We did a deep dive on TheRookie season 5 with director Robert Bella (brooklynbella), who spoke about working with Eric Winter & Melissa O'Neil to do Chenford's highly-anticipated moment justice and shared why he transitioned into directing full-time:
Warning: SPOILERS for the season 5 finale of The Rookie.Given its stellar ratings and dedicated audience, it came as no surprise when ABC opted to renew The Rookie for season 6. Season 5 of the Nathan-Fillion-led police procedural brought several changes, with Nolan receiving a golden ticket for his heroic actions at the border and officially becoming the training officer of Celina Juarez—the show's latest addition.
The finale felt like a horror film. It was terrifying. Do you know why the writers' room choose Aaron to be the initial target and propel that storyline? Robert Bella: It's such fun. They're both uniquely different and yet similar vibes in terms of the quality of the people involved. The Rookie, at this point, it's been five years. It's a family of people who've worked together for so long and the crew knows exactly what to do, and the cast has got it down cold. And then showing up on Feds for episode 3—it was a brand-new crew. It was only their third episode and nobody was really quite certain.
It was like, "Well, okay, then he'll be the rookie T.O. and he'll be training new rookies." So there was always that discussion early on about how to keep that concept alive. The specifics of exactly when it was landed as to when he'd be a T.O. I don't remember, but I do remember that early on there was obviously discussion that at some point he would move up the ladder. Robert Bella: I remember being in the room for that when we would talk about who she might be.
And there's a reason why, and it's usually because of time. Well, partially on the production side, because of the time that it takes and the extra cost that that creates. I love animals and dogs in particular, so anytime they're on set, I'm just always thrilled. But then, of course, the trainers are always like, "Yeah, you really can't talk to them right now. They're working. We need to keep them focused." And I'm like, "Oh, okay.
Robert Bella: I thought about that too. But, ultimately, visually, it just felt important to me that it be elegant and beautiful. Certainly, their performances would have done that standing next to a shop, but I just thought seeing those flowers and seeing that color would give it a slightly different texture.
Robert Bella: Oh, yeah, we talked about that. Alexi was always very clear that she would keep it. I think it's even in the episode. I seem to recall Alexi feeling like, for her, that would become, not a badge of honor, but a way of saying to herself, "Yes, I'm alive. I survived." I don't know if that's changed since then. Certainly, you don't have to worry about it, for the most part, in terms of exposure, but I remember [that] really clearly.
All of a sudden, they have some takeout food and some beer as opposed to this fancy restaurant where they both couldn't figure out what to say to one another. I loved being able to be part of that arc, both from 508 to when they talk about it and then into 510 when it finally gets realized. And then, in Feds, in 117, I just thought it was such a beautiful episode because it was an episode that was all about people who are holding grudges.
As a director, there are times when you can lose track of the fact that you're working, and you experience it as an audience member and I had a bunch of those on 117. Felix Solis had an amazing moment. He and Michael McGlone did a scene where I was just transfixed. I was like, "I could watch you guys do this scene all night long." It's been such a joy and such a pleasure to have the opportunity to do those episodes.
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