Krause: It was a challenge for me, but also a welcome one, to establish chemistry with everyone I came into contact with, because I'm the one character who comes into contact with all the others. So I had to find some kind of center for Joe Miller that made sense to me. A couple of things that came to me along the way were that Joe could only become so upset with any one person. There's a general degree of annoyance in the six hours that he reaches. It was a very collaborative effort, and I argued and fought for Joe Miller to only fire his gun once during the entire six hours. That indeed was what happened. So the question is sort of buried in the six hours, but it's "What is the price of one bullet?"And the price is ...?

Krause: And the price of one bullet is pretty high. It's also very entertaining, where we get you, what Joe has to do to get his daughter back. I wanted Joe to be a good-hearted but not heavy-hearted guy. I wanted him to be somewhat lighthearted before he gets into everything with his daughter. They took out a sequence from the first night where I'm messing with my partner, Lou. That was just for time purposes. So it really fell upon my relationship with Anna to show the lighthearted side of Joe, and I think that Elle and I really captured a nice, lighthearted father-daughter relationship in the midst of dealing with something very serious, and that is "Are we going to get broken up by mom?" She's coming out of rehab and thinking she can now take care of the kids. There was another scene between me and my ex-wife. So the relationship between Joe and Anna is key to the rest of the journey in terms of the audience buying it and rooting for Joe to find his daughter.What's your gut instinct on how it's coming together?

Krause: I think that this is going to be a TV miniseries that has a really broad appeal. I think that pretty much anybody who sat down and watched it would find something of interest for them. First of all, everybody who reads it or who I tell about it says, "I'd like a key like that. I'd like to be able to move through the world with a key like that." Some people have said, "I wish I had a bus ticket I could just touch people with and send them away." So that's appealing because it's fun. The story, we've seen it before: the man or woman who has to find a child. I think that's a gripping thing. Fortunately, the actors in this piece are really strong. I can't imagine another group being able to pull this off the way that we did. Everybody was really collaborative and creatively generous. Roger Bart and I riffed on a lot of the stuff that we ended up doing in the piece. I think the acting is really great.How much do you miss Six Feet Under, your character and co-stars?

Krause: For me, Nate Fisher was not always an easy character to play. There's a rather neat line to a character like Joe Miller. Joe is a classic hero. He's going to do the right thing. He will face some challenges along the way. But Nate Fisher was the most fully dimensional character I've ever played. It was like inhabiting another person's life during those five years. Deeply flawed, but deeply idealistic, Nate Fisher was a very frustrating person to be at times because he was at odds with himself the way we frequently are in our own lives. So [the show ending] was bittersweet. I miss all my pals. I spoke with Rachel [Griffiths] when I was in L.A. I miss her. I miss Michael [C. Hall]. It's strange for me to tune in to their new shows and watch them doing other things because, honestly, I have these relationships with them in another space, where Rachel and I were friends and lovers as Brenda and Nate and Michael and I were tight brothers as David and Nate. So to see them doing these other things is a little bit strange.

Margaret Cho, how big a fan of SF are you, if at all?

Cho: I'm actually, secretly, a total sci-fi Star Wars geek. I'm not really into Star Trek or anything other than Star Wars. But I'm so into Star Wars. I'm one of those weird Star Wars geeks. I'm into the Wookiees. I know everything about Chewbacca.Give us a sense of Suzie Kang, your character in The Lost Room.

Cho: It's a very mysterious character. She's very mean and always messing with people. She locates all these objects and finds them and obsessively tracks them, and she also knows where they're going and what they're doing.If the ratings warrant it, The Lost Room may turn up again in the future as a series or another miniseries. How interested would you be in reprising your role as Suzie Kang?

Cho: It seems like that would make sense. She could be in it because she's very instrumental in finding all these objects. But I have no idea. I'm not really sure what they're thinking. If it goes to series and they want me back, I'd love to. It's a great story.You've completed an upcoming film entitled One Missed Call, in which you co-star with Shannyn Sossamon and Edward Burns. What can you tell us about that?

Cho: One Missed Call is a Japanese horror film, a remake of a Japanese horror film. It's in the vein of The Grudge. It's a really quiet, really sort of scary, very thoughtful and intelligent horror [film], which is kind of what's happening a lot in horror nowadays. It's really creepy stuff. It was very exciting to work on and really scary. I play a very cynical policewoman who doesn't believe anybody is getting voice mails from ghosts. People hear themselves dying, and they have a couple of days to save themselves, to stop it from happening for real. They're getting voice mails from their ghostly selves. It's very scary. I've seen the original film and it's terrifying. It's really creepy, and I think they've done a great job with this one. In J-horror a lot of things are very mysterious, and this one sort of illuminates the story a little more, but it's still very scary.Craig R. Baxley, you started out with action films like Action Jackson and Stone Cold, and lately you've done such SF and horror projects as Storm of the Century, Rose Red, Kingdom Hospital and the SCI FI Channel miniseries The Triangle. To your thinking, what can you do in SF and horror that you can't in action films?

Baxley: I think just the tone in and of itself is different. It's dramatic. When you say what can you and can't you do, it depends whether it's a feature or, if it's TV, is it cable, is it network? The guidelines are pretty specific in all three of those arenas. It's really about the material. What I can bring to it, personally? With the Stephen King projects I basically editorialize a lot of the stuff. Although it translates beautifully in a novel, sometimes it doesn't quite translate to film. Especially in Kingdom Hospital, we did a lot of reworking of certain conventions.The imagery, the visuals; you can go farther ...

Baxley: Of course, in this genre you can go farther. I'm a very cinematic director. I hope I'm a very cinematic director. I push the envelope stylistically, and I'm always trying new things. You certainly have a bigger arena to play in in this genre, especially just in the dark tone, the nature of these pieces. You can stylistically push the envelope, and hopefully I do.What did The Lost Room cast bring to the table for you?

Baxley: I think that Peter Krause is probably one of the smartest actors I've had the pleasure of working with. He's very collaborative for a director. Nothing is etched in stone. You can really explore a lot of different elements of a character and the arc of the character with Peter, and I found that to be true with Julianna, too. You're aware of her work and what a talented actor she is. Elle Fanning is very, very talented and very smart. You'll see what she brings to the table in night one, and it's twofold in night three. Ewen Bremner, who's in night two, is a phenomenal actor. He was in Trainspotting and Black Hawk Down, among other things. I tried to get him in night one, too, but couldn't. Roger Bart wasn't in night three originally, and we really lobbied to bring him back, which we did. So we've got a really good wrap-up for Roger. The cast in this is really sensational, and I found they were very collaborative and very open to being challenged. It was really a wonderful experience.If the ratings are there, it's entirely possible that The Lost Room could return in the future, either as another miniseries or possibly a weekly series. How interested might you be in a return engagement?

Baxley: To me, it's all about the material. You never say never. I'm always interested if the material is there.