Over the course of my 11+ years on the Stargate franchise, I heard my fair share of freelance pitches – some of them good, most of them fine but not quite what we were looking for, and a few of them truly horrible. In the first case, kudos to those writers who were able to step up, well into the franchise’s run, take into into account Stargate’s immense mythology, and come up with an engaging, original idea that hadn’t been done yet (by us or Star Trek). In the second case, thanks for trying and, while it didn’t work out, we fully appreciate that coming up with an original idea for this series is a daunting task. In the third case, what the hell were you thinking?
What follows are some of my favorite from the latter category. Worst. Pitches. Ever!
1. Tee-alc gets separated from the rest of sgi while on an off-world mission. When O’Neil, Daniel, and Carter step through the gate, they end up trapped in another dimension where they must try to avert a nuclear showdown between India and Pakistan.
* Dude, seriously. If you’re going to pitch for our show, do us the courtesy of at least watching an episode. sgi? Tee-alc? Another dimension? Indian and Pakistan?
2. SG-1 visits a barren world, seemingly devoid of life. While investigating the ruins of a long-dead civilization, the team is captured by a race of subterranean-dwelling humans obsessed with Earth’s pop culture. Their captors are a bizarre mix of cowboys, gangsters, and guys in Beatle wigs.
* This pitch might have worked for Star Trek. Fifty years ago. Maybe. But probably not.
3. The sequel to A Hundred Days.
* Great idea, but suggesting you want to do a sequel (with no tangible idea outside of the fact that you simply think it would be a great idea in the most general sense) to an episode you didn’t write in the first place isn’t going to land you that writing gig.
4. One by one, members of the Atlantis expedition begin to pop out of existence. Where do they disappear to? What is happening? No idea.
* It’s all about set-up and pay-offs. Anyone can come up with the intriguing mystery. Coming up with the solution is, as Martin Gero informed the prospective writer: “What we pay you for.”
5. Carter is kidnapped by a race of men who require her for breeding purposes.
* Curiously, we’d get a variation of the “Gangbang Carter” pitch every season or so.
6. Teal’c is captured and forced to take part in a blood sport arena combat…to the death!
* Ah, the good old arena episode. It never gets old. Apparently.
7. SG-1 are the victims of a heist. Their attempt to track down the powerful stolen artifact takes them to space stations, Star Wars-like alien cantinas, and a dangerous trek across a dessert planet, culminating in a confrontation with a powerful army.
* Yep, the budget for the entire season should just about cover the costs of this epic story. If this one was ever produced, the ensuing episodes would have had to be radio plays.
I’m sure that this sort of thing isn’t confined to film and television. I’m sure you’ve all been privy to your fair share of truly terrible ideas. So let’s hear ‘em!
First things first! My french bulldog, Lulu, eating kale chips. Please raise volume to maximum before viewing:
One of the worst kept secrets on this blog has been the identity of that scifi series Paul and I have been trying to set up. As many of you know, back when we were working on Stargate, we started developing our own SF series in the hopes of rolling right into production with the same crew if and when Stargate ever ended. The only problem at the time was that there was no end in sight. Every time we thought Stargate would close up shop, the show would get picked up for another season. It was a classy problem that allowed us to really flesh out the concept and characters of this prospective new show.
Unfortunately, when Stargate did end, the timing proved difficult. Instead of taking advantage of our terrific Stargate crew, we ended up having to put our project on hold while we took a job in Toronto. But rather than relegate it to the back burner, we thought of an interesting way to go – and a great way to help sell the show. We hooked up with Dark Horse Comics and launched the series idea as a comic book.
The first four issues of Dark Mattergarnered great reviews and, when the trade paperback came out in October, we used it as a calling card. Having worked in development, I was aware of, and wanted to draw on, the added appeal of an established property. Also, half the battle of pitching is to help a potential buyer imagine the project you have created – and I could think of no better pitch document than that trade paperback.
