Dear friends, 2011 is coming to an end. I want to wish you all a Happy 2012, so much joy, happiness, good health, but also a bag full of laughs. I want to thank all of you, readers of my site for the fidelity with which you follow my Pindaric flights . When I started this site, I honestly did not expect such high feedback. I am surprised every day by your interest and your questions. Thank you again. Thank you because you fly over on my bad English. I promise to you a 2012 full of "Santa Barbara" with new exclusive interviews, trivia about the show, the announcement of the winner of the first SB Disaster of the Month Contest, a lot of news coming from Bridget Dobson and much more. Santa Barbara is more than just a show.
Santa Barbara is a place in the soul, where everything is possible and nothing is obvious. The key to living well is to smile!If the Mayans were right, this could be the last year for all of us. So we might as well smile.
Smile friends, smile in front of everything!
Happy New Year
to Bridget and Jerry Dobson,
to the SB writers,
to the SB cast...
...to all those who love SB
and to all those who do not love it (you never know what you missed).
Frank Salisbury è uno sceneggiatore, drammaturgo e romanziere americano. Ha scritto per numerosi spettacoli diurni, come Somerset (lo spin-off di Destini), Ai confini della notte, Aspettando il domani, General Hospital, Sentieri, Capitol, Così gira il mondo, Santa Barbara e I giorni della nostra vita. Scrisse anche brevemente per "Dynasty". È stato nominato più volte agli Emmy Awards, vincendo due volte: nel 1982 con "Sentieri" e nel 1991 con "Santa Barbara". Ed ora l'intervista che Mister Salisbury ha concesso in esclusiva a "Santa Barbara Blog".
Nel corso di questa intervista prenderemo in esame alcune soap opera ed in particolare “Santa Barbara”. Le soap americane arrivarono in Italia negli anni ’80. Quelle che ebbero più successo furono Capitol Quando si ama, Santa Barbara, Beautiful e Sentieri. Tutte le altre soap nel nostro Paese ebbero vita breve a causa di bassi ascolti. Come spiegheresti le differenze di gradimento tra gli USA e l’Italia?
D. Marland
Ho scritto per tre delle soap più amate in Italia: Sentieri, Capitol e Santa Barbara. In effetti io avevo appena lasciato Capitol quando BridgetDobson mi chiamò e mi chiese di incontrare lei e Jerry in merito ad un mio possibile ingaggio in SB. Onestamente io non riesco a spiegare il motivo per cui alcune soap falliscano e invece altre prosperino. “Quando si ama”, lo confesso, mi è completamente sconosciuta. Penso che fosse uno show di Agnes Nixon, che fu in seguito scritto da Douglas Marland, ma non ne sono certo. Sapevo che Sentieri e Santa Barbara erano particolarmente popolari in Francia. Mi ricordo di aver visto in tv alcuni episodi di SB, mentre mi trovavo lì nel 1986 o 1987.
Tu iniziasti a lavorare in Santa Barbara fin dall’inizio. Chi ti assunse?
Come ho detto prima, feci una specie di provino con i Dobson, che poi mi diedero da portare a casa la “bibbia” dello show per leggerla. Non doveva trapelare nulla al di fuori, pena: la morte! Così andai a casa di corsa, la lessi e un paio di settimane dopo, cominciai a lavorare per SB. Avevo lavorato per i Dobson in precedenza, verso la fine della loro “reggenza” in Sentieri, quindi c’era una sorta di esperienza precedente. Loro mi chiesero di seguirli in “Così gira il mondo”, ma Doug Marland era appena arrivato in Sentieri e io preferì rimanere lì con lui. Avevo scritto per General Hospital quando lo show durava mezz’ora, poi 45 minuti ed in seguito un’ora nel periodo in cui c’era Pat Falkensmith, che prese il posto di Doug e continuai a scrivere per General Hospital quando mi fu chiesto di raggiungere Sentieri. Lo feci, ma con la consapevolezza che non sarei stato accredidato. Mi andò bene finchè lo show non vinse l’Emmy e io no, non essendo io accreditato. Tra parentesi, questo fu il secondo Emmy che persi. Precedentemente, “Ai confini della notte” fu nominata e vinse un Emmy che andò ad Henry Slesar, ma a quei tempi (1974/75) non si attribuivano i premi anche agli scrittori subordinati, così dovetti crogiolarmi nella sua gloria. Dovetti aspettare la stagione 1981/82 per vincere il mio primo Emmy; a partire da quel periodo lasciai General Hospital e assunsi finalmente la mia identità scrivendo in Sentieri. Poi il mio secondo Emmy arrivò 10 anni dopo grazie a “Santa Barbara”. Direi che ho parlato abbastanza di Emmy.
