Bullz-Eye: To begin at the beginning, how did you find your way into “Hunted”? Was it an audition situation, or did they come looking for you specifically?

Melissa George: They were very strict about making people read. Some jobs, not so much, they know who they want. But “Hunted” is (being produced by) HBO and BBC together, and they were both having to choose and decide, so we had the English with the Americans, so that’s why the audition process was so long.

I was walking on the West Side Highway in New York, and my phone rang. It was my agent saying, “I’ve just read the most dynamic role for a woman, it’s as complex as what you played on ‘In Treatment,’ with a bit of action, which you’ve done before. It’s shooting in Europe, it’s really good, it’s written by Frank Spotnitz, it’s an English and American production…you’ve got to get it.” That’s kind of what he said. And I hate when they say that, ‘cause that means no sleep for me. Because, y’know, of course if it’s that great I want to play it. And I was then shooting a movie with Julia Stiles in Los Angeles (“Between Us”) and I was busy with that, and I had a video camera set up in the hotel room, and I put together a scene. They asked me to do three scenes, but I just did one. It was the one where she confronts her ex in the apartment. Very emotional. And I remember I was just so choked up…and I was recording myself, not speaking to anybody, because I didn’t have an actor reading with me. And I was, like, “Oh, my God, I really love this part…” And I cut, printed, and sent it. I couldn’t do any more scenes because I was really upset. I felt really strongly about this woman. And I waited. I didn’t care, because I was shooting a movie.

Then I got a call saying, “They want you to meet with Frank and read a scene.” I was, like, “Oh, my God…” There were so many freaking people in this room. [Laughs.] So many people! I thought it was just going to be me. Every actor thinks that when you’re asked to read, it’s just gonna be you. But it was a lot of people, and I was on my own. But I met Frank, and he said to me later on, once I’d gotten the role, that he knew from when I put myself on tape, and when I went in to read, he said, “I just feel really connected to her.” But that was it. I didn’t hear for awhile after that, so I was, like, “Ugh, this is gonna be one of those jobs…” And then S.J. (Clarkson), who’s directing, got onboard, and…the director has a big say, so Frank’s got his choice made, BBC and HBO made theirs, but now I have to wait for S.J. to make hers. So I had to meet her. They fly me from New York to L.A. to have lunch, and all we do is talk about film, and then…I was the only girl, but I had to read with lots of guys. And none of the guys I read with got it. [Laughs.] But I was the only girl they were using, and yet still hadn’t told me that I’d got it! And I was, like, “What’s going on here?”

But I was so convinced that I was onboard that I went around convincing everyone else around me that I was. I was, like, “Oh, yeah, I’m gonna be playing this role in a few months…” But I hadn’t heard anything, and I was going, “This is ridiculous! They’re going all over the world looking for this actress, every single country, and I’m, like, “Well, does she have to be from a particular place?” “No, they don’t care where she’s from, because she has to play so many nationalities, so many different languages and accents.” So I waited while they went around the globe, reading hundreds of girls, and they were losing me, because I was going, “Well, if they wait too long…” And then finally everyone was, like, “C’mon, S.J.!” So that’s the story. And it was so funny on set, because while we were filming in Morocco, S.J. would come up to me and speak French, then she’d say, “Oh, sorry, wrong actress.” Like she’d found a girl in France that she really liked. I was, like, “Shut up, I know you didn’t find anybody!” [Laughs.] It was one of those things where the joke went on forever. Like, the whole season of the show. “Sorry, what’s your name?” So I don’t quite know what happened that made it take so long to decide, but I know that when I seize on something, man, I’d better get the job. Because I was honestly delusional. I was, like, “Yes, I’m shooting London in a few months,” and everyone was, like, “But have they said ‘yes’?” “No. But I’m going to be shooting!”

BE: You obviously latched on to the part pretty quickly, but—if it’s not a spoiler—do you recall the particular moment in the script where you first realized, “Oh, I’ve got to do this”?

MG: You know, it was just… I had a very good childhood, so it’s not like I related to this woman losing her mother and being tortured as a child and traumatized to the point where she has to be a spy in order to get revenge on the world. None of that. But when a woman suffers, whether it’s the role I’m playing or not, I just feel like I want to hold them and hug them and be there for them and help them. And as an actress, I also want to show the audience that they’re somebody more than just what you might read. So I think it was just a combination of me feeling for her and then trying to sensitize that. And then all the action…that’s lovely to read when you’re sitting in Central Park and having a coffee. It’s, like, “Oh, this is like a great book!” But the reality of actually shooting the show…? That’s a whole different thing. [Laughs.]

BE: You mentioning Central Park actually ties into what I was just about to observe, which is that you must’ve really wanted the part, given that it necessitated a major move for you.

MG: Well, you know, it’s so strange, because you start fantasizing about this life as this spy and living in London and Morocco, but it’s like I was saying: when you’re sitting in a park, it’s, like, “Oh, that would be so fun,” but then suddenly it’s, “Oh, my God, it really came true!” And once it comes true, you don’t regret it, you’ve got to run with it. But, yes, it’s hard. I mean, I moved to London, and I had the best time and…I miss New York, but I’ve learned that, as an actor, I can’t live my life missing things, because you’re always going to be moving around doing things, the more you fight it, the more depressed you get. You’ve got to approach it, like, “This is great, living in a house I’ve never lived in before!” [Laughs.]