We went out with a story backed by some fantastic visuals compliments of artist Garry Brown and colorist Ryan Hill. The response was incredibly positive. Even more so after Paul and I delivered the pilot script. Still, my concern was the budget, making sure we had enough money to do it properly (visual effects don’t come cheap after all!), so I was heartened by word from our producing partner today that the response in Europe has been equally great.
Now all that remains is for that final piece of the puzzle to fall into place. Yes, we’ve been waiting a while but all indications are we’ll be receiving word soon. If it’s positive, then things are going to get very busy very quickly. If it’s not, then we’ll have to go elsewhere for that final piece – which will, of course, delay things.
But hopefully it all comes together as expected. And, once it does, dare I say it…
No, better not.
Mailbag:
shinyhula writes: “And why no zombies on this list? Night of the Living Dead, 28 Weeks Later, Zombieland; what have the unliving done to deserve your scorn?”
Answer: I was listing Scariest Endings and, off the top of my head, none of the zombie entries came to mind. Well, now that I think of it, maybe the original Night of the Living Dead would have been a good candidate.
ancuetas writes: “Is that you know what music is there at the beginning of the video.”
Answer: This piece of music, from SG-1′s Demons, was before my time (I joined the show in its fourth season), but it’s safe to assume that it was composed by the late, great Joel Goldsmith.
dasndanger writes: “Also, this whole thing with the shutting down of cell towers in cases like this? That’s why I still have a corded old timey landline tele-o-phone.”
Answer: Hmmm. Good point. I haven’t had a landline in four years.
RLAVILLA writes: “Recently there have been two new Stargate games for Android and iPhone, and I think that will be the new product line, which has been selected by MGM for Stargate franchise. How about converting “Stargate Extinction” in a game for these new platforms?”
Answer: Not my call. That would be for the studio to decide.
Jen writes: “A tad random, but I went in on my birthday to have this done but the artist was booked up so I had it done yesterday.”
Answer: Great. But I insist you draw the line at one of those Jaffa forehead tattoos.
baterista9 writes: “Just saw Cookie on Saturday at Sea World of Texas.”
Answer: Yes, he was there for his cousin Esmerelda’s wedding.
fsmn36 writes: “But the entire movie plays off the alcoholic!Tony arc from the comics and the Rhodey scene makes 20x more sense when you consider Tony is basically planning on suicide/knows he’s going to die. What seems a tacky action scene becomes a heart breaking fight between friends while Tony desperately gives everything he loves away to the few people that matter to him.”
Answer: Sounds terrific. Unfortunately, none of that came across onscreen.
gforce writes: “Did you ever take Akemi up to Whistler yet? You should take her out to a nice dinner or even a weekend up there!”
Answer: I retired my krazy karpet years ago.
Seth writes: “How hard would it be to get the cast on board for a Kickstarter for the series or movies? Looks as if Veronica Mars just got 5.5 million in Kickstarter funds from fans!”
Answer: 5.5 million may seem like a lot, but consider that the previous SG-1 movies cost 7+ million each to produce – and those productions made use of existing sets and production personnel.
Tam Dixon writes: “Did you try one of the dog cookies for quality control? You did, didn’t you?”
Answer: I didn’t, but someone I know (hint: she’s Japanese) DOES taste test for quality control.
Tam Dixon also writes: “Anyways, what about another trip? New York, L.A. or maybe even go down South. I wouldn’t recommend Memphis, unless you bring a gun but what about New Orleans or Savannah, GA?”
Answer: Akemi definitely wants to go to New York and, after reading Midnight in the Garden of Good and Evil, I’ve wanted to check out Savannah. That said, both L.A. and Vegas are closer and more likely short trip destinations. This, of course, is entirely dependent on our finding a dog sitter.
astrumporta writes: “I think you should bring Akemi to San Francisco for her b-day!”
Answer: It’s also on the list. Good eatin’! How goes, Michelle?
pennlynn writes: “You’re brave man Joe! I like having a nice drink but other than the whiskey I’m not sure I would try that haul of liquor!”