La prima grande trama di SB girava attorno all’omicidio di Channing jr. L’intrigo durò nove mesi prima di giungere alla scioccante rivelazione. Prima di passare alla prossima domanda, ti propongo di guardare questo breve video...
I Dobson avevano deciso fin da subito che l’assassino sarebbe stato Sophia oppure la storia poteva cambiare strada facendo?
I Dobson conoscevano esattamente la direzione che la trama avrebbe preso. In quel periodo Chuck Pratt era il loro assistente sceneggiatore e lui poteva eventualmente modificare alcuni angoli del piano, ma erano essenzialmente i Dobson a sapere come sarebbe andata a finire.
In principio erano quattro le famiglie protagoniste: i ricchi Capwell, gli eccentrici Lockridge, i poveri Perkins e i messicani Andrade. Un microcosmo meraviglioso e rappresentativo. Dopo due anni i Perkins scomparvero del tutto, gli Andrade e i Lockridge furono decimati. Perché? Pensi sia stata una buona scelta?
Le famiglie cambiavano e si modificavano a seconda delle esigenze del copione, della popolarità che avevano e talvolta in base alla disponibilità degli attori. Ammettiamolo, la famiglia Perkins non era esattamente roba da raggiungere livelli di alto dramma nè commedia. In realtà, tutto quello che riesco a ricordare dei Perkins è la divertente mascella quadrata di – come si chiamava, la giovane Perkins? - La sua mascella.
….credo tu ti riferisca ad Amy Perkins…in effetti sarebbe potuto essere Ron Moss con la parrucca…
…già… questo non è un gran ricordo di quella che era una famiglia che comprendeva tre persone, due delle quali inizialmente erano personaggi principali.
In SB tu hai lavorato dal 1984 al 1991 come sceneggiatore (con una breve pausa durante la reggenza di John Conboy nel 1990). Tu hai visto 5 Produttori Esecutivi (i Dobson, Jeffrey Hayden, Mary Ellis-Bunim, Jill Farren Phelps e John Conboy) arrivare e poi andarsene, 4 Sceneggiatori-Capo (i Dobson, Charles Pratt jr, Anne Howard Bailey, Sheri Anderson) arrivare e poi andarsene. Chi di loro ti diede maggiore libertà creativa?
J. Conboy
L’ho fatto, davvero. Ho lavorato in SBdal 1984 al 1991. Come sceneggiatore e, per un breve periodo sperimentale della durata di circa dodici settimane, anche come breakdown writer. Mi resi conto che la scrittura dei copioni era un percorso più appagante e rinunciai alla fase di trattamento della sceneggiatura. Mi sembra di ricordare che John Conboy divenne produttore durante il regime di Ann Howard Bailey.
Un giorno mi portò fuori a pranzo, andò abbastanza bene. Da quel momento in poi però il nostro rapporto si raffreddò decisamente e circa due o tre settimane più tardi venni licenziato. La sua motivazione era che io sapevo come scrivere per i Lockridge ma non sapevo farlo per gli atri personaggi. Ne parlai con i Dobson, i quali si offesero quanto me e decisero così di intercedere in mio favore per sospendere il licenziamento. Erano fuori dallo show all'epoca, ma avevano ancora molto peso. Potete immaginare da quel momento come furono tesi i rapporti con Conboy, ma ero fuori dallo show da circa quattro giorni e fui immediatamente riassunto, quindi ero soddisfatto. Tu ovviamente haia portata di mano una tale ricchezza di informazioni. Mi ero dimenticato alcuni dei fatti di cui mi parli. Jeffrey Hayden, Mary Ellis Bunim .... li ricordo entrambi vagamente.
