While I was 1/2 watching last night’s episode of “Human Target” on Fox my ears perked up at a very distinctive drum banging noise, sure enough, I checked on IMDB and saw that Bear McCreary is in charge of scoring the Action series. The score is rather large and grand for the series, which is something that we would expect for Bear. “Human Target” airs on Tuesdays at 9 after American Idol on Fox.
Veteran scripters of J.J. Abram’s Fringe, Terminator: The Sarah Connor Chronicles, Andromeda, and the upcoming Kenneth Branagh-directed film version of Marvel Comics’ Thor Ashley Edward Miller and Zack Stentz have been tapped to bring another comic book to the screen, Andrew Cosby and Jason Alexander’s Damn Nation.
The Hollywood Reporter describes Damn Nation as a “futuristic vampire” story set in a United States that has been overrun with nocturnal monsters. The comic book, set in bunkers near Buffalo, NY and labs in London, presents a vision of the country that has been sealed off with concrete barricades as people work frantically to deal with the plague of the undead.
So, with Daybreakers, Marc Foster’s adaptation of World War Z, Frank Darabont’s adaptation for AMC TV of the Robert Kirkman’s and Tony Moore’s comic book The Walking Dead and this project, have we reached saturation point yet? Or is there still some semblance of motor function left in the “undead, dystopian apocalypse” genre?
Variety has confirmed that Josh Friedman has landed a new job w/ ABC. Along with Drew Barrymore, Leonard Goldman, and Drew’s production company Flower Films – “Charlies Angels” will be returning to prime time.
Josh Friedman, who recently adapted the “Terminator” franchise for his Fox series “Terminator: The Sarah Connor Chronicles,” is onboard to write and exec produce the new “Angels.”
Leonard Goldman was the producer behind the original 70’s series.
I might be in the minority around here but I actually liked the 2 Charlies Angels films. The series success will depend on casting. With Dollhouse out of the way this could be the perfect vehicle to launch Summer Glau into superstardom. Let her play something somewhat different, cast her as the airhead in the group. *Hint Hint Josh*
I was lucky enough to be talking with one of my favorite scifi novelists the other day, and I asked him a question he didn’t know the answer to.
We were talking about a book he’d written, and I asked him if he’d tell me the answer to a Big Unanswered Question in the book. (I won’t say who this novelist is because I don’t have time to call him and ask him if I can quote him.)
NOVELIST: I can’t tell you, Josh. I don’t know the answer.
ME: Really? It’s like, a big unanswered question for the characters and for the reader.
NOVELIST: For me, as well. I don’t know.
Which lead us to this: there will always be a point in your world-building when the world you’ve built outgrows the scope of the story you’re telling. The edges are fuzzy; the next town over is mysterious. Perhaps you’ve hinted at something which suggests something else, which would really turn things on its fucking head IF you were to go down that path BUT YOU ARE NOT. (more…)
Bear will be at Comic Con for a bunch of different BSG events including being at the House of Blues all week for BSG concert series! Don’t miss him:
Richard Hatch: Battlestar Retrospective Panel
Comic Con Convention Center – Room 6A
12:30 – 1:30PM
Moderated by actor/author Richard Hatch (Tom Zarek, Capt Apollo), this panel includes writer / producer Michael Taylor, science advisor Kevin Grazier and myself, providing a review, discussion and Q&A of Battlestar’s past four seasons and dramatic ending.
The Music of Battlestar Galactica
Live Concert Performance Hosted by Edward James Olmos
7PM (doors open) to Midnight
House of Blues San Diego, 1055 Fifth Ave.
Tickets Available from Ticketmaster
(the promotional password is “frak” for a cheaper rate!)
Each night of our shows will be a little different, but the THURSDAY NIGHT performance will be extra special. Not only is it the first place on Earth to get autographed season 4 CDs, but you’ll hear world-premiere performances of new Galactica music from “The Plan” before anyone else.
Oh, and the Thursday night show will feature an EXCLUSIVE SURPRISE PERFORMER: a guest pianist who will join me onstage for a duet of the pivotal piano music from Someone to Watch Over Me that she… well, I don’t want to spoil it. :)
This series of concerts will be the biggest I’ve ever done. The set list is literally TWICE as long as the concerts at The Roxy and California Plaza. We’re showing an exclusive sneak peek of the upcoming video documentaries on the BluRay release of Season 4.5, and you’ll see cast members discuss the music and what it brought to the series. All this and a slammin’ rock concert! This is not just a quick set, but an entire evening celebrating Battlestar Galactica. Come join us and help bring this music to life on stage!