Answer: I tried the Nikka whiskey with Lawren last night when he came over for the American Horror Story marathon. It was damn good, and much better straight up than on the rocks. How went the t.v. interview?
I know a guy who knows a gal who knows someone (another guy? another gal? a super-intelligent chimp?) who knows a gal who got me an advance copy of…
Nebula Awards Showcase 2013edited by Catherine Asaro
The book includes Nebula winners in the categories of Best Short Story, Best Novelette, Best Novella, Best Novel, the winner of the Andre Norton Award for YA Science Fiction and Fantasy, various nominees and other goodies. Like any collection of this sort, there will be subjective hits, misses, and delightful surprises.
Some of the entries that stood out for me…
“The Paper Menagerie” by Ken Liu (Nebula Short Story Winner). I gave this short story a shout-out last year (November 14, 2012: Sweet, sweet, elusive sleep! News of note!) after reading it during my annual Tokyo trip. I described it then as “mighty brilliant” and “incredibly touching”. Some five months later, on re-reading it, it still resonates as strongly with me – the tale of a boy struggling with his sense of identity. Despite the story’s fantasy elements, the heart of the narrative is grounded in the strained relationship between the young protagonist and his mother, a cultural outsider who silently suffers and sacrifices for her son. Check out my previous post for a link to the story.
“Ado” by Connie Willis (2011 Damon Knight Grand Master Award Winner). I imagine that, in the not too distant future. there will come a time when people will look back on our politically correct society with the same amusement and bafflement we, today, reserve for quaintly antiquated notions like “duck and cover” PSA’s, blue eye shadow, and flat Earth theory. But, before we attain enlightenment, we’ll have to hit critical mass. And, in “Ado”, Connie Willis presents us with that point in society. A teacher, eager to have her class study the bard, is informed that some of his work won’t be permissible for various reasons. Othello is racist. Romeo and Juliet promotes teen suicide. There’s all that Devil worship in Macbeth, The Tempest, A Midsummer Night’s Dream, The Winter’s Tale, and Richard III. In the end, after exhaustive research, the teacher proceeds with her lesson and her class is finally able to read The Complete (permissible) Works of William Shakespeare – all four inoffensive lines of Hamlet. It’s funny, pointed, and a little maddening because it’s not that ridiculous a premise.
“The Axion of Choice” by David W. Goldman (Nebula Short Story Nominee). A story structured like one of those “create your own adventure” books that, in a humorous, winding way, questions the very notion of free will.
“Movement” by Nancy Fulda (Nebula Short Story Nominee). The story of Hannah, a five year old girl with temporal autism, who perceives time differently. While her parents wrestle with a decision on an experimental treatment that could “make her normal” (at the cost of her gift), Hannah eventually arrives at her own conclusion. Having just completed some research on autism spectrum disorder, I found this story fascinating and dead-on.
Among Others (novel excerpt) by Jo Walton Nebula Novel Winner). Diary excerpts tell the tale of a fifteen year old girl who is sent away to a boarding school following the death of her twin sister. Her mother, a powerful witch, holds her responsible for the tragedy – but young Morweena has some supernatural connections of her own. In addition to elements of fantasy, the book is peppered with SF references as well, making for a nostalgic, magical, wholly absorbing read. How much did I enjoy the excerpts? Enough to pick up the novel – which I’m presently reading.
The Freedom Maze(novel excerpt) by Delia Sherman (Andre Norton Award for YA Science Fiction and Fantasy Winner). In 1960′s Lousiana, 13 year old Sophie is spending the summer with her aunt and grandmother when she happens upon a trickster spirit in the old family maze. Sophie is eager to embark on an adventure that will whisk her away from her difficult situation – specifically, her strained relationship with her divorcing parents – so the trickster honors her request. Sophie is transported 100 years into the past, back to her own family’s plantation, where previous perceived hardships pale in comparison. It may be a YA (Young Adult) entry, but it’s well-written and engaging.
