But what Miami has given us, originally when we came here, was kind of a, it was a work in progress when it came to the filming here. But at least when Michael looks out his window, he’s not looking at South Beach where anyone in the audience could go (sarcastically) “oh poor guy he has to look at that all day”. Now it’s becoming, as a lot of urban neighborhoods are becoming it’s a revived kind of community and it’s invited a lot of artists in and there’s shops opening and urban renewal is changing everything. That loft in the pilot was shot on location, in a writer’s loft along the Miami river in what was at one point maybe 10 years ago, to be considered a place where you didn’t want to walk when it got darker. Īnd we put Michael’s loft in an industrial section, the actual loft, and it does exist. When this pilot was originally written, it was designed for Newark, NJ, and it was changed in part by USA’s influence to Miami to give it a better look, to make it a more inviting show as you’re flipping the dials, and I think what Matt’s conundrum was “I want a guy to be trapped in an uncomfortable place.” How do you ever make Miami an uncomfortable place to be trapped? Well now that we’ve been here for two summers in a row, we have the answer. Plus we also run the risk of heavy rain and other things which is why most of the series don’t shoot in Miami. It’s because you die, you kill yourself to get too much work done. It’s not because the crew isn’t really wonderful. People just tend to get slow in the summer. We would have had probably more consistent sunshine with lower temperatures which is much more conducive to doing this ambitious a series in only 7 days per episode. We would have had much different weather. Ideally, if there had been no Writer’s Guild strike, we would have been starting to shoot at the end of January and we would have wrapped in June. And the problem was that we also had to start shooting last season and this season right at the head of hurricane season. If you’re going to dive into Miami, we had to dive in with both feet. We couldn’t afford to shoot in Los Angeles and come to Miami three times a year to get shots of Ocean Drive and the Brickell area. One of the disadvantages of shooting a show for cable television is that you’re working on budget that’s no more than 60% of the budget of a standard prime time network television show, so you have to be a little bit more creative in the way that you spend your money. We’re on a different budget than these shows.
That’s something that we can’t afford to do. They come here a couple of times a year to pick up the look of Miami. They shot a few more episodes and then they moved to Los Angeles. A lot of shows come here to shoot just to get beauty shots. The only other show that stayed in Miami before this, between Miami Vice days and now was South Beach, which was a short-lived series. Miami really hasn’t seen a television series of this kind of scope since the days of Miami Vice. I only say that when there’s no blame attached. Do you ever just take a moment and say “yeah, I put all this together” and how difficult is it to put all this together? It is pretty amazing when you walk around this set and see what’s involved and all the people involved.
The people in Miami just can work magic! So Jeff Freilich. It’s amazing, because in front of camera, I wear a Triple 0 and off camera I’m a 34 waist. Most people don’t recognize me on South Beach. We have the most remarkable hair and makeup department. In the fifth of our series of interviews with the cast and creative team of BURN NOTICE, proudly presents a Q&A with the Executive Producer Jeff Freilich - who was kind enough to spend time with Senior Editor Amrie Cunningham on a recent visit to the set.
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