A.H. Bailey
Ann Howard (o Howard Ann come la chiamavo io) era probabilmente la meno sceneggiatrice fra tutti. Ricordo che aveva un rigido programma per il Venerdì pomeriggio, che comportava la fine del lavoro alle due e mezza del pomeriggio. Mi ricordo (e questo mi fu raccontato, quindi potrebbe non essere attendibile) che uno di questi Venerdì il produttore la fermòmentre stava per andarsene e scusandosi le disse che il copione doveva essere rivisto perché la star in questione non era disponibile nel periodo di tempo in questione. Ann Howard rispose: “No problem”, tornò dalla sua segretaria e le disse: “Segnati questo. Tizio e Caio non ci saranno in quella data settimana”. E partì per Malibu. Questo modo di fare non era esattamente ciò che io desideravo.
Sheri Anderson
Sheri Anderson non l’ho mai presa sul serio. Era lì? Suppongo che in generale non riuscì mai ad imporsi. Ricordo di un periodo in cui c’era un editor, un ragazzo affascinante, ma che non aveva la più pallida idea di cosa stesse facendo…e ricordo in particolare un copione scritto da me dal quale lui aveva cancellato circa la metà delle mie battute più divertenti. Quindi dovetti andare da Jerry Dobson col rischio di sembrare petulante. Ma questa fu l’unica cosa che ricordo. Oppure la memoria è appannata dal tempo e dalla congenialità. Non la mia ovviamente.
Tu hai lavorato a stretto contatto con i Dobson. Puoi dirci come erano i rapporti tra loro e la NBC? La presenza di eventuali tensioni aveva ripercussioni sul tuo lavoro?
In realtà queste tensioni arrivarono improvvisamente e furono quindi una sorpresa. Io fui allontanato da quella mischia e mi fu raccontato tutto dopo. Dovetti andare a Century City per deporre e sedetti in una stanza insieme a Bridget e agli avvocati della controparte nel momento in cui dovetti deporre. Dissi semplicemente che Santa Barbara era un’idea dei Dobson e che pensavo che avrebbero dovuto lasciarli liberi di proseguirla come desideravano. Non fui particolarmente coraggioso, ma dopo Bridget mi chiamò a casa e si complimentò per il mio coraggio e per la mia lealtà. Da allora fu come prima, tranne il fatto che Chuck Pratt e Howard Ann scrivevano lo spettacolo sulla base dell’ultimo film che avevano visto.
Io amo i Dobson specialmente perché amavano rischiare. Ma ovviamente io non li conosco di persona. Puoi raccontarci qualcos’altro ancora su di loro?
I Dobson sono un curioso mix di nevrosi e di affabilità. C’è un’oscura tensione che li attraversa. Specialmente Bridget. La sua amicizia come anche la sua inamicizia provengono da luoghi a me sconosciuti. Io personalmente sono sempre stato lodato ed elogiato da parte di Bridget durante le feste a casa sua, i pranzi e i party natalizi. E poi improvvisamente decise che io non potevo più scrivere appropriatamente il personaggio di Mason e mi liquidò così. Considerando che Mason fu praticamente una mia invenzione, io rimasi sconcertato da ciò, per non dire altro. E fu Jerry ad informarmi di questo. Dio….è stato tanti anni fa! Poi loro si trasferirono ad Atlanta e penso che lì costruirono uno studio e inviarono alcuni avvisi del cambio di indirizzo. Stupido io perché, avendone ricevuto uno e pensando che fosse un ramoscello d’ulivo, risposi dicendo loro che ero molto contento di essere nuovamente loro amico ecc…Per poi scoprire dopo che il mio nome era semplicemente parte di una lunga e datata mailing list. Mi chiedo che cosa mai ne sia stato di loro…
Frank Salisbury is a two-time Emmy winning TV writer,playwright and novelist . He wrote for a number of daytime shows such as Somerset (Another World' spin-off), The Edge of theNight, Search for tomorrow, GeneralHospital, Guiding Light, Capitol, As the world turns, Santa Barbara and Days of our lives. He also wrote briefly for the nightime show Dynasty. He was nominated several times for the Emmy Awards, winning twice: in 1982 with GuidingLight and in 1991 with SantaBarbara. And now the first part of the interview that Mister Salisbury has granted exclusively to "Santa Barbara Blog".
D. Marland
During this interview we will examine the daytime soap operas and especially "Santa Barbara". Yoursoaps came to Italy in 80’s. Capitol, Loving, Santa Barbara, B & B and Guiding Light were the most successful. In Italy the other soaps have been resounding failures and they aired briefly. Capitol, Loving and SB aired until their last episode. B&B and GL still airing here. How can you explain these differences between our raitings and yours?