The Man Who Bridged theMistby Kij Johnson (Nebula Novella Winner). Our protagonist is a bridge builder, charged with the task of connecting the towns of Nearside and Farside, long separated by a treacherous Mist river. While he may be good at what he does, he, ironically, has always had trouble connecting with others. Things change with this new assignment. With it comes friendship, inner awakenings, and a chance at love. A wonderful journey.
Thanks to the fine folks at Pyr Science Fiction & Fantasy for the sneak peek.
In Stargate: Universe’s second season, the crew finally discovers Destiny’s bridge. From a creative standpoint, holding off the discovery until then allowed for some great drama: Rush’s attempts to hide it from the rest of the crew, the subsequent attempts to control the ship, etc. Also, waiting until season two permitted us to give it a truly worthy. singular reveal rather than lumping it in with the rest of the ship. From a production standpoint, holding it off the discovery made even more sense. The portions of the Destiny built for season one cost several millions and we simply couldn’t afford to include a massively expense bridge as well. And so, rather than settle for something simple, we waited a year until we had the money to do it right. And, boy, did it we ever. It was, simply put, a thing of beauty:
Destiny Bridge and adjoining corridor
Under construction.
Early season two. The finishing touches in place.
The bridge was located in Stage 5 on and what made it all the more impressive was the fact that it was a raised, massive second level structure. Directly below it stood the mess and shuttle.
David Blue (aka Eli Wallace) getting a feel for the place.
James Robbins did a terrific job designing the bridge, and our construction department went above and beyond the call to build it. But the work didn’t stop there. It had to be properly lit and, of course, we needed the Playback Department to work their magic. ”What’s the Playback Department?”you ask. Well, whenever you see an onscreen image be it a holographic map or computer data or scrolling alien script, you can thank the Playback Department. On the surface, it seems like such a small thing but, in reality, those incredible, painstakingly detailed graphics go such a long way toward setting the mood. Some of the stuff they come up with was downright incredible.
The Captain’s chair.
Commander Carl Binder
Carl makes it go
To give you an idea of the great work of our Playback Department, check out the designs for the onscreen visuals – then check out the finished product…
Bridge chair (left arm)
MVI_4501
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Bridge chair (right arm)
MVI_4502
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Bridge standard text
MVI_4496
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Ship Systems (left)
MVI_4500
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Ship systems (right)
MVI_4499
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Patrick Gilmore (aka Dale Volker) took a crash course in weapons and nav systems.
Navigation Systems (left)
MVI_4498
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Navigation Systems (right)
Sorry. Couldn’t track this one down. You’ll just have to take my word for it.
Every so often, I like to check out this blog’s site stats to get a sense of the daily visits, most popular posts and, most interestingly of all, what leads people to check out this little corner on the internet. In the case of the latter, if you go by recent search engine terms, it’s “Stargate”, “Joseph Mallozzi”, and “Julia Benson” – and not necessarily in that order. Site stats also include a rundown of Top Referrer’s who have provided links to this blog. They’re usually fairly vague – facebook, google image search, etc – but, occasionally, they’re quite specific. Like, yesterday, when I clicked on one of the Referrer links and ended up on Reddit where somebody asked: Does anyone have some deck plans for Prometheus? Another user offered the following advice: “Joe Mallozzi used to be a writer/producer on SG-1 back in the day. He has a blog where he occasionally posts pictures of set blueprints. I’ve seen him post a bunch of set blueprints from Atlantis, but you might get lucky and find some Daedalus/Prometheus stuff. Gonna take a lot of digging though.”
Yes, admittedly, a time consuming process. According to Site Stats (again), this will be my 2 333rd post. That IS a lot of digging. UNLESS, you have an affable executive producer willing to take the time to wade through the mountain of Art Department handouts he received over the years in search of Prometheus schematics.
