Actor and singer-songwriter Riley Smith is premiering his new song “I’m on Fire” exclusively for readers of The Boot. Press play below to listen.
Fans of CMT’s Nashville might recognize Smith: He played brooding rocker-turned-country singer Markus Keen during the show’s fourth season (when it was still on ABC). Smith has also made appearances on HBO’s True Blood and True Detective, and has a leading role on the CW’s Frequency.
During his time on Nashville, Smith recorded four songs that were released as part of the show’s soundtrack; now, he’s preparing to release his first project as an artist himself. “I’m on Fire,” Smith tells The Boot is about the time he’s spent on the road — specifically, it’s “the story of one of the many times I just needed to go home.”
“”I’m on Fire” exemplifies the synergy I found while living in Nashville: Tim Lauer was producing my music for the show Nashville, and then set us up on a co-write with Mathew Perryman Jones, who I had been a fan of for a long time,” Smith shares. “The three of us sat down, and the premise just flowed out of us. Working with them was effortless, yet deep and meaningful; within a few hours of our write, we had perfectly captured my tone and sound.”
“I’m on Fire” will appear on Smith’s forthcoming self-titled debut EP, which is set for release on July 21 and was produced by Kevin Leach; it’s the record’s lead single. Smith describes the project as “loner music.”
“There’s a common theme of distance and space running through the EP,” Smith says. “I want the EP to hopefully transcend to anyone who’s ever felt alone.”
So as many may know, and if you don’t, Peyton List (Raimy) was casted in a pilot for CBS called Mission Control. She is not the lead in the series.
What does this mean for Frequency? NOTHING. Nothing has changed. We still support the show and work on getting it renewed. Apparently Peyton was hired in a “second position” to Frequency. Meaning if and when Frequency gets renewed, they will have to release her to do Frequency. That’s also to assume that the new series gets picked up as it is just a pilot.
So have no fear Freqs. Just keep waving your Freq flags, spread the word about the show and try and get more people watching, keep telling the CW and Netflix you want a second season, and lets not lose hope.
Hey guys, I’m excited to announce that we will be doing a Q&A with Riley (and hopefully other cast members). So if you have a question that you would like answered, submit them below. We will see if we can get them answered on Periscope or some sort of video platform. It has been too long since we seen our faves, am I right?
To read more information on this Q&A and to ask your question(s), Click Here.
The handsome and talented Riley Smith stopped by the KTLA Morning News to talk about the midseason premiere of the CW’s “Frequency” happening January 4th at 9pm on The CW.
This segment aired on the KTLA 5 Morning News on January 4th, 2017.
Check out a new interview that surfaced of Peyton, Riley, and Mekhi for Entertainment Weekly.
It’s the season of time travel. This year, on The CW alone, three shows deal with time travel: The Flash, Legends of Tomorrow, and Frequency. On other networks, there’s also Timeless, 12 Monkeys, Time After Time, Making History, and some others that have at least a few elements of time travel in the story. Of those, four are new this year. That’s a lot of time travel and manipulating the timeline, so it’s easy to get lost within them.
Luckily each is handling time travel a little bit differently. For Frequency, there’s not any direct travel, but rather time communication – people chatting using a mysterious CB radio twenty years apart. The butterfly effect is felt, though, as that communication gets the main characters, Raimy and her father Frank Sullivan, into a lot of trouble very quickly.
“I didn’t realize that the time thing is such a popular thing, that was a random stroke of luck with me picking this script early,” star Riley Smith, who plays Frank, told Comicbook.com in an exclusive interview. “Then it was lucky that not only were they popular during pilot season, but then actually got picked up.”
While he gets it that all this time travel and science fiction gets lumpted together by some people, he really sees them as having only very surface similarities.
“It’s funny to me, though, that we get compared to the other ones, I know Timeless is one we get compared to a lot. I think that we’re all so different, especially ours because it’s so much more rooted in reality and rooted in the family connection, the drama; the time element is more something that’s a payoff immediately, and makes it more exciting, too.
“I think that what I read, and what we’re really trying to portray is the heart of the matter, the relationship between Frank, Raimy, and Julie Sullivan.”
That relationship, between Raimy and her parents, is tested early and often. When she uses the radio to save her father’s life twenty years in the past, it leads directly to her mother’s death, and the father-daughter team have to work together across two decades to save her life, too. Smith praised the work of showrunner Jeremy Carver, who he called a “genius,” and said that every script he gets blows him away. He loves that they’re creating “a smart show that makes [the audience] think, and keeps them on the edge of their seats.”
As for acting opposite Peyton List (Raimy) when they’re always just talking on a radio, the pair have come up with a unique solution, and it involves knitting.
“Peyton and I have 12 years of experience reading together,” Smith explained. “Whether we have each other in the room or not, I can hear her take [in my head] of her lines. But we made a deal with each other to be off camera during the radio scenes. So I’ll sit in the corner with a little pen flashlight and just read the lines, vice versa for her. She always knits while she’s off camera. I don’t know who she’s knitting for, I ask her if she’s gonna knit me a blanket with all her off camera time. I’ll be sitting there tweeting with my phone. That’s what we do! It’s just a whole day of sitting in a corner, a dark corner.”
