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Everardo Marquez
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DAVID BIANCULLI, BYLINE: When Andre Braugher first came to television in 1989 after studying at Juilliard and playing Shakespeare In The Park, his arrival, like his performance, was nothing special. He played a second banana to Telly Savalas in a series of "Kojak" TV movie revivals, but that same year, he also was featured in a movie on the big screen - "Glory," a drama about the first regiment of Black soldiers to fight in the Civil War, and Braugher was amazing. And after a few years and some other TV and movie roles, Braugher landed the role that made him a star, won him his first Emmy and gave him the platform and artistic collaborators to craft one of the finest dramatic series roles in the history of television. The role was Frank Pembleton, a Baltimore homicide detective famous in his own precinct for his skilled methods of interrogation.
The TV series, which ran from 1993 to 1999, was NBC's "Homicide: Life On The Street," based on a nonfiction book by David Simon who learned enough about making TV on "Homicide" once he started writing scripts to turn around and create HBO's "The Wire," another of TV's all-time best drama series. Among those running the ship at "Homicide" were film director Barry Levinson and "St. Elsewhere" writer-producer Tom Fontana, and everyone involved knew how invaluable Andre Braugher was from the very start and wrote for him accordingly. As detective Frank Pembleton, Braugher was riveting thanks to his way with a phrase and his almost musical delivery. One of his first "Homicide" appearances illustrates this perfectly. Pembleton is reluctantly introducing a newly hired detective, Tim Bayliss, to the daily routine. They're looking through one-way glass and observing a suspect in the interrogation room known as the box. Pembleton takes the opportunity to treat Bayliss, played by Kyle Secor, like the untrained rookie he is, while at the same time establishing his own authority and superiority.
BIANCULLI: As Captain Raymond Holt on "Brooklyn Nine-Nine," Andre Braugher delighted audiences for eight seasons and was nominated for four more Emmy Awards, this time as supporting actor in a comedy. And at the time of his death last week from lung cancer at age 61, Andre Braugher had completed filming four episodes in what sounds like yet another career-redefining role. He was starring as the chief White House usher in "The Residence," a new Shonda Rhimes series for Netflix. We can only hope that if and when that series sees the light of day, that the episode starring Andre Braugher will be available as well as extras on a DVD or streaming site. And while we're waiting for that, could some streaming service please, please rerelease "Homicide: Life On The Street"? The memory and legacy of Andre Braugher deserves it, and so do all fans of truly outstanding television.
BRAUGHER: Last week's episode - so we're looking for a van which does not exist, which carried kidnappers who never lived, which did not abscond with a U.S. congressman and then didn't drop them off here? I guess, is what the other character responds. Now, that's a (laughter) - that's a long and complicated thought, which you typically don't get. Typically it's like, where is this guy, or, these kidnappers don't exist, or some smaller thought. And I relish the idea of taking a long thought, breaking it down to its component parts, putting it back together again, and being able to deliver it in one breath from beginning to end, and have it end up sounding like a question that I actually asked and have made my own, rather than sounding like a newspaper clipping or something to that effect.
GROSS: You said before you loved Shakespeare even when you were young. What did you find when you were young in Shakespeare? A lot of young people don't - just don't like Shakespeare because it's such a different period and because the language can be very difficult to understand compared to contemporary writing.
I'd like to feel the kinds of feelings that Laertes feels upon hearing about the death of his sister, or when he sees his sister mad with flowers in her hair and talking outrageous gibberish and acting - her behavior, acting with an incredible kind of sexual license that he's never seen her act with. He says simply, oh, God, do you see this? Now, a lot of people would say, what's wrong with her? Let's get her to a doctor. They try to solve the problem. They do a lot of different things, but Laertes is a very spiritual man, and he looks up, and he says, oh, God, do you see this? It's a crime against nature in a certain way, you know? And his strange love for his sister is expressed in this way.