Sadly, I don’t have anything in the way of an actual ship plan. I’m not even sure if one was ever drafted but, even if it was, that would have been during the SG-1 days, long before I started collecting these pre-production mementos. However, I DID find a few Daedalus-related plans which, I hope, will prove somewhat helpful because – here’s a secret: the Prometheus was the Daedalus was the Odyssey was the Apollo was the Korolev! They were the same sets and, for design purposes, the same ships. When it came time to shoot them, however, one was able to distinguish them in a variety of ways: besides specific crews, there were the distinguishing plaques that adorned the walls. In addition, the lighting on the various bridges differed. From what I recall, the Apollo was slightly blue while the Daedalus was slightly green. The Prometheus, I believe, was white.
Anyway, this is what I was able to dig up:
From The Kindred Part 1 Art Department package: The Daedalus Bridge, Corridors, and Mess Hall. Note the reminder to swap out the Apollo plaque for a Daedalus plaque. Also note the reminder to repair/restore the section of the Mess Hall damaged during “Ark of Truth”. Was it damaged in an actual scene in the movie or did Director Robert Cooper kick a crew member through the wall? Again. I don’t recall.
The Daedalus Bridge from the Be All My Sins Remember’d Art Department package.
Daedalus Engineering, also from the Be All My Sins Remember’d Art Department package. Note the additions of Asgard tech that came with the last engineer, Hermoid, in Siege 3. Also note the use of the term “gak”, used to refer to circuitry/wires/panels – essentially, cool, high-tech looking “ship innards”.
Sadly, that’s it. BUT, I did find this cool layout of the Midway station:
Matt writes: “Would a CG/Green screen set be more affordable now?”
Answer: Hmmm. How shall I put this? The problem with green screen sets is that they look like…green screen sets.
stargateatlantisseasonsix writes: “Have you ever thought of asking the fans to donate their abilities in effects making, set building, make-up and prosthetics, etc. for just the simple exchange of putting their names in the credits at the end. I don’t know a single fan that wouldn’t be estatic to see their name or see their work on the official film.”
Answer: While I’m sure many talented and dedicated fans would do wonderful jobs, there are agreements in place that require a production engage the services of unionized professionals – individuals with proper training and experience. I’d argue that, at the end of the day, you’re better off hiring someone who has made a living building that sturdy set.
Emily H. writes: “And just as a side note, when the fans brought Farscape back from the dead, they did it with a 4-hour miniseries, complete with an epic story, space battles and astonishing special effects — all to the tune of about $20 million dollars. I may be an optimist, but I think that’s doable.”
Answer: Well, okay. The fans did bring back Farscape with that 4-hour miniseries – but, in all fairness, they didn’t foot that bill to the tune of $20 million dollars.
Chris L writes: “Can someone please send MGM an email?”
Answer: Oh I’m sure MGM is receiving plenty of emails from Stargate fans. It’ll be interesting to see if they receive enough to reconsider their options…
This was the question many Stargate fans were asking themselves yesterday after news broke of the astounding success of the Veronica Mars kickstarter campaign.
For those of you who haven’t heard, series creator Rob Thomas approached Warner Bros. about making a Veronica Mars movie. According to Thomas: “Their reaction was, if you can show there’s enough fan interest to warrant a movie, we’re on board.” Well, the fans stepped up and demonstrated their interest, pledging $1 million dollars (in a record 4 hours and 24 minutes) to the project’s kickstarter campaign [http://money.cnn.com/2013/03/13/technology/veronica-mars-kickstarter/index.html]. And, last time I checked, over 47000 backers had pledged close to 3 million dollars, about a million dollars over their goal – and this is only day #2 of their month-long drive! [http://www.kickstarter.com/projects/559914737/the-veronica-mars-movie-project].
It’s awesome news for Veronica Mars fans that has also energized fandom in general. Already, loyal viewers are asking about their own favorite shows ['Veronica Mars' Movie Funded...Could a 'Chuck' Movie be Next?! (Poll)]. Could a similar strategy work for us? Well, I suppose it depends.