In this instance, I was being offered the opportunity to fly to New Orleans, visit the set of the upcoming new USA series, “Common Law,” be among the first people to view the pilot for the series, and meet and participate in roundtable interviews with a few of the cast members. The only catch: the trip was taking place on Thursday.

Rationalizing that I could surely finish up all of the assignments on my plate before my departure, I said, “Sign me up!”

As it turned out, I could not finish up all of the assignments on my plate before my departure. In fact, I didn’t even come close. I ended up having to finish one of them late on Thursday night, after having had a couple of Abitas, a couple of glasses of wine, a bourbon and ginger ale, and a Pimm’s Cup. That was possibly not my best work. Then I woke up Friday morning and finished two more assignments. And in the midst of the set visit, between roundtable interviews, I finished the last of the deadlines that had to be completed before the weekend. Of course, I still had two more that had to be finished by Sunday night, but I finally just had to say, “Screw it, I’m in New Orleans, that shit’s gonna have to wait ‘til I get home on Saturday.”

But I digress.

So you’re possibly wondering exactly what “Common Law” is all about. I don’t blame you. I would be remiss if I didn’t admit that, until I received the offer to attend the set visit, I hadn’t even been aware that the show was in the works. But, really, how much do you need to know beyond the fact that it’s on the USA Network? Those guys have a general feel to their shows, and although they’re far from identical, if you like one show, there’s at least a fighting chance that you’re going to like the other shows as well.

If you’re curious, though, here’s what the show’s page on the USA website has to say:

“‘Common Law’ centers on Travis Marks (Michael Ealy) and Wes Mitchell (Warren Kole), two cops with a problem… each other. Wes, a methodical former lawyer with a passion for cars, gardening, and his ex-wife, and Travis, a maverick ladies’ man who served time in juvenile hall, can’t stand each other. As partners, they were LAPD’s dream team on the homicide squad, but constant bickering got in the way of their work, and the two ended up on probation. To revive their flagging professional relationship, their Captain (Jack McGee) sends them to Dr. Ryan (Sonya Walger), a couples therapist who will help them try to understand and resolve their conflicts. We soon learn that a successful relationship or partnership doesn’t mean you have to like the same things; you just have to hate the same things.”

Okay, so maybe you’re sold at this point. Possibly you’re not…and that’s okay, too. Based on this general description, I’m not going to tell you that it was particularly blowing my skirt up, either. But having seen a rough cut of the pilot – which, we were assured, no one else outside of the USA Network family of employees had yet seen – I can tell you that Ealy and Kole have an easy chemistry together that goes a long way toward keeping you interested in the goings-on of the show. Plus, you’ve got ever-dependable character actor Jack McGee, who you probably know best from his work as Chief Jerry Reilly on FX’s “Rescue Me,” as your go-to guy whenever you need a bit of in-your-face attitude.

Oh, and there’s also Sonya Walger, with whom we had dinner on Thursday night after screening the pilot. You remember Ms. Walger, don’t you? She played Penelope Widmore on “Lost,” Dr. Olivia Benford on “FlashForward,” she’s been in a bunch of HBO series (“In Treatment,” “Tell Me You Love Me,” “The Mind of a Married Man,” and – God help her – she was one of the regular cast members of the short-lived American adaptation of “Coupling.”

More importantly, though, she looks like this:

Now that’s what I call must-see TV.

I can’t really tell you too much more about the pilot at the moment, especially since I’ve only seen it once and, more importantly, it’s a rough cut that’s not intended for us critic-type folk to actually review. But per executive producer Karim Zreik, the show is taking its cue from ’80s buddy comedies to the point where the writers room is plastered with posters for such films, and in terms of a frame of reference, “Running Scared” was mentioned at one point.

Hey, if Ealy and Kole think they’ve got it in them to be the Billy Crystal and Gregory Hines of the 21st century, I’m all for letting them show me what they’ve got.

“Common Law” premieres on January 26th. In addition to the gradual roll-out of info about the show from the roundtable interviews we did during the set visit, I’ll also be in Pasadena for the TCA press tour starting on January 3, and I know some of the folks from the show will be there. Don’t worry, more info will be forthcoming. For now, though, just know that if you like the partner camaraderie that tends to exist on USA’s series, then from what I’ve seen, you’ll find “Common Law” to be a solid addition to the network’s lineup.

Of course, all I’ve seen is a rough cut of the pilot. It could suck. We’ll just have to see what happens. But I’m cautiously optimistic…and maybe you will be, too, after you’ve watched this trailer:

UPDATE (12/9/11): I’ve just gotten word that the show’s premiere date is being shifted. Instead of January 26th, USA has decided to hold off the premiere of “Common Law” until the summer, as they believe it’ll draw a bigger audience then. Sometimes you get skeptical about the reasons behind schedule changes like these, but given that everyone on the junket seemed to enjoy the pilot, I’ll buy what they’re selling as the real deal. Sorry about the additional wait. Let’s hope it’s worth it.