Supernatural 12.18 – This Episode is a Memory that will Definitely Remain!

Phil Sgriccia, Steve Boyle (twitter) and the boys

It’s been a while since we’ve had a Supernatural episode that made me so euphoric that I could barely contain myself – those kind of episodes are what made me the passionate fan I am. When it’s been too long between them, my enthusiasm quiets down a bit. Not that I don’t always love the show, but not with the OMG this is the best show in the history of EVER OMG jumping up and down that an episode like this one brings. And damn, does it ever feel good to be that squeeful again!

I would like to give writer John Bring lots of hugs, and my highest compliment – he wrote a scene that could have been written by former Supernatural writer Robbie Thompson. And that, for me, is REALLY saying something.

I’ll get to that wonderful scene soon, but I loved the entire episode. This was an old school Supernatural monster-of-the-week episode, reminiscent of the early seasons in so many ways. I liked the twists and turns of the case, first thinking it was a monster, then a human, then lo and behold it ended up being both. Bring didn’t forget Castiel either. We got another Cas phone call, leading up to the next episode when Castiel reappears. And we got Dean cleaning the Colt and then aiming and fake firing it, which never fails to do things to me.

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A Warm Winter Evening with Serge Ladouceur

Serge Ladouceur

In December of 2008, we made our first set visit to (finally!) interview Jared Padalecki and Jensen Ackles. As soon as we arrived, though, we were welcomed with open arms by everyone in this tight-knit crew. And we do mean everyone – PA’s, lighting crew, the great people in the props and costume departments, Production Designer Jerry Wanek, and Serge Ladouceur, Director of Photography, came over to introduce themselves to us. During our twelve hours in fangirl heaven, we were quite overwhelmed with how wonderful everyone was. (And frankly a bit confused considering the strange, arduous and often embarrassing road we’d traveled to get to this point.)

As we waited for Jensen to film his last scene of the day (the scene in “Sex and Violence” in which Dean is driving down yet another dark stretch of road, alone, having a cell phone conversation with Sam) Serge came over to explain what we were about to see. Think Dean was really alone? Not even close. There were about fifteen people clustered around the Impala working lights and other effects. Think he was really driving down a lonely stretch of road? Wrong. The shot was filmed entirely on the sound stage. And the movement of the car? Well, that was the movement of one very strong man with a 2×4 wedged underneath the back bumper, pressing up and down on it to make it look as if it were moving. It was an amazing team effort and smacked of the “magic of Hollywood”. Afterwards, Serge asked if we had any questions.

Ummm . . . Yes!!!

The next time we were back in Vancouver in February of 2009, we sat down with Serge in our hotel bar. (Note to anyone who decides to conduct interviews in bars – bad idea!! We’ll explain why in the next part of the interview.) His remains one of our favorite interviews – the man is gracious and thoughtful and quite generous with his time – especially when you consider that they had been filming all day and we didn’t start the interview until about 10:00 pm. Two hours later we were still chatting. We thought we’d share a few excerpts from our interview with Serge here. As fans, we’re fascinated by how our favorite show gets made – so we thought some of you might be as well.

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