Catch more events w/ Bear and the BSG Orchestra on his website!
Universal Cable Productions presents BEAR MCCREARY and the music from Battlestar Galactica for three nights at the House of Blues in San Diego from July 23-25th – during Comic Con! The concerts will be hosted by Admiral William ‘Husker’ Adama himself, EDWARD JAMES OLMOS (on Thursday and Friday) and Athena / Boomer GRACE PARK (on Friday and Saturday). The concerts will celebrate the July 28 release of a special 2-CD set, Battlestar Galactica: Season 4, from La-La Land Records. However, the album will be available for sale a week early, exclusively at these concerts.
Battlestar Galactica: Season 4 will be available in stores nationwide and online on La-La Land Records and Amazon. The two-CD soundtrack will feature music from seasons 4.0 and 4.5 and the music from “Daybreak,” the stunning series finale.
In addition to general admission tickets, a limited number of VIP tickets are available for all three nights. VIP Tickets include special entry and access to the hosted VIP-only balcony seating, bar and Delta Lounge, a meet-and-greet and autograph signing with McCreary and the BSG band, and a VIP gift bag which includes the Caprica Soundtrack CD.
The emcee the first two nights, Edward James Olmos says, “The day has finally come when I will be able to experience live the sights and sounds of Bear and his friends. Wow…. what a privilege!”
“This great series has come to an end, but I’m thrilled that my original score can live on in soundtrack albums and on the concert stage,” said McCreary. “I can think of no audience who will appreciate the shows more than the fans at Comic Con, and I am grateful to UCP for this opportunity to bring the music of Battlestar Galactica directly to them.”
Season 4 composer McCreary was recently called one of the top 10 composers “that make space adventures epic” by www.io9.com. His work on the television series Battlestar Galactica has been described as offering “some of the most innovative music on TV today,” by Variety, and his blog, www.bearmccreary.com/blog, which features in-depth inside looks at the process of scoring Battlestar Galactica, was called “one of the best blogs in the business. It’s a fascinating look at the process of making music for film and television and the care he takes with aligning the score with the twists and turns of each character’s plot lines,” by The Hollywood Reporter.
McCreary also scores the series Eureka and Terminator: The Sarah Connor Chronicles and will be scoring the upcoming Syfy series, and Battlestar Galactica prequel, Caprica. His credits also include Wrong Turn 2, the Rest Stop films, and the upcoming Capcom video game Dark Void. McCreary was among a handful of select protégés of late film music legend Elmer Bernstein and is a classically trained composer with degrees in Composition and Recording Arts from the prestigious USC Thornton School of Music.
Sci-Fi Wire has a short interview w/ TSCC/Terminator film franchise executive producer James Middleton.
James Middleton, executive producer of Fox’s Terminator: The Sarah Connor Chronicles, told SCI FI Wire that he remains passionate about continuing the story of the canceled series in another format, but does not want to get anybody’s hopes up. Middleton had producing credits on both the series and the film Terminator Salvation.
“I feel like I don’t want to raise anybody’s expectations about what’s going to happen with those characters,” Middleton said in an exclusive phone interview Wednesday while promoting Terminator: The Machinima Series. “I can tell you that I love those characters. I use a business term, and it sort of belies my emotional investment in these characters, but they are a great franchise asset. My passion for them is not diminished at all, and I’ll just leave it at that.”
The season finale that became the series finale left fans intrigued about new possibilities. John Connor (Thomas Dekker) travels to the future, where familiar faces such as Derek Reese (Brian Austin Green) do not recognize him.
“It was a great way for us to end the season, but we would have liked to have continued,” Middleton said. “There’s no doubt about it. We liked making that show, and we all worked together really well, but the really great thing we can look back on is we’ve got 31 episodes of really good television. That’s something we can be proud of forever. That’s what we’ll have to take away from it.”
Click HERE to read more. And remember, you can view full episodes of season 1 of TSCC on THEWB.COM.
