Thirty years ago, a different kind of police show emerged on television. Homicide: Life on the Street dared to be a cop drama without relying on gunfights or car chases. Despite being hailed by TV Guide as “The Best Show You’re Not Watching” due to consistently low ratings, this dark and compelling series captivated critics and ran for seven seasons on NBC.
Homicide: Life on the Street broke new ground in several ways. It delved into the complex personalities and psychological landscapes of its detectives. Unlike typical procedurals, cases sometimes went unsolved, reflecting the realities of police work. The show’s distinctive visual style, employing handheld Super 16mm cameras and rapid jump-cut editing, further set it apart. Featuring a diverse cast, Homicide became a critical darling, earning four Emmy Awards, three Peabody Awards, and numerous other accolades. However, its journey wasn’t without obstacles; NBC almost cancelled it after the first season. A memorable guest appearance by Robin Williams in the episode “Bop Gun” proved to be its saving grace, securing a second season, albeit a shortened one with only four episodes.
The show attracted a remarkable array of guest stars, many of whom were not primarily known for television at the time. These included acclaimed actors like Kathy Bates, Steve Buscemi, James Earl Jones, Paul Giamatti, Eric Stoltz, and Charles Durning, alongside rising stars such as Elijah Wood and Jake Gyllenhaal. Its cinematic approach also drew in notable film directors like Kathryn Bigelow, Ted Demme, John McNaughton, Nick Gomez, and Barbara Kopple, further blurring the lines between television and film.
Two iconic elements of Homicide became instantly recognizable: “the Board,” which visually tracked the status of cases and detective assignments in the squad room, and “the Box,” the intense interrogation room where much of the dramatic tension unfolded. Andre Braugher’s powerful performances within “the Box” were a defining feature of the show and propelled him to stardom. The series also became known for its crossover episodes with Law & Order, creating a shared universe. Upon Homicide‘s conclusion, Richard Belzer, who recently passed away in February, seamlessly transitioned his iconic, sardonic Det. John Munch to Law & Order: Special Victims Unit. Belzer portrayed Munch for an impressive twenty-two consecutive seasons across multiple shows, including appearances on The X-Files, Sesame Street, and HBO’s critically acclaimed The Wire, another series set in Baltimore.
In 2000, fans were treated to Homicide: The Movie on NBC, a reunion that brought back the entire original cast, even characters who had previously met their demise. This television film served as a definitive series finale, offering closure to devoted viewers.
After its initial network run, Homicide: Life on the Street found a second life in syndication on channels like Court TV, Lifetime, TNT (for crossover episodes), WGN America, Centric Channel, and Sleuth Channel, reaching new audiences and solidifying its place in television history. Emmy contributor Jane Wollman Rusoff interviewed key creative figures and surviving lead actors to gather their recollections of working on this groundbreaking police drama, emphasizing that Homicide was much more than just another “procedural.”
ORIGINS: From Baltimore Streets to Network TV
The gritty realism of Homicide: Life on the Street was rooted in the experiences of an actual homicide unit in Baltimore, a city grappling with rising crime rates due to poverty and diminished police resources. David Simon, then an investigative journalist for the Baltimore Sun, immersed himself in this world, documenting the squad’s daily struggles in his 1991 non-fiction book, Homicide: A Year on the Killing Streets. Barry Levinson, an Oscar-winning filmmaker and Baltimore native known for films like Diner and Rain Man, recognized the potential for a compelling television series in Simon’s work. Levinson spearheaded the development of this innovative show and directed two pivotal episodes, including the pilot, earning an Emmy for his direction in 1993.
Barry Levinson (executive producer, writer, director): “David Simon’s book was initially presented to me as a potential feature film. However, I felt its depth and complexity were better suited to a television series, which NBC ultimately acquired. Initially, they suggested filming in Los Angeles with some establishing shots of Baltimore. I insisted that to capture the authenticity, we needed to film the entire show in Baltimore. NBC was hesitant at first.”
Tom Fontana (showrunner, producer, writer): “Barry was developing a screenplay with Paul Attanasio, who penned the Homicide pilot. When Barry approached me to be the showrunner, he described it as ‘a cop show with no gun battles and no car chases.’ My immediate reaction was, ‘That’s insane, but I’m in!’ Barry, Paul, and I further refined the script. Once NBC greenlit the season, I brought on Jimmy Yoshimura.”
David Simon (book author, producer, staff writer): “The book served as a foundation, a starting point. It was grounded in real-life experiences. While they adapted real cases and scenarios, they also developed fictional characters and storylines. Detectives Pembleton, played by Andre Braugher, and Munch, portrayed by Richard Belzer, were depicted as far more intellectually and emotionally complex than many of the actual detectives, who were often more focused on simply ‘getting the job done, solving the case, and going home.’”
