Sci-Fi Stream Interview with Ben Browder

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See, on the day of shooting, the captain Kirk thing is great. You know what I mean? On a story telling basis, when Crichton goes off and he goes skinny-dipping with the Peacekeeper chick, I was going, "John, man! They're gonna to hate you." Because I'm kind of like the audience, you know. I want to see John and Aeryn together. I think that's great. When I watch this stuff, I love those moments between John and Aeryn. So, from a viewing standpoint, I kind of like watching Aeryn and John together. Don't know I wouldn't mind watching Aeryn and Chiana together. But, when he runs off with the Peacekeeper chick, 'we don't know her' but okay, she's good lookin', go for it John. Go, go, go! So, there's a part, a side, of me that's kind of like, man, that girl's good lookin'. All right! Yeah! How about this? And then there's the other part, which is like, I don't know, I want John and Aeryn to get together.


And then there is the other side, which of course is that I have a wife. And she finds a way to make it to the set, sometimes. The day we were shooting the first kissing sequence in Look At The Princess, or the second sequence, with all the good looking girls in the bar, it's like here's your day. We got, like, five good-looking girls and you gotta kiss them all. It's your job!


Crichton, after kissing a girl in LATP part 1, "I am never leaving this world!"

And you look to your right, and there's your wife! She showed up with a friend, no less, a very good religious born-again Christian friend, and going, "this is what your husband does for a living?" And she's sitting over behind the monitor with Andrew Prowse (director). Prowsey and her are really close and I'm out there going, "guy could be having a really good time, except the misses is right over there.  You know, it's just never perfect. (Laughs) But, it's close to perfect; I'll give it that!

Yeah, the production schedule is hard.

Crichton, being tortured in the Aurora chair in Nerve, "No, please no!"

It's a hardship in as much as that when you're acting you get obsessed with what you're doing. I'll be laying in bed at night and I'm thinking Farscape stories in my head. And the misses, Fran, wants to talk about...Francesca, honey, I love you! She wants to talk, you know, 'look, we got this thing at school..." And somewhere in my brain I'm thinking about this scene with three-dozen models. It's hard; it's harder on your family than it is on the actor.


The minutes I start thinking about complaining about hours or hardship or all of the time...I spend an hour or two at night, after I get home, working on lines for the next day. And that's easy compared to what your family has to put up with. They're the ones that have to do the hard work - putting up with me.

Crichton to D'Argo in Look At The Princess part 2, "I'm tired of this." D'Argo, "It's all politics, John..."

Anth is, when I have a problem, Anth is my go-to guy. And I have my problem and I go, 'I don't know what to do.' Usually I can just go to Anth and "what's the problem?" And he's a teacher and a artist and he's a drama...He's an all-arounder as well as being insane and a great performer. So, when I go to him, I go to him for advise, basically. "How do I make this work?" Which is weird, considering he's the most whacked out person that you run across the set. You're going up to D'Argo, "D'Argo, give me some advise" and, (imitating D'Argo) "well, John, when you get to..."(laughs) and it's fantastic, I love him, I absolutely love him.

I knew from the first time I read with Claudia...I went to Australia and there were four girls and they were all good. And one by one, I'd say, "Do you want to run lines?" and they'd go, "yeah, let's run lines" or not. And Claud goes, "Yea, let's run lines." And we walked outside together and we ran the lines. And either she looked at me or I looked at her, but one of us said, "Well, I don't think we need to do any more." And both of us were in agreement; it's like, let's just go shoot this. There is the sense of timing; there's a way she moves; there's the fact that she plays off the nuances of what's happening. I think she has chemistry with a lot of people. If we were going to read the phonebook, I reckon if it was Claudia Black we could make it interesting.

There's just something about her, I feel very strongly that chemistry is an central ingredient in on-screen relationships. There's something about Claud that just does it, well, she's got an amazing body, you know. But she's got an incredible voice and she's got intelligence and drive and beauty. And she's funny!

Aeryn being humped by the Vorc in BOD, "The only parasite we have is right here and if you don't come and get him I'm going to flush it out an airlock!"


In Beware of Dog, when we're interrogating the Vorc, you know, a fair amount of that was improv. Oh yea, you call that a question? What kind of question is that? And she's going, "A point of clarification." You know, there's that stuff as well. In the ep five (Crackers Don't Matter), Aeryn saying, "We are going to Die." That was an improv from Claud, the 'we are going to die,' the reaction to me putting the sword up. She's a total package and we got lucky.



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