I wrote for three of Italy's most loved soaps:Guiding Light, Capitol, and SantaBarbara.In fact, I had just left Capitol when Bridget Dobson called and asked me to meet with her and Jerry about writing for Santa Barbara. I really can't explain the dynamics of soaps, why some fail and others prosper.Loving, I confess, is completely unknown to me.I think it was an Agnes Nixon show, which was later written by Douglas Marland,but I can't be sure.I know that Guiding Light and SB were particularly popular in Paris and I caught some episodes of SB when I was there in '86 or '87.
You were part of SB from the very beginning: who hired you?
As i said I had an "audition" with the Dobsons, who then gave me the bible to take home and read, under penalty of death if any of it were leaked, and I went straight home and read it and a week or two later I began writing scripts.I had worked for the Dobsons earlier at the end of their tenure on Guiding Light, so there was some prior experience.They had asked me to join them on As the World Turns, but Doug Marland had come aboard to write Guiding Light and I elected to remain with him.I had written General Hospital when it was a half-hour, and a 45-minute show and then as an hour under Pat Falken Smith, who took over from Doug, and I continued writing for General Hospital when Guiding Light asked me to join.I did, but it was with the understanding that I would write it without credit.That was well and good until they won an Emmy and I didn't,being sub-rosa, as it were. Just parenthetically, this was the second Emmy I had lost out on.Originally, TheEdge of Night had been nominatedand won an Emmy for Henry Slesar, but in those days (1974 or 5) they didn't give out Emmys to subordinate writers, so I had to bask in his glory. I didn't get my own until the 1981/82 season, by which time I had left GeneralHospital and taken on my own identity to write Guiding Light. And then my second Emmy came 10 years later when I won for Santa Barbara. And that's enough about my Emmys.
The first big plot of SB was Channingjr ’s murder. The intrigue lasted nine months before coming to the shocking truth. Before to go to the next question, watch this sort video, please
The Dobsons decided from the beginning that the murderess would be Sophia, or the story might change during construction?
The Dobsons knew exactly where the story was headed.At that time, they had Chuck Pratt as co-head writer and he may have tweaked various angles of the master plan, but it was essentially the Dobsons who knew where it would end up.
In the beginningthere were four families protagonists: the rich Capwells, the eccentric Lockridges, the poor Perkins, and the Mexican Andrades. A wonderful and representative microcosm. After two years, the Perkins were gone, the Andrades and Lockridges were decimated. Why? Do You think it was a right choice?
Families change and alter according to the dictates of plot and popularity and sometimes availability of actors to portray them.Let's face it, the Perkins family weren't exactly the stuff of either high drama or comedy.In fact, all I can remember of them is the funny little square jaw of -- what was her name, the young Perkins girl? -- her jaw…
…I think she was Amy Perkins…or Ronn Moss wearing a wig…
…Right! That isn't much of a memory to carry away from a family that comprised three people, two of whom started off as bedrock.
You worked on SB from 1984 to 1991 as a scriptwriter (you were off the show for a briefperiod, during John Conboy tenure in 1990). In my opinion, you along with the Dobsons, Patrick Mulcahey, Lynda Myles and Courtney Simon were the soul of SB. Really. You have seen five Executive Producers (the Dobsons, Jeffrey Hayden, Mary Ellis-Bunim, Jill Farren Phelps and John Conboy) coming and then leaving SB, four Head Writers (The Dobsons, Charles Pratt jr, Anne Howard Bailey, Sheri Anderson) coming and then leaving. Which of them gave you the most freedom to create, and who did not?
J. Conboy
I did, indeed. Work on SB from 1984 to 1991.As script writer and, for a brief experimental period lasting about twelve weeks, also a breakdown writer. I discovered that scripts were a more fulfilling path and opted out of the breakdown phase.I seem to remember that John Conboy came on as Producer during the Anne Howard Bailey regime, that he had me to lunch one day, which I thought had gone rather well. But, after that, things grew noticeably chillier and, about two or three weeks later, I was fired.His reason was that I knew how to write the Lockridges but no one else.I mentioned it to the Dobsons, who were as offended by it as I was and interceded in my behalf to get me a stay of execution.They were off the show at the time but they still carried a lot of weight.You can imagine how that went down with Conboy, but I was only off the show about four days and then got reinstated, so I was satisfied. You obviously have a wealth of information at your fingertips.I'd forgotten some of the facts you presented.Jeffrey Hayden, Mary Ellis Bunim .... both such dim memories now.