Eric Overmyer (producer, staff writer): “Homicide was intentionally not a police procedural in the traditional sense. It wasn’t about formulaic storytelling where you learn nothing about the investigators and every case is neatly resolved by the episode’s end, unlike shows like CSI.”
Levinson: “We consciously aimed for a non-glamorous portrayal of police work in every aspect. We wanted to convey the daily struggles of detectives dealing with complex community issues and their human behavior. Up until that point, crime shows were largely plot-driven. Series television at that time was generally more conventional. Our show introduced diverse characters and a cast that reflected a wide range of backgrounds. We strived for accuracy in depicting the Baltimore homicide department while still creating compelling network television.”
Daniel Baldwin (Det. Beau Felton): “The essence of the show was to explore the realities of being a homicide detective, the emotional toll of dealing with violence daily, and the overwhelming challenge posed by Baltimore’s soaring murder rate due to the influx of crack cocaine through the Chesapeake Bay.”
“The first two seasons were particularly intense and unflinching. The episode ‘Three Men and Adena,’ penned by Tom Fontana, was based on the horrific real-life case of an eleven-year-old girl who was brutally raped and murdered with a metal pipe. The entire episode unfolded within the confines of the Box, highlighting the psychological intensity of interrogation.”
CHARACTERS: Diversity and Depth in the Squad Room
Homicide: Life on the Street was notable for its racially diverse regular cast, with Black actors in prominent leading roles. The late Yaphet Kotto commanded the homicide unit as Lieutenant Al Giardello, while Andre Braugher and Clark Johnson delivered powerful performances as star detectives.
When rumors of the show’s potential cancellation circulated after the first season, the NAACP stepped in, appealing to NBC to keep it on the air. Benjamin Hooks, then executive director of the NAACP, praised the show for its “positive… portrayals of African Americans and urban life.”
Reed Diamond (Det. Mike Kellerman): “Our diverse cast wasn’t a result of forced casting for diversity’s sake. They simply cast the most talented actors for each role. We also had writers and directors of color behind the camera. It was a reflection of the real world.”
Baldwin: “It offered a positive representation of African Americans. They were depicted as the intellectual powerhouses, the ‘chess players’ – intelligent and strategic characters played by Clark Johnson, Yaphet Kotto, and Andre Braugher.”
Levinson: “The diversity of the show was intrinsically linked to the nature of Baltimore itself. We aimed to reflect that reality, hence the multiracial cast.”
Fontana: “The characters were loosely inspired by the actual individuals in the homicide unit that David Simon shadowed for his book. Melissa Leo’s character, Det. Kay Howard, could have easily been a man, but we made a deliberate choice to portray that detective as a woman. The real-life detective, I heard, wasn’t particularly thrilled about being represented by a woman!”
Melissa Leo (Det./Sgt. Kay Howard): “My understanding is that the network struggled to understand what to do with Kay Howard’s character. Tom Fontana fought tirelessly each year to keep her as part of the team. The writers could have explored Kay’s character with more nuance. She was intelligent and approached cases with a different perspective. Kay’s central flaw was perhaps her lack of awareness of how differently she was perceived compared to her male colleagues. But they were constantly aware of her gender. When Kay was promoted to sergeant, it inadvertently led to her marginalization. Sergeants are less involved in field work compared to detectives. Ultimately, it relegated her to a less prominent role. My screen time diminished over time.”
Fontana: “The cast evolved organically. Over time, we introduced more female detectives. It wasn’t about tokenism or appeasement. It wasn’t a calculated decision to suddenly hire young actors. We included young women detectives because, realistically, women were being promoted to those positions, like Callie Thorne’s character, Det. Laura Ballard.”
Andre Braugher (Det. Frank Pembleton): “Pembleton was portrayed as an exceptionally brilliant detective. His ego and narcissism were driving forces in his relentless pursuit of being the best, reflected in his high case closure rate. Pembleton was loosely based on Det. Harry Edgerton from David Simon’s book. When we were filming the pilot, I spent about six hours with Harry, primarily focusing on interrogation techniques in ‘the Box’ – how to extract information from suspects, accomplices, or witnesses. He gave me invaluable insights, and I incorporated those techniques throughout the six years I played Pembleton.”
Kyle Secor (Det. Tim Bayliss, director): “Bayliss was characterized by his deep emotional investment in the cases and the victims. He carried the weight of unresolved cases with him. I met the real-life detective who inspired Bayliss, who had never solved a case involving the murder of a young boy. He carried that unresolved pain, and I connected with that sense of lingering trauma. Tom Fontana subtly hinted at Bayliss’s bisexuality, which was eventually explored in a poignant episode where Peter Gallagher played my lover.”