So how successful could a Stargate movie campaign prove if it attempted to follow the successful five-step strategy he outlines? Well, according to Paul, “There are a number of factors at work here, and they’re worth exploring in order to understand if this kind of thing can or will happen again…”
Okay, proper planning is key but, in this case, it requires MUCH consideration. In the case of Veronica Mars, Rob Thomas and Kristen Bell approached the studio and cast first, and THEN started their campaign. Which is, of course, what would be required here. So, how interested would MGM be in a Stargate movie? That’s the biggest question. And the answer all comes down to economics. Would it be worth their while (aka – not only financially feasible but lucrative)? Will the potential rewards outweigh the risks? Five years ago, the answer would have been a resounding “Yes!” given the fact that Ark of Truth and Continuum surpassed expectations. But, of course, that was before the bottom fell out of the DVD market. Could alternate viewing platforms make up the shortfall? Streaming? Broadcasters? Maybe the big screen treatment?
Which brings us to another question – “What does MGM have planned for Stargate? – because, let’s face it, as one of their most successful franchises, it’s not going to lie fallow for long. Do they already have something in the works?
But, for the sake of argument, let’s say, it’s a best case scenario for fans of SG-1, Atlantis, and Universe. The studio proves amenable to the idea. Next up is ensuring we have a cast in place. So, which cast? SG-1? Atlantis? Universe? Or would it be a selective amalgamation of all three (which was Brad Wright’s original idea for an SGU movie)?
3. Offer rewards people want
Now this one is much easier to deliver on. I, for one, would be more than happy to send you a signed script, arrange a set visit, or deck you out in prosthetics before blasting you out an airlock if it would ensure your support.
4. Leverage social media
Are you kidding? Stargate fans are the kings (and queens) of social media. We’ll get word to them and they’ll get word to EVERYONE.
And finally 5. Understand that not everyone will be able to do this
Why not? Well, some former cast members may well be too busy to participate (Robert Carlyle now stars on Once Upon A Time while Jason Momoa has been burning up Hollywood post-SGA) while others may have simply moved on. Still, provided we manage to cross this particular bridge as well, there’s the question of money. To put it bluntly, we would need A LOT more money to produce a Stargate movie. A LOT more to pay for the construction of new sets (alas, the Destiny, Atlantis, and Stargate Command are no more and would have to be rebuilt from scratch) and visual effects (I haven’t read the script, but it’s unlikely the Veronica Mars movie will feature much in the way of space battles), not to mention other related costs like cast, crew, and the onset aerobics instructor for my pug, Bubba.
So, conservatively, three out of five aint bad – unless you’re looking to make a Stargate movie in which case it aint good either. Even if you could convince MGM to get onboard – and that’s a mighty big IF – there’s still the matter of the amount of money that would be required to produce a scifi movie. How much? Well, ballpark, I’d say significantly more than the 3 million dollars the Veronica Mars campaign has raised to date, but somewhat less than the $39 million dollars the Forbes article claims Serenity cost.
Certainly not impossible but, damn, them’s long odds!
Look familiar? Well, it should. This is the massive VFX Stage at The Bridge Studios that once housed sections of Atlantis, the village set, various hive ships, and the Daedalus/Apollo/Odyssey/Korolev. Yesterday, Paul and I were joined by an old friend, former Stargate Producer/Production Manager John G. Lenic as we took a trip down memory lane, revisiting our old stomping grounds. Once Upon A Time is now using Stage 4 (that once held the Destiny set), Stage 5 (the SGC gate room, control room, conference room, Hammond’s office, the infirmary, and surrounding corridors as well as the Alpha site corridors, control room, and gate room), and Stage 6 (the Atlantis gate room, control room, conference room, infirmary, and surrounding corridors) but there is plenty of stage space still available including the aforementioned monster VFX Stage. While walking the grounds, we ran into a bunch of familiar faces – Ron, Graham, former Stargate Construction Coordinator Scott Wellenbrink, the gals in accounting. Earlier in the day, we’d paid a visit to Atmosphere Visual Effects where we spent some time with former Stargate VFX Supervisor Mark Savela and our former script coordinator Lawren Bancroft-Wilson. Yep, just like old times. Sort of.