A.H. Bailey
Anne Howard (or Howard Anne as I used to refer to her) was probably the most casual of the writers.She used to have a rigid Friday afternoon schedule, which involved leaving at two-thirty sharp.I remember (and this was told to me, so it may not be reliable) the producer stopped her on her way out one Friday and apologized for it,but said the breakdowns would have to be revised because the star in question was going to be unavailable for the period covered.And Howard Anne said "No problem" and went back to her secretary with the breakdowns, put them on her desk, and said "Fix these.So-and-so won't be in that week."And sailed out to wherever she was going.If you know breakdowns, you know what an effortless job that wasn’t.
Sheri Anderson
Sheri AndersonI’d had a previous relationship with on General Hospital, and we got along well, though my impression is that she wasn’t there for long. I guess, by and large, I’d have to say there wasn't a lot that was imposed on me. We went through a period when we had a man editing us...charming guy, but had no idea of what he was doing...and I remember one script of mine in particular when he'd blue-penciled about half of my best lines, and I had to go to Jerry Dobson about it and act petulant. But that was the only thing. Or else it's misted over by time and congeniality. (Not mine, obviously.)
You worked closely with the Dobsons. Can you tell us how the relations between them and the network were? Was there a lot of tension? Did these tensions have an effect on your work? If so, how?
Actually, the affaire Dobson came as a surprise.I was removed from the actual fray and only told about it afterwards.I had to go to CenturyCity to be deposed and I sat in a room with Bridget and the opposing lawyers while I was questioned.I said quite simply that Santa Barbara was an idea of the Dobsons and I thought they should be left alone to execute it.Not very brave, but Bridget called me at home later on and raved about my bravado and my loyalty. From then on it was business as usual, except that Chuck Pratt and Howard Ann wrote the show.
I liked the Dobsons especially because they were not afraid to take risks. But I do not know them.Can you give us a professional and a human portrait of the Dobsons? Do you have any anecdotes?
The Dobsons are a curious mix of neurosis and affability.There's a dark strain running through them.Especially Bridget.Her friendship and her enmity come from places I know nothing about.I know I was lauded and praised by her at parties at her house, at luncheons, and at Christmas affairs. And then suddenly she decided that I couldn't write Mason properly and let me go.She told me on the phone and I argued with her about it, but she was intractable. Considering that Mason was practically my invention I was baffled by it, to say the least. God...that was so many years ago. They moved to Atlanta and built a studio there I think, and sent out notices of relocation. Silly me, I got one and, thinking it was an olive branch, replied that I was glad we were friends again, and how nice to let bygones be bygones, only to discover that I was on some long-out-of-date mailing list. Anyway, they’re still in Atlanta, as far as I know.
…there was a child who lived in the cradle of world culture, Italy. The child had a family who loved him, and a grandmother to whom he remains devoted to this day. The child went to school but could not connect with other children. He felt too different, and so he was afraid of them. His grandmother knew this and decided to help him. So one evening she said: "Now grandmother will bring you to a fantastic place, where no matter about your difference, where you can be who you are without fear." So every evening the grandmother brought him across the world. The trip lasted less than an hour and each time he returned home, his mind was lighter, more sympathetic to the other, less frightened. Then, one day his grandmother had to move to another city where she could not bring the child. The child was in despair, he was afraid of getting lost again without his grandmother. So grandmother said to him: "My child, you are now able to go alone to the place where I brought you. You know that to go to that place, it is sufficient to turn on the television. Grandmother will do the same even if she is far away and so we’ll travel together. "
Today that child is a young man. He has a job, he has a lovely partner and many friends. He has learned that his differentness is not an obstacle in his relationship with others, quite the opposite it makes possible this relationship.
His grandmother is no longer physically present. Not even the place where she brought him, the now lost city of Santa Barbara. His grandmother and that place are now inside him and nobody can take them away from there.
For many years that child has searched for Bridget & Jerome Dobson, the creators of that place. Now at last he found them. He is in touch with them. He was finally able to thank them and now Bridget Dobson has agreed to make a Christmas gift to all of us: a good wishes’ letter written in 1985. It is a letter full of love and affection. Friends, breathe in deeply. Let's get back together to the city of Santa Barbara.