Diamond: “Kellerman’s initial motivation for becoming a cop was idealistic – to protect the vulnerable. However, the harsh realities of the job progressively eroded his idealism. When I had a significant emotional scene, Tom would often walk by just before shooting and say, ‘Don’t screw it up!’ He knew I wouldn’t, but that kind of remark heightened your focus and commitment to the scene.”
Peter Gerety (Officer/Det. Stuart Gharty): “My character, Gharty, started as a somewhat clumsy patrol officer in a high-crime area, overwhelmed by the drug dealing around him. In one scene, I was supposed to make an arrest but hesitated and lost my nerve. Later, somewhat inexplicably, I was promoted to detective.”
ACTORS: A Company of Talents
Four actors remained with Homicide: Life on the Street for its entire run: Yaphet Kotto, Richard Belzer, Clark Johnson, and Kyle Secor. Johnson and Secor also stepped behind the camera to direct episodes. Other notable actors who played detectives included Daniel Baldwin and the late Ned Beatty. Jon Polito and Jon Seda also had recurring roles as detectives.
Melissa Leo was the show’s sole female detective for the first five seasons. David Simon’s book, the source material for the show, didn’t feature any female homicide detectives, reflecting the reality of the Baltimore squad he observed. Later seasons of the show introduced several younger female detectives, reflecting a shift in law enforcement demographics.
Andre Braugher received the Emmy Award for Outstanding Lead Actor in a Drama in 1998, the same year Homicide won the Emmy for Outstanding Casting, recognizing the ensemble’s exceptional talent.
Numerous guest stars received Emmy nominations for their performances on Homicide, including Vincent D’Onofrio, Charles Durning, Alfre Woodard, Anne Meara, Lily Tomlin, Robin Williams, and Gwen Verdon, highlighting the show’s prestige and its ability to attract top-tier talent.
Braugher: “After my initial audition tape with the casting director, I felt I hadn’t performed well and actually threw the script pages in the trash.”
Levinson: “When I saw Andre’s audition tape, I immediately recognized his immense talent and insightful sensibility. I knew he had the potential to be a standout. Early in the series, I watched him film a powerful short scene in the interrogation room. I suggested to Tom, ‘Wouldn’t it be incredible to do an entire episode set entirely in the Box?’ He immediately loved the idea, despite the network’s initial skepticism. Tom then wrote ‘Three Men and Adena,’ which became a landmark episode featuring Andre, Kyle Secor, and Moses Gunn as the suspect.”
Darryl Wharton (staff writer): “I vividly remember watching Andre in the episode ‘Mercy’ with Alfre Woodard. Their performances reminded me of jazz music – like watching Miles Davis and John Coltrane improvise and riff off each other.”
Fontana: “Yaphet Kotto, who played Lieutenant Al Giardello, could be incredibly challenging to work with at times. He often tested people to gauge their reactions to his provocations.”
Julie Martin (co-executive producer, staff writer): “Yaphet would often call me to the set, claiming he had a question about a scene. When I arrived from the writers’ office across the street, he would simply say, ‘I just wanted to see you.’”
Braugher: “Yaphet possessed an immense presence and gravitas. But he also brought a subtle, light-hearted humor to his portrayal of Giardello.”
Levinson: “I met Danny Baldwin early on and was immediately drawn to his energy. Later, his personal struggles presented challenges. However, he was undeniably excellent on the show. His character was intentionally more freewheeling. The goal was to assemble an ensemble cast that was like a diverse orchestra – a group of very different ‘musical instruments’ creating a harmonious whole.”
Clark Johnson (Det. Meldrick Lewis, director): “Danny perfectly embodied the image of a Baltimore cop – authentic and believable. He was fun-loving, but he was also dealing with personal issues.”
Wharton: “Danny was definitely the ‘live wire’ of the cast, the one who was always up for a party after work.”
Johnson: “Ned Beatty, who played Detective Stanley Bolander, was a genuinely lovely man, unless someone on the street referenced his role in Deliverance and said ‘Squeal like a pig!’ That would send him into a rage. He deeply resented that association with that violent scene and movie.”
Levinson: “I first encountered Richard Belzer on The Howard Stern Show. His comedic timing and delivery were hilarious. He auditioned for Homicide, but his initial audition wasn’t strong. I advised him to ‘go home, really try to inhabit this character, and don’t worry about reciting the lines verbatim – let your personality come through.’ He returned and delivered a fantastic audition.”