It can't be beat. It can't be beat by cop shows, and it can't be beat by the most interesting kind of television drama. Shakespeare lives, and his characters express the deepest parts of themselves. Pembleton doesn't express the deepest part of himself, you know? There are so many chameleon-like layers and aspects to Pemberton's behavior and his speech and his relationships with everyone else, but in Shakespeare, I find the opportunity to really glimpse the most elemental and human part of a person.
GROSS: When your parents decided that you're going to go to Catholic school right away, did you thrive there? Did you like it? Were there things that you didn't like about the discipline or the uniform you had to wear?
BRAUGHER: (Laughter) The uniform - the blue pants and - oh, my goodness. Things that I didn't like about the Catholic school - no, I actually loved it. You know, it was a very challenging environment. And I thrived in that kind of environment. I thrived with that kind of discipline not because I believe that rules were made to be broken, but I enjoy structure in my lines. That same sort of discipline makes me sit at home and really break down a script into all its intimate characteristics so that I can do the best kind of work when I get to the sets. I love to rehearse. "Homicide" is not a show in which we get rehearsal before we begin to film. But in all the best work that I've seen myself do on television - and I see a lot of flaws in my own work - the best part of my work has always involved rehearsal. I remember back in 1992 when we did "Three Men And Adena" with Moses Gunn and Kyle Secor and myself in the box...
BRAUGHER: We would actually run through the lines, and we made choices right then and there. We rehearsed like - as if we were doing a play. We found the best choice, not the first choice. We found the best choice. And I love to work that way.
BRAUGHER: No. I remember my - a woman who I love and respect today, Liz Smith, my voice teacher. We were doing some poems by Dylan Thomas. I was doing Dylan Thomas - "And Death Shall Have No Dominion." And I had worked so hard to improve my speech and my posture and my voice and the tonal production and all these different things. And I did that poem, and I thought I'd done quite well. And she looked at me, and she looked at me for a long time - about 15, 20 seconds after I'd done it. So I was saying, well, does she like it? Does she not like it? And she says, it was very well-spoken, and your voice is improving tremendously. But it's rather boring, isn't it? And she looked around the room and she looked for the assent of my classmates. She said it's very, very boring. I didn't see any of Andre Braugher in that. She called me An-dray (ph), as a matter of fact - An-dray Braugher. I didn't see any of An-dray in that. And so I want you to do it again.
BIANCULLI: Well, one is - because I remember going down to visit the set at one point, and I was amazed at the method of filming, which was to make you poor actors run through the entire scene from beginning to end with a single camera shooting it from wherever it was pointing and then stopping and doing it again a second or a third time. And I guess emotionally it must be more exciting because rather than just doing pick-ups and close-ups, you're getting to the truth of the scene each time. But I also thought, man, that's heavy lifting. What was that like?
BRAUGHER: And I really, really enjoyed my time down there in Baltimore. I felt more like I was on stage than any other piece that I've ever been involved with. When we first started, of course, everything that we were doing, we were pushing the envelope in terms of how we were using the camera and the kinds of stories that we were telling. But subsequently, I mean, over the next couple of years, so many people adopted those same techniques that it's now become quite commonplace. But when we first started, we were - it was unheard of to have a 16-millimeter camera sitting on Jean de Segonzac's shoulder and running through the entire scene from beginning to end. And Tom Fontana wrote long scenes.
Tom has written some dynamite episodes over the years, as has Jim Yoshimura. Jim and Tom worked very closely together during those years. And I have to say, they really turned in some spectacular episodes. Tom wrote the episode where Pembleton has a stroke. He wrote it over the weekend. He called me up and he said - because I had said to him, basically, I think we've played all the stories with this Pembleton character, and maybe it's time for me to move on. And he says, well, no, I don't think so. He says, let me put my thinking cap on. So he came back and he said - he called me on the phone. Maybe it was Thursday he called me on the phone. He says, you know, Andre, I think I'd like to give your character a stroke.
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