Great news for A Martinez! The unforgettable interpreter of Cruz Castillo on “Santa Barbara” is about to return to the American daytime. From January 13, 2012Martinez will resume the role of Dr. Ramon Montgomery on "The Bold & The Beautiful", after a few months from his last appearance (in Italy we will see these episodes in a few months, given the delay programming). At the timehe was involved in the mystery concerning the paternity of Amber’ son (Adrienne Frantz). Again Martinez will appear only for a handful of episodes. The actor has celebrated his 63 years this year and he is still in excellent shape. I wonder if one day we can see him wearing super-skintight jeans again, that made him famous on “Santa Barbara”. Long-term contract for A Martinez, thank you!
Grande novità per A Martinez! L’indimenticabile interprete di Cruz Castillo in “Santa Barbara” sta per tornare nel daytime americano. A partire dal 13 Gennaio 2012 infatti Martinez riprenderà il ruolo del Dr. Ramon Montgomery in “Beautiful”, dopo qualche mese dalla sua ultima apparizione (in Italia vedremo gli episodi in questione tra qualche mese, visto il ritardo della programmazione). All’epoca era infatti coinvolto nel mistero relativo alla paternità del figlio di Amber (Adrienne Frantz). Anche in questo caso Martinez apparirà solamente per una manciata di episodi. L’attore ha compiuto quest’anno 63 anni ed appare ancora in ottima forma. Chissà se un giorno potremo rivederlo indossare i super attillatissimi jeans che lo resero famoso in “Santa Barbara”. Contratto a lungo termine per A Martinez, grazie!
Dear Friends,
Christmas is coming. We can breathe the magic of Christmas along with fresh air and smog. So it's time to remember Santa Barbara’ Christmas.
Christmas is the time of the year when dreams come true, everything becomes possible and in Santa Barbara it is truly special: Mason dreams about being Scrooge, the friendly Kris Kringle appears to be a very special Santa Claus, Eden & Cruz replace him and deliver the gifts to all the children of the world and finally Brandon wakes up from coma.
So, as I said, dreams can come true and my biggest dream has come true in these Christmas season and I'll share with you on Christmas Day. I can only say to you that I can share a very very very special letter written in December 17, 1985. The letter is just the tip of the iceberg of a much bigger surprise for me and, I hope, for all of you. For now I can not reveal more. Watch the SB Christmas video and maybe you will understand something more...
Over the years we've had a lot of fun watching the stories of our beloved characters and we still are loyal to our heroes and heroines. Well, behind all this there were some writers who have done their best to entertain us and to surprise us. Patrick Mulcahey, Frank Salisbury, Courtney Simon and many others. Among them was Lynda Myles, in my opinion one of the best. She's done a lot for us. Today, all of us together, we can do something for her. She did not ask me to do this. This is my idea.
I know that Miss Myles’s daughter, Hallie Leighton, has a project she's been working on: her father, the great Jan Leighton, died two years ago. He was an American actor and model who appeared in more than 3,000 roles. He specialized in portraying historic characters. He was credited by the Guinness Book of World Records with having played more roles than any other actor.
Hallie is making a documentary that celebrates her father’s memory. She's completed the first step which you can see by clicking on this link:
But to complete the project, she needs to raise $ 25,000 (this is the bare minimum to cover editing and post-production costs such as color correction and audio mixing).
What I ask you, my friends, is to contribute, as much as you can and want, to help reach the amount required for this project. I've already made a pledge . Even one dollar is enough. No payment is required for a couple of months -- just a pledge --if she reaches her goal. If she doesn't, your pledge will be cancelled. If we are united, we can multiply our dollars and help Miss Myles' daughter to realize her project.
Remember –we can help her in two ways:
1 - by giving the amount that you consider most appropriate
2 - bysharing the above link anywhere you want
Over the years, Lynda Myles has given us all a lot of fun writing for Eden & Cruz, CC & Sophia, Gina, Mason & Mary, Julia, and many others. I would like to repay her by doing something tangible for her. And you?
Carrington Garland is an American actress. She’s the daughter of the late American film and television actress Beverly Garland, she was born in Encino, California . Garland graduated from North Hollywood High School in North Hollywood, California. She’s best know for having played the role of Kelly Capwell on the daytime TV soap “Santa Barbara” from 1989 to 1991. She has also starred in TV series such as "Monsters" (1990) and "Top Secret" (1987). She concludes her television career with the 1991 movie "Death Falls" in which she starred opposite her mother. And now the interview that Miss Garland has granted exclusively to "Santa Barbara Blog".