And what, pray tell, were we doing reconnecting with our former colleagues? Had we become wistful for times of yore and wanted to relive past memories? Sure. Let’s say that. Also, our production partners on the shows we’ve been developing were in town and keen to see what Vancouver had to offer. Just in case, say, we get that/those pick-ups.
My heart is with Vancouver and, given the choice, I would love to shoot here but, realistically, Toronto may make more financial sense. At least, I suspect, until the ruling provincial liberal party gets booted from office this May (despite spending 11 million dollars for the rights to host the Indian equivalent of the Golden Globes). Still, all options are on the table and being explored. I hear that if we shoot in Germany, we’d get even more bang for our buck. And there’s the added cost-effective bonus of being able to move in with our former colleagues – and recent newlyweds – Alex and Sarah while we’re there. I’m sure they’d love to host us – for the eight months to five years that the series will run!
Well, since we’re on the subject, what say we (almost) conclude our trips down SGA memory lane with the show’s final episode…
ENEMY AT THE GATE (520)
Five years, 100 episodes, and it all came down to a group farewell from the balcony of the City of Atlantis, overlooking San Francisco Bay. Originally, we had planned to land Atlantis off New York but my writing partner. Paul, vehemently objected on grounds of scale. So we changed it to a west coast location. And thus ended the series. Although, if things had worked out differently, the trip to Earth would have just been a stop on their return journey back to the Pegasus Galaxy. Oh, what fun we’d planned. Well, more than planned. We’d actually written a script. But more on that in another blog entry.
After five seasons, Atlantis had come to an end but, unlike SG-1, it lacked a true sense of finality. I mean, sure, that last shot of our heroes, all together, finally back on Earth worked as a series ender but that was never the intent. By the time we got word of the cancelation, the finale was already in prep. Still, I had no doubt we’d be given the opportunity to truly wrap things up with a movie that would return our heroes to Pegasus and, like the SG-1 finale, suggest that they were still out there and that their adventures continued.
To be honest, news of the cancellation came as a bit of shock. I’ve already discussed the specifics in previous entries but, suffice it to say, up to a few days before receiving final word, various sources had informed me we WERE coming back for a sixth (and probably final) season. The story that was eventually turned into the script, Stargate: Extinction, was originally slated to be the following season’s two-parter opener. But, of course, things changed.
Paul and I found out, walked down the hall and broke the news to a disappointed Carl Binder, Martin Gero, and Alan McCullough, then headed down to the trailers were we informed the cast. A sad day.
As for the this final episode, while, in hindsight, there were a few things I’d have done differently (ie. introduce the idea of the wormhole drive earlier in the season. Ironically, it was it was originally conceived, not as a payoff in this episode, but in the “return journey” storyline) it nevertheless worked well in that it closed a chapter while opening the door to endless possibilities.
Huzzah! A big 13 page writing day now puts me on P. 51 of my new pilot. And, potentially, a little too long. My ballpark breakdown has been pretty spot-on so far and, if my powers of prognostication hold true, the rough first draft is going to clock in at a robust 64 pages. I think it’s a lot of fun but my colorful supporting character risks overshadowing my protagonist. That’s something I’m going to have to address on my next pass.
Days of Stargate Atlantis past continues with…
VEGAS (519)
Robert Cooper coined the term “shepisodes” for these John-centered entries, and this is one of my favorites, an oh-so-different AU story that follows detective John Sheppard in his hunt for a serial killing alien.
The working title was CSI: Atlantis and, given its procedural trappings and colorful eye candy Vegas location, it’s no wonder. Rob does a terrific job writing, directing and producing one of the high points of Atlantis’s fifth and final seasons, with memorable performances by all involved. Joe Flanigan is perfect as the washed up detective with nothing to lose while David Hewlett delivers a what-might-have-been version of his character who is, at heart, very clearly, very much Rodney.
