the making of FNL, too, was a kind of community. Though much of the cast came and went throughout the show's run as characters graduated from high school and moved on, FNL was its own family.

The final season had already been shown on DirecTV, so the NBC finale came nearly a year after FNL wrapped. To mark the end, the cast and creators of Friday Night Lights talked about their experience with the show: Britton; Taylor Kitsch (Tim Riggins); Michael B. Jordan (Vince Howard); Zach Gilford (Matt Saracen); Jason Katims, executive producer; and Peter Berg, creator and executive producer.

With clear eyes and full hearts, they reflected on Friday Night Lights.

Katims: One of the early episodes, we were shooting in a Baptist church. . . . Everybody in the place was effectively part of the community: the congregation, an organ player, singers, a minister. I was up there in the church talking to the minister when we were getting set up to shoot. . . . And then suddenly, without anyone ever calling action, the musicians started playing and the congregation started getting into it. It very naturally was happening. The [assistant director] screamed out, "Hey Jason, you're in the shot!" They just started shooting. And that's very typical of the way Friday Night Lights worked. Nobody called "action," nobody told the background what they should be doing.

Kitsch: I based a lot of Riggins' look off of Gary Oldman in State of Grace. His long hair, his grease. On the pilot and once we got picked up, I'm sitting in the makeup and hair [department] and I'm like, "Nope, more. Nope, more." They were like, "Really? Are you serious?" And I was like, "Yes. This cat, this is who he is." It became this whole overexposed deal about his hair.

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