Your experience on "Santa Barbara" began in 1989. How did you start? Can you tell us something about your audition?
Oh my.. Well my audition or auditions went on for a while. My interpretation of the scene was very different form the other actresses. I was more
upbeat. That is why I got the part.
You started your adventure on SB with a trip to Paris along with A. Martinez, Marcy Walker and Peter Love. At that time the French people do not yet know you as Kelly, how was their reception? There SB was a hit, do you remember some funny anecdote?
Paris was so much fun. But I had to do all my lines in French! It was also really cold and rainy. One night we stayed out all might. Dancing at Le Bain!
Before you, Robin Wright was replaced by Kimberly MacCarthur, but the choice was not lucky. Compared to Robin Wright’s Kelly (which I love), your Kelly takes great maturity, she is more independent, less condescending, more aware of herself.. The major difference between the two Kellys is without a doubt the rivalry that explodes against Eden. It was hard to take the place of Robin Wright? The replacement was a success in your case. What do you remember about the reception of the audience towards your Kelly?
The audience seemed to love my take on Kelly. I honestly did not think about Robin. I was so busy figuring out my character!
Your male partners were Peter Love (Ric Castillo), John Callahan (Craig Hunt) and Roscoe Born (Robert/Quinn). With which of the three you had better chemistry? It seems to me with Roscoe Born. While I sensed a sort of antipathy between you and Roberta Bizeau Weiss (Flame), but maybe I was influenced by the characters ...
All my leading men were great to work with. Peter was my pal. Roscoe was intense and so good. John was so professional. They were all fun and helped me grow as an actress. As for Roberta I always thought she was so beautiful and exotic!
In a recent interview Patrick Mulcahey said it was great fun "to write for Carrington Garland's Kelly." I admire very much the work of Mulcahey and I think he could rewrite the Bible. Can you Tell us what you remember about him?
He was amazing!! I missed his writing so much when he left.
One of the best episodes written by Patrick Mulcahey it was, for me, "The Capwell Zone", the episode in which all the Capwells were aliens with the green tail. It was a fantasy of Greg (Paul Johansson). He has just discovered to be the illegitimate son of CC and he is unable to accept his new family. Wich you think was the meaning of that episode? Moreover, all the dialogues were written in rhyme. It was difficult to prepare and play this episode?
Oh that was such fun. I don't remember what it was about though.
In 1991 the producers decided to replace you with an older actress (Eileen Davidson). They thought so to attract the Davidson’s audience. It was a dramatic mistake. Eileen Davidson, although a great actress, had nothing to do with Kelly. In addition, the fans loved you a lot. Can you tell who announced the replacement to you and how the audience reacted?
I actually had a dream the producer called and told me I was leaving. That next day it happened. They pulled me out of my scenes and I only had one day to say goodbye to everyone. I was heartbroken!
A true fan is very curious about all the background. it is true that this adds nothing, but this is fun. Can you Tell us now something more spicy: a few secrets on SB? There was some antipathy between the actors? some tension?
I'll tell you this.. There was as much going on behind the scenes as there was going on in front of the camera!
In the USA “Santa Barbara”always remained in the bottom of the rankings ratings. In the rest of the world and especially in Europe it has had excellent ratings. Furthermore, despite having low ratings, it has been the most award-winning soap and and still there are dozens and dozens of sites dedicated to this soap, unlike the others soaps cancelled. People still contact you to talk about Sb? What made SB so special? Please tell us what you liked about "Santa Barbara" and then what you do not like about that show.
It was a smaller cast. The audience really knew the characters.
What are your professional plans for the future?
Right now I raising two amazing children.
This interview is designed primarily for the Italian public. In our country, “Santa Barbara” was very much loved and followed. You've never been in Italy? What do you know about our country? You want to say something to the Italian public who loved your and our Kelly Capwell Perkins Conrad Armitage (uff) ?
I am embarrass to say I have only been to Rome! But I will go to beautiful Italy with my family soon! “Ciao, molte grazie!” (Bye, thanks a lot!).
Thanks Miss Garland for your kindness and willingness. And now a little tribute to your adventure on "Santa Barbara".