Great guest-performances led by Neil Jackson as the wraith-out-of-water. And there’s even a nod to Stark Trek: The Experience compliments of actor Robert Picardo who added the inside gag while shooting.
Everyone on the production who didn’t get to go to Vegas to shoot was, of course, jealous of everyone who did. I figured everyone had learned their lesson, so I was surprised that the next series, SGU was set on a spaceship flying through some distant galaxy. I thought we’d all agreed on Stargate: Hawaii!
While we were shooting Atlantis’s final episodes, fans were fighting to save the series.
Sheppard’s sweet ride
It looks better without the bullet holes.
To: Das. Love: Wraith. The incredible Neil Jackson
A couple of Sopranos alums guest star: Frank Vincent and Steve Schirripa. Both were stand up guys.
Also putting in cameos: the late Joel Goldsmith (left) and former MGM Senior Executive VP and huge Stargate supporter Charlie Cohen (middle).
Director Robert Cooper demonstrates sleight of hand, setting up a shot and skimming some poker winnings.
I celebrated today by going out for dim sum with my buddies Rob and Ivon, and then hopping on a twenty minute “project update” phone call with our business partner, Jay, in Toronto. Yeah, I’m a hopeless romantic. Tonight, I look forward to an enchanting evening with my gal, one that will be highlighted by dinner, drinks and, of course, a late work-out while we watch the latest episode of Top Chef. P.S. Akemi’s Valentine’s Day gift pictured above. Her favorites!
Speaking of romance – We continue our trip down SGA memory lane with…
BRAIN STORM (516)
This one was surprisingly controversial when it aired (apparently, certain fans weren’t big on Rodney and Jennifer finally hooking up), but a hell of a lot of fun to shoot. Originally titled Snow Globe, it was the show’s answer to the network’s request for a green-themed episode. Martin Gero went above and beyond the call on this one, delivering a script that was smart, touching and, above all, fun. And, I mean, how could it not be fun with guest stars like Dave Foley, Billy Nye, and Neil deGrasse Tyson!
Brain Storm marked Marty G’s directorial debut – and, sadly, his last Atlantis script. But he went out with a bang. Of freeze lightning…
Martin hanging out in the Director’s Trailer.
Visiting fans push another SG couple.
Director Marty G. prepares for the deep freeze.
Behind the scenes with Neil de Grasse Tyson, Bill Nye, Martin Gero, and Mika McKinnon.
Some day, when Carl passes, we’ll erect a theatre in his name, but until that day comes -
Akemi is still at it, expanding her doggy wardrobe.
Continuing our stroll down SGA memory lane with one of my favorites…
REMNANTS (515)
This one was a personal favorite for several reasons. It offered action, humor, surprises and, best of all, genuinely heart-felt character moments brilliantly conveyed by our amazing cast and guest stars. It was also a bit of a bitch to write and, as such, incredibly satisfying to finish, a fairly complex script that required a proper balancing act of three seemingly separate storylines – and their ultimate convergence at episode’s end. My fellow Exec Producer, Carl Binder, considered it my best script of the show’s fifth season. My other fellow Exec Producers, however, weren’t quite as enamored. Rob Cooper felt it was “too literary” (which I thought was a nice compliment until I realized it was actually a criticism). He, and Exec Producer Martin Gero, also felt I was way too rough on our hero, Sheppard. My writing partner, Paul, meanwhile, had only one real objection – and that was the chopping off of Sheppard’s hand, for both creative and production reasons. Yes, I agree that Sheppard does suffer greatly but I argue it’s fine because, at the end of the day, it’s all in his head. Also, the Shep-whumpers reaaaallly needed this one!
Just so much to say about this episode – and I already have. Some Remnants-related past blog entries you might want to check out:
November 15, 2008: The Remnants Write-up - In which I offer some insight into my inspiration for this script (Harvey and a desire to complete Richard Woolsey’s rehabilitation from pencil-pushing suit to lovable Commander) as well as behind the scene photos and a breakdown of some of the scenes, beats, and dialogues that didn’t make the final cut.
