Interview:Adam Armus and Kay Foster

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On January 15, 2008, Ryan Gibson Stewart conducted an interview with Adam Armus and Kay Foster. Adam and Kay are both producers for Heroes, and have been writing partners for a number of years. Together, they wrote Homecoming, Run!, and The Line.

Ryan Stewart: So you two have been writing partners for some time now.

Adam Armus: Yes. We've been writing partners since about '94. I think '94 was our first gig on Hercules: The Legendary Journeys. We've been together a long time, going on fourteen years now. We met in the waning days of our former careers. Kay was selling furniture at the time--

Kay Foster: --I was a sales and marketing rep for a furniture company--

AA: --and I was a lawyer. We were both dismissed from our jobs. Her company closed down. My law firm department closed down. So we were both out of jobs. We both took a screenwriting class together. UCLA has these adult extension courses where adults can go back to school and learn specific things. We both took a class and that's where we met.

RS: When was that?

KF: Probably in '91 or '92. Both of our companies closed because of the recession.

RS: And you hit it off immediately?

[at the same time] AA: Yeah. KF: No.

[all laugh]

KF: Ah, I'm just saying that. We wanted to write sitcoms. That's really the class we were in and how we started out. We wanted to be funny. And...

AA: ...and we failed miserably. [all laugh] We both were writing sitcom scripts, and we realized that the stories we each had combined together to make a good script. So we combined our stories together and we submitted a script to the Warner Bros. New Comedy Writers Workshop, which is the let's-discover-new-people thing that Warner Bros. does. I'm not sure if they're still doing it, but they did it back then. It was basically them trying to find new talent. If you are successful, they place you, and you could get jobs, agents, and things like that. So we got into that program and from there we got our first gig on Hercules: The Legendary Journeys.

RS: Wow. That's quite a first gig!

KF: It was a good first gig.

AA: It was a great first gig. We had a lot of hands on experience. In those days, the days of Hercules in syndication, there was not a lot of studio or network involvement in anything. It was basically us doing our thing. We really cut our teeth and learned how to write television from Hercules, and also Xena. We did a number of Xena: Warrior Princesses.

KF: More Xenas.

RS: And those are definitely not sitcoms.

KF: Definitely not.

AA: We were not funny, as I said.

[all laugh]

KF: We just weren't funny enough.

AA: We actually wound up writing a number of the humorous Xena episodes. We tend to write funny in whatever we do, or try to put a little humor in everything we do. In almost every show we've worked on, we've tried to infuse a little humor. So we don't write sitcoms, but we try to be as funny as we can.

KF: We like sitcoms...but we can't write them.

[all laugh]

RS: You two wrote a musical episode for Xena: Lyre, Lyre, Hearts on Fire. What was it like writing a musical?

AA: It was actually kind of fun because we worked with Joe LoDuca who did the music for Xena. We just worked carefully with him. We kind of had an idea of the songs we wanted to use, and our producers gave us a number of songs that they were buying the rights to. So it was about trying to craft a story around music that we were doing. And we also got a chance to write some lyrics to what was known as "The Joxer Song", so that was a lot of fun.

KF: And it was silly--totally silly--which we liked. And we got to work with Bob Orci and Alex Kurtzman, who have gone on to be big time screenwriters. That was really fun.

RS: So how did you get involved in Heroes?

AA: We got a call from our agent saying that Tim Kring wanted to meet us, that Tim Kring had read our work. We sort of tangentially knew Jesse Alexander, who was already hired on the show, and I think he put in a good word for us, too, because we have friends in common. So Tim read our work and said he wanted to meet us. So we went in, had an interview, and he said, "You're hired!" Well not there on the spot, but our agent called us later and told us the meeting went well and that we got the job.

RS: That's great. And the first episode you wrote was Homecoming. That was a big episode! It was the culmination of a major prophecy, and everything sort of built up to that episode in a way. What was the pressure like?

AA: You know, we had no idea the pressure we were under. We had no idea. We just knew that we wanted it to be a culmination. We actually wanted it to be even bigger than it was when we first set out to do it because we knew a lot of things were coming to a head. At the time we wrote it, the show had not premiered yet, so we had no idea whether or not this was going to be a big hit, or whether or not people were going even going to be interested in the things we were leading up to. But we did feel a sense of responsibility. We had a lot of fun with it.

RS: So tell me about writing Homecoming, then. There were a couple of big storylines in that episode. For instance, it wasn't the first time we had heard of Sylar, but it was--

KF: --it was the first time we actually saw him. We got to cast him, which was really fun. We were in the casting session for that.

AA: We helped cast Zach Quinto, which we think was a boon. A great find.

RS: Yes, good choice! And on behalf of many many fans, thank you for doing that!

[all laugh]

AA: Absolutely!

RS: What was it like writing for Sylar's character, then?

AA: At the time of Homecoming (since then, of course, it's changed), he was just a shadowy figure.

KF: You didn't even really see him, did you?

AA: Well, you did that one time he was taken down.

KF: Vaguely, though.

AA: What I remember thinking was that we wanted to dramatically show his face. So at the very beginning of the episode, he was all in shadow. Then I remember at the time he was in the locker room when he was actually slicing off the top of Jackie's head--

KF: --we kept him in shadow.

AA: We kept him in shadow, except for his eye.

KF: Right right right.

AA: We had the light right on his eye. We said, "Okay, we're going to show you his eye. And maybe that's all you're going to see." Then at the very end, we actually showed him full face, but with the hat on, which kept his face in more shadow, but that's when he was taken down. It was sort of a dramatic thing--we were slowly revealing the face of Sylar.

RS: I recently spoke with Nate Goodman--

KF: --he was the director of photography for that episode.

RS: Well, he was saying how much of a challenge that scene was to light. Here was this very pale white woman who was supposed to be in light, a black man who was supposed to be in light, and then Zach Quinto who was supposed to be cloaked in shadow.

[all laugh]

AA: I remember at the time that we actually changed the location at the last minute. Poor Nate, he was so pissed off. It was very important--we wanted him up on that hill where he was actually taken down. We didn't want him anywhere that people--or police officers--could have seen him. (Remember in a future episode, Matt Parkman came and investigated this thing). We wanted to make sure that Sylar seemed to disappear from out of nowhere. There were no footprints, or there was no way he could have gotten in a car and driven away, or anything like that. So it was very important that we did it in that very remote location. I'm sure we really made it hard for everybody.

RS: It was an exciting end to an exciting episode.

AA: I think it turned out really well.

KF: I think it's still my favorite.

AA: We had a great director, of course. And we had wonderful actors. We were just fortunate enough to tell stories that involved pretty much everyone. It was really a great experience.

RS: And then you wrote Run!

AA: Yes, Run!, which was our second episode of the first season. That was a fun experience, too. Roxann Dawson directed that episode.

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