As for what’s next for Frank and company, Smith said that he can’t reveal much, but promised “a lot of twists and turns, a lot changes, and it gets very exciting.”
Frequency airs Wednesdays at 9 p.m. on The CW, directly after Arrow. Watch the full interview above for more about the series and Smith’s career.
Daniel attented People’s Ones To Watch event last week and I added photos to the site last night. He looked very dashing. Be sure to follow us on twitter for exclusive tweets and be the first to see what’s going on.
Work It alumna Beth Lacke is set for a recurring role on the CW’s new drama series Frequency, a remagining of the 2000 New Line Cinema film. It centers on a female police detective, who in 2016 discovers she is able to speak via ham radio with her estranged father (also a detective) who died in 1996. They forge a new relationship while working together on an unsolved murder case, but unintended consequences of the “butterfly effect” wreak havoc in the present day.
Lacke will play Meghan, a troubled woman whose dark past may provide answers in Raimy’s hunt for the serial killer who took her mother’s life. Lacke most recently appeared in a guest spot on Black-ish and will be seen later this year in comedic drama Hope Springs Eternal. She’s repped by Innovative Artists and Sanders.Armstrong.Caserta Management.
“We try and keep them contained to a very personal level,” Jeremy Carver tells The Wrap about the repercussions of messing with time.
Jeremy Carver doesn’t necessarily consider his new series “Frequency” a time-travel show, though it’s a handy shorthand in a season lousy with time travel programs.
“Let’s put it this way: It’s a lot snappier to say it’s a time-travel show than a cross-time communication show,” the showrunner told TheWrap in a recent interview about his series, which is an updated remake of the 2000 Dennis Quaid film of the same name.
This time around, it’s 2016, and police detective Raimy Sullivan (Peyton List) inexplicably finds herself able to communicate on an old ham radio with her father, Frank (Riley Smith) — shortly before his death in 1996.
Carver, who is a big fan of the film, also discussed why he gender-swapped the main character, why he kept the central communication device a ham radio despite such a tech-savvy world and how List and Smith developed and maintained their chemistry even as they never shared the screen.
TheWrap: Why “Frequency?”
Jeremy Carver: It came together from always having loved the movie. I loved the central connection between father and son, and saw an opportunity to expand on that for a potential TV series.
Why gender-swap the main character?
For me, it was the most exciting way to go. Pretty familiar with father-son relationships, and I really enjoyed movies and shows that delved into that — everything from “Field of Dreams” to “Frequency.” I thought it was a neat idea to have the daughter, there’s a little bit more of a mysterious relationship, particularly when you rip away the idea that every daughter has to be daddy’s little girl. It became more of a dynamic way to go.
How did your cast develop this father-daughter chemistry despite being almost the same age and never sharing the screen?
The cast has been extraordinary. Riley Smith and Peyton List, basically every scene they had together, they’re not in the same room. So it requires a tremendous amount of preparation and trust between the two actors to give as much as they do in each of these scenes. In fact, they made this promise to one another to be in theses scenes, huddled off-camera, in these ham radio scenes, to lend help with the intimacy of the scenes.
As far as the rest of the cast, from Mekhi Phifer to Devin Kelley, those guys are pulling double duty, playing the older and younger versions of their characters. In many ways, they’ve got the really heavy lifting of the show. They’ve been tremendously versatile in how they’ve approached it. The thing that’s been the saving grace for all of them has been the incredibly natural and organic ways they’re coming to these characters. At heart, it’s a high-concept genre show, which never feels like it, because of the naturalness our leads are all bringing to their parts.
Do you consider “Frequency” a time-travel show?
I know we’re lumped in it, there’s a bunch of time-travel shows this season. Let’s put it this way, it’s a lot snappier to say it’s a time-travel show than a cross-time-communication show. So I’m happy to be labeled as time travel, even though we’re really not.
Are there time-travel rules in this universe?
There are butterfly-effect rules in this universe, although we try and keep them contained to a very personal level. It’s not something like every episode ends with, this episode so-and-so is president, another episode the Germans have taken over — it’s on a personal level. We do use certain rules of the butterfly effect, very much in our storytelling. It’s part of what stretches it beyond your normal police or drama drama.
Why did you keep the ham radio even though the show is set decades after the original movie, in a very post-Internet, tech-savvy world?
There’s something very sweetly nostalgic about this ham radio. Even for people out there who don’t know what a ham radio is, you sense there’s something special about this sort of, I’m calling it a “golden box.” It’s its own living, breathing thing, and it just feels very special. I think because it’s so lo-fi, it lends itself to create a greater air of authenticity in the show. I don’t think many people are, after watching the pilot, questioning the high concept. People seem to be taken in by the characters and go with it. Whether they realize it or not, the ham radio, because it’s so nonthreatening in a way, it’s not some hi-tech computer, is almost a comforting way into the sci-fi.
“Frequency” premieres Wednesday at 9 p.m. ET on The CW.