I go to my therapist twice a week and often we just talk about television. You’d think I wouldn’t need to pay someone to analyze why Lost works when nothing else will, and yet that’s exactly what I do.
My therapist is Swiss German and a Freudian as well as a psychooncologist and an art therapist. When she watches Sarah Connor she doesn’t see robots and Skynet and John Connor, she sees cancer dreams and death fetishes and the psychological damage done by the absent and perfect father (not that my father is either of those things). My therapist quotes freely from Einstein’s biography and has attended the latest Marlene Dumas exhibit but has never seen an episode of Firefly and only nods and smiles when I tell her one of my greatest fears is somebody spoiling the last two seasons of Battlestar for me. (Seriously. Don’t even think about it.) But she is one of the only people who cares that the Sarah Connor pilot episode originally had a completely different voice over to open the series and that the first lines we ever hear Sarah speak were supposed to be:
“I will die. I will die and so will you. Death gives no man a pass.”
Which some people in the focus groups found a little bit of a bummer. (more…)
Sci-Fi Wire talked to Josh Friedman about TSCC and where the series is at this point. Here are couple of excepts:
In your mind, how does TSCC fit into the Terminator mythology? As an independent piece or part of the bigger whole?
Friedman: I think it would’ve been a mistake for me to get caught up in what is canon and what is not canon. I always felt TSCC owed a great debt to T1 and T2, and I was going to do everything I could to honor that. Over time, however, you also find yourself owing a debt to the work you’re doing, the material right in front of your face. So you’ve got to make good with that and still try to maintain an integrity with the work that’s inspired you. TSCC is an expression of the Terminator universe. But it’s four years of creative decisions distilled into 31 hours that will probably not jibe with everyone’s idea of the Terminator puzzle. That’s OK. I go with the “uncanny valley” theory on this, as in most things: The closer you get to making one thing like another thing, the more the ways in which it differs stand out.
Do you ever see the story continuing, perhaps in a comic book or another format?
Friedman: I don’t own this franchise or control it in any way. I can’t just go make a deal to do a comic book or a DVD movie or anything like that. The people that control the franchise need to be interested in another iteration of not just Terminator, which clearly they are, but TSCC, which at this point they are not. I’ve tried to pull this proverbial band-aid off as quickly as I can, but I don’t want that confused with me giving up on the show. It’s been my entire creative existence for years, and nothing strokes my ego more than hearing about people clamoring for more TSCC and e-mailing network executives to that effect. But I want people to have a realistic understanding of what’s going on. I owe them honesty.
Is there anything you’d like to say to the fans?
Friedman: I don’t think there’s much I could say to fans that I haven’t already said. TSCC has been my life for almost four years, and the fans have been a huge part of that experience. Nothing exists in a vacuum, and television is nothing if not a social compact—I’ll try to make something worth watching, and you’ll try to watch it. It’s a handshake, and you don’t want to leave the other guy hanging. Hopefully, we’ll try again soon.
Click HERE to read the rest.
Josh recently sat down w/ I09 and answered some of their questions about the show.
There’s been a lot of talk about moving Terminator: The Sarah Connor Chronicles to Syfy, or putting out direct-to-DVD movies. How realistic is that talk, and is there anything fans can do to make it more realistic?
I know there’s been a lot of talk online about moving the show elsewhere but I’ve said before and I still believe that the show is over. I don’t own it, control it, or have any pull with those who do. James Middleton and I had conversations a while back to do our homework in the case of cancellation and didn’t find anyone receptive to moving it. There has to be a motivated buyer or seller to make it work and currently we don’t have either one.
I felt like it was pretty clear the end of season two was a cliffhanger, with John in the future, but a lot of people seem to feel like it was an ending — that this is how John becomes the Resistance leader he’s meant to be. Did you intend for it to feel that final, or were you definitely thinking of it as a cliffhanger?
I think the finale can be looked at both as an end and also as a springboard to a new part of the story—that’s what I intended, at least. I wanted to bring an end to many of the questions that I’d raised in the episodes previous but it’s dramatically unsound to try and create a rogue’s gallery of scenes just to check off every narrative box. I knew there was a chance we were being cancelled but I also needed to let the network see where we could take the story if given the chance. So I tried to close one door while opening another. There’s obviously different opinions as to how successful I was hitting that target. But I’m very proud of the episode.
Click HERE to read the rest.
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