Fontana: “Last year, I was filming a show in Beaulieu-sur-Mer, a village in France where Richard and his wife Harlee [McBride, who played Dr. Alyssa Dyer on Homicide] resided. He was in declining health, but his sharp, dark humor was still incredibly potent. Without Richard, Homicide might have been relentlessly bleak.”
Leo: “Richard could be a bit of a curmudgeon at times. If he stumbled over a line, he would unleash a torrent of colorful language in frustration. Then, he would immediately compose himself and say, ‘Okay, all done.’”
Johnson: “Belz could crack up the entire set, and we would have to take ten-minute ‘laugh breaks.’ He was like ‘Uncle Belz’ to my kids. He even attended my youngest daughter’s wedding two years ago, where Tom Fontana officiated as the minister. I spoke to him just a week or two before he passed, but I had no idea how ill he was. Belzer, Robin Williams, and another comedian all had homes in the same village in France – they jokingly called it ‘Comedy Valley.’”
Secor: “Richard was like the dark prince of comedy, in a way. I had the privilege of directing him in the episode ‘Shaggy Dog, City Goat.’ He could be abrasive at times, but always with an underlying warmth. For that episode, I designed Munch’s apartment set, making the bed the central feature, reflecting his self-proclaimed ‘lothario’ persona. In one scene, when he answered the door, he was wearing a red satin dinner jacket with black lapels.”
Johnson: “We were together constantly, from sunrise to well past sunset. For the most part, we all got along well. After wrapping for the day, we would often gather at a bar across the street, and then maybe another bar next door. It wasn’t that everyone was getting drunk every night, but the bars had good food and provided a place to unwind.”
Diamond: “Sometimes, things got a little wild off-set. I’m not sure all of our marriages survived the intensity of the show. I suspect some didn’t. There were definitely antics that occurred, perhaps fueled by the feeling of being somewhat removed from the network’s direct oversight in Baltimore.”
Baldwin: “I met Isabella Hofmann, who played Detective Megan Russert, on the show. We formed a relationship, lived together, and have a son together.”
CAMERA: Handheld Realism
Levinson: “I pitched to NBC that shooting in Super 16mm would be more cost-effective. I explained we could shoot more efficiently with a 16mm camera and a single operator. I deliberately didn’t initially emphasize the jump cuts and rapid editing style to avoid overwhelming them with too many stylistic details upfront. My strategy was to first get them to agree to Super 16mm, knowing that would pave the way for our visual approach. Handheld camerawork became our signature style, initially driven by efficiency and cost-saving considerations, but it ultimately defined the show’s aesthetic.”
Fontana: “Barry’s idea was that, in the absence of car chases, the handheld camera would provide a sense of dynamic movement to the episodes. We would film scenes from multiple angles – one way, then another, from low angles, from high angles – anything to inject energy. Every actor had to be constantly engaged because you never knew when the camera would be focused on you.”
Diamond: “As actors, we had no marks to hit on set. You were never certain when the camera would suddenly shift focus to you. It demanded constant presence and awareness.”
Levinson: “We incorporated jump cuts for their inherent energy and to give the show a raw, edgy feel. It became a crucial element of the show’s stylistic palette.”
Baldwin: “When NYPD Blue premiered after Homicide, I noticed that Steven Bochco had them intentionally rock and shake the camera to emulate a handheld aesthetic. I commented that ‘the ultimate compliment is when someone imitates you. For that, we say thanks to Steven Bochco.’ That remark landed me in hot water.”
Secor: “We utilized smash cuts extensively as well. My mother confessed that watching the show in the first season made her feel like she was on a rollercoaster and about to get sick. After the first season, the camera work became somewhat less frenetic. Jean de Segonzac, our cinematographer, would often operate the camera seated on a chair or box on a dolly, with the camera resting on his shoulder.”
Leo: “The camera movement was so rapid in the first season that many viewers commented that it made them feel ‘a little nauseous.’ Consequently, they gradually slowed down the camera movement each season, making the shooting style more conventional. But perhaps feeling slightly queasy while watching a show about murder wasn’t necessarily a bad thing.”
Baldwin: “The show did become somewhat ‘softer’ over time. The first two seasons were undeniably graphic and intense. However, audiences in the Midwest reportedly weren’t receptive to Homicide’s raw style and violent jump cuts. Ratings were declining in those regions, so the network opted to tone down the intensity. The editing became less rapid and less overtly violent.”
The full version of this article originally appeared in emmy magazine, issue #9, 2023, under the title “Looking Back at Life on the Street.”
Click here for more in-depth oral histories at the Television Academy Foundation’s The Interviews: An oral history of television.
