TVLine spoke with Ruah about the intense face-off ahead, acting opposite NCIS: LA writer Frank Military, and her newly announced directorial debut (slated to air February 2021!!!🎉💪🎥🎬).
Read the full article HERE.
This Sunday will be twice as nice for fans of CBS’ NCIS: Los Angeles, which is serving up not one but two fresh episodes, beginning at 9:30/8:3oc.
In the second hour, titled “Raising The Dead,” a prison break lets loose a man with designs on killing the President of the United States, so Special Agent Kensi Blye (played by Daniela Ruah) is forced to grill the other, captured escapee, David Kessler, for a possible lead. Thing is, Kessler is a bit of a Kensi Blye “superfan” — and a very twisted one at that — seeing as she was responsible for his prison stint to begin with.
TVLINE | What was your reaction when you heard Kensi would be getting her own Silence of the Lambs moment?
You know, I don’t know that I even made that connection at first. First of all, when I read the script, I thought, “They’re going to have to hire a really strong actor to play David Kessler,” because the character’s so beautifully written — and it wasn’t until I walked into hair-and-makeup and saw Frank Military, who is the writer of the episode, walk in as well. I was like, “Oh, hey. What are you doing here so early?” He was like, “I’m playing David Kessler,” and it blew my mind.
I was so happy and excited, because who better to play to play this dark, twisted character than the guy that thought him up? Frank was an actor 20 years ago before he became the incredible writer that he is, so to be able to go back to those chops…. It’s interesting because now that he’s a father, I think age gives us a certain gravitas, a certain weight to certain types of storytelling. So he was just incredible, and I was honored, really. That’s the word — I was honored to work with him in this capacity.
TVLINE | Tell me everything you know about the episode you’re directing, to air in February.
Yeah, it’ll be my first experience directing television. It is not a big jump, I don’t think — I mean, living in a show like this for 12 years is essentially like attending film school, right? If you open your eyes, and you open your ears, and you pay attention, you’re going to learn most of what you need to know on a theoretical basis.But then it’s a question of putting it into practice, and I am surrounded by people I trust blindly to help me, to collaborate with me on everything. I know how hard it is to get a job like this to begin with, and I’m very fortunate to have my first experience be with my family because that’s what it is.
TVLINE | Do you know if you’re getting, like, a helicopter chase or…?
I don’t think I’m getting a helicopter chase [Laughs], but I don’t think that’s because of me, I think that’s just the general logistics of that. No, I have [the script] for almost the whole episode, and thus far it’s pretty wonderful.
Also, just in the last few years, [showrunner] Scott Gemmill and our other producers have been, I think, more creative with how the show is put together. We are a network procedural and you have to have those boundaries that we fall into, but I feel like they’ve made those parameters a little wider than they used to be, and I find that directors are coming in and being able to be a bit more original with what they are able to shoot, and how they are able to shoot. So, I look forward to being creative and collaborating with my family.