Billy Campbell got his initial break in Hollywood when he pulled a recurring role on “Dynasty” in 1984, started to escape from the small screen somewhat in 1991 by playing the title in Disney’s highly underrated “The Rocketeer,” and has since bounced back and forth between TV and film, most recently spending two seasons on AMC’s “The Killing.” This Sunday, however, Campbell can be seen in another “Killing,” when he steps back through the mists of time to play American’s 16th President in the National Geographic original movie, “Killing Lincoln,” based on the book by Bill O’Reilly.
During the Winter 2013 TCA Press Tour, Campbell took some time – more than his publicist was expectingly, frankly, not that we were complaining – to chat with Bullz-Eye about his surprise over being pitched the role of Lincoln, his strong views over Disney’s mishandling of “The Rocketeer,” his even stronger statements to the bloggers who bitched about the Season 1 finale of “The Killing,” and how he was only one audition away from getting the role of Commander William T. Riker on “Star Trek: The Next Generation.”
Bullz-Eye: To begin at the beginning, how did you find your way into “Killing Lincoln” in the first place? Did you audition for the gig, or did they actually come looking for you?
Billy Campbell: I didn’t audition. They… [Hesitates.] What did they do? [Laughs.] They approached me months before this happened, and I…well, they didn’t approach me. My manager called me and said, “I got this weird sort of feeler: would you be interested in playing Lincoln?” And I burst into laughter, and I thought, “Ridiculous! I’m not Lincoln!” Nevertheless, we sent them a photo which I thought was Lincoln-esque—or a photo that I thought was the least non-Lincoln-esque—that I could find, and I forgot all about it. And then months later I got a call from my agent saying, “You’ve been offered Lincoln.” And I was…amused. But I accepted. And that was it.
As we enter into the final quarter of the traditional broadcast TV season, where many of the mid-season entries are already beginning to wrap up their runs (“Alcatraz,” for example, aired its two-hour finale on Monday) and most of the series that kicked off way back in the fall are in that depressing twilight period just prior to their last run of new episodes before season’s end, many of your favorite premium cable programs are taking advantage of the semi-lull by coming back with a vengeance.
This past Sunday, of course, AMC brought us the return of “Mad Men,” which you probably already knew, since it managed to pull in 3.5 million viewers, a none-too-shabby increase of 21 percent over the series’ previous season premiere. This Sunday, the network has another series coming back, though it’s probably safe to presume that the numbers won’t be nearly as impressive for this one. But, look, if your excuse for not liking “The Killing” is that they didn’t resolve Rosie Larsen’s murder by the end of the season, go peddle your wares somewhere else, because I’m tired of hearing people whine about that. So what if it hasn’t been resolved yet? A show’s allowed to keep its viewers in suspense, isn’t it? If you didn’t like it because you thought it was boring, that’s one thing. If you’re really complaining because the producers promised “a very, very satisfying ending to Season 1” and reneged on that promise, though, I say that you may be well within your rights to be frustrated, but don’t say, “Ugh, they lied, therefore the show sucks,” because that’s just lame.
I do think AMC must be resigned to the return of “The Killing” being slaughtered both by the critics and in the ratings, however, since even though it’s coming back this Sunday night at 8 PM for a two-hour season premiere, the homepage of the network’s press resource center is still busy trumpeting last week’s return of “Mad Men.” For my part, while I do think the series dragged quite a bit in places and reached the point of ridiculousness with how many times Sarah Linden bailed on her planned departure (if I was Ray McDeere, I probably would’ve broken off my engagement to Sarah somewhere around Episode 1.3), I was perpetually gripped whenever Michelle Forbes and Brent Sexton were portraying parental grief, and I am steadfast in my disagreement with anyone who says that Episode 1.11 (“Missing”) was an unnecessary detour away from the case, because that may have been my favorite episode since the pilot. If you didn’t like that episode, you probably also watched “Twin Peaks” and complained about how they spent too much time focusing on Audrey Horne when they could’ve been figuring out who killed Laura Palmer…and I’m here to tell you that you can never spend too much time focusing on Audrey Horne.
Quick sidebar: if you didn’t watch “Twin Peaks,” this is Audrey Horne:
This concludes your moment of Sherilyn Fenn zen. We now return to our regularly scheduled column…provided we can all get our concentration back.