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Posts Tagged ‘science fiction’

First things first!  My french bulldog, Lulu, eating kale chips.  Please raise volume to maximum before viewing:

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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.

DARKMTR #1 CVRThe first four issues of Dark Matter garnered 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.

DM4We 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?

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In advance of my official Days of Stargate Universe Past trip down memory, how about a little something to whet your appetite?  Ah, this takes me back!  The Resurgence Art Department package accompanied by visuals from various points in Stargate: Universe’s two-year run…

Resurgence - cover

Destiny corridors, areas & rooms

Destiny corridors, areas & rooms

Destiny corridors

Destiny corridors

The Gate Room…

Gate room - upper level

Gate room – upper level concept art

Gate room upper level - complete

Gate room upper level – complete

Looking out from the gate - concept art

Looking out from the gate – concept art

Looking out from the gate - completed set

Looking out from the gate – completed set

Central staircase

Central staircase

Gate room

Gate room

Gate room consoles

Gate room consoles

The control interface room…

Control interface room

Art Department

Art Department concept

At work in the core control room

At work in the core control room

The apple core…

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Carl figures it out

Carl figures it out

Kino room and Eli's quarters

Kino room and Eli’s quarters

Action in the kino room

Action in the kino room

Observation deck

Observation deck

The green screen view off the observation deck

The green screen view off the observation deck

Chloe's quarters

Chloe’s quarters

Wray's quarters

Wray’s quarters

Wray's artwork

Wray’s artwork

Varro's quarters

Varro’s quarters

In his quarters, Varro gets the red card for making the moves on Colonel Young’s ex:

Young's quarters

Young’s quarters

Stage 5 level 1

Stage 5 level 1

The Destiny mess - last day, final scene
The Destiny mess – last day, final scene
Destiny shuttle and corridor

Destiny shuttle and corridor

Under construction

Under construction

Coming along...

Coming along…

Look in to the shuttle from the corridor.

Look in to the shuttle from the corridor.

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Destiny infirmary

Destiny infirmary

Stage 5 level 2

Stage 5 level 2

Stage 6 layout

Stage 6 layout

So, there you go.  Everything you need (minus the construction material, equipment, manpower, and money) to build your very own Destiny!  Check in next week and let me know how it’s coming along.

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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…

1Nebula Awards Showcase 2013 edited 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 the Mist by 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.

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This week feels like the calm before the storm.  Of course, I could be wrong and it may actually be the calm before the calm before the storm.  Or, worse, the calm before the storm that never comes.  Paul and I are closing on several writing assignments (an action feature, an SF pilot, another SF pilot), and a few projects poised to move forward (development on one, going to camera on another pilot, and a potential series pick-up on a third), but, of course, in this line of work nothing is assured.  Things certainly look promising but, in all fairness, they’ve looked promising for some time now as we’ve maintained a holding pattern in expectation of a decision, one way or the other.

I’m considering working on another spec pilot or going the kickstarter route and just shooting that horror script, but I fear that the moment I start on either, one of the aforementioned deals will close and I’ll have to switch gears.

For better or worse, things seem to be coming to a head so here’s hoping that, sometime next week, I’ll be able to make a big announcement.

In the meantime, I’ve got this blog to keep me busy – and this entry in particular.  As I mentioned in a previous post, I have a slew of Stargate plans – blueprints, schematics, sketches, and designs – from the last few seasons of Atlantis and both seasons of Universe.  Most of these are huge, oversized documents that need to be scanned and digitized. About a dozen, however, are part of Art Department packages for specific episodes.  Rather than offer them up in order of their air dates, I thought it would be more interesting to just pick them at random and upload them as dedicated, individual blog entries.

And so, since you asked, today’s entry offers up a host of Atlantis designs.  From the season 4 two-part opener Adrift/Lifeline:

Adrift:Lifeline coverDuring prep week, the Art Department assembles a package containing an overview of the various sets and builds for a given episode.  As changes are made, the package is tweaked and these progressive stages are reflected in the color of the ensuing drafts.  For those of you interested in learning about the various revisions and their corresponding colors, check out my explanation here: March 10, 2008: THE ULTIMATE EXTREME EXTRA SUPERFANTASTIC BEST LUCKY ULTRA NUMBER ONE FINAL FINAL DRAFT

Atlantis - Control Room

Atlantis – Control Room

While there was a four month hiatus between production of the third season finale, First Strike, and the fourth season premiere, Adrift, hardly any time had passed onscreen.  Thank goodness for our eagle-eyed Art Department who placed little continuity reminders throughout: “One monitor was askew at end of First Strike” and “First Strike continuity – windows OUT throughout/aftermath still in place”. These, of course, a reference to the blast that blew out the windows at the end of the season finale, seriously injuring Elizabeth.  A reminder also goes out to the various other departments for a Zelenka leg brace and that nasty-looking piece of glass that embeds itself in Ronon.  By the way, there’s a reference to “large piano in deep background”. Obviously, we’re not talking about an actual piano – rather, a control console that resembled one (thus the nickname).

Keller's lab

Keller’s lab/infirmary

Clearly, the meager two-bed set-up is optimistic.  Room for plenty more in the event of some unforeseen catastrophe – like an Asuran attack.

Atlantis ZPM room

Atlantis ZPM room

I love the reminder to “check ZPM functioning”.  And then, just in case someone actually did check and found it lacking in the expected energy requirements: “one section lights up”.  Oh, is that all?  Another reference to those darn “pianos” and continuity reminder as per “The Siege”.

Atlantis - balcony

Atlantis – balcony

Whenever we shot outside, on the balcony, we tended to stay on our characters and relied on lighting, the occasional breeze, and the grey practical backdrop to convey a sense of an overcast day.  In scenes where we actually wanted to see the background, we relied on our VFX team to create something convincing – in this case, a beautiful night-time twin-moon view.

Atlantis - halls & corridors

Atlantis – halls & corridors

That, of course, is the gate at bottom left.  The door to Stage 4 (via the productions offices), where the Atlantis set once stood, is corner right.

Elizabeth's office

Elizabeth’s office

The layout didn’t really change despite the changes in command although the set dec was a little different.  Whereas Elizabeth’s tastes ran to the artistic (ie. Athosian statuettes), Carter added a more personal touch in the various photos that lined the back wall. Woolsey’s office was a little more austere, but he did include a personal touch with the photo of his beloved yorkie, lost to his wife in the divorce.

Replicator core room

Replicator core room

The layout of the replicator core room looks a lot like the Atlantis gate room.  Note the tiny human figure at the bottom left, included for scale.

Replicator City - control room

Replicator City – control room

This being the replicator version of the Atlantis control room, set dec is reminded to strip away all Earth touches like computers, desks, and chairs.  Things should be just as they were the last time we were here – in the episode Progeny.

Operating room

Operating room

The doors on the right presumably lead out to the infirmary and the area is “dressed” as such – gurneys, equipment – to suggest the operating room adjoins it.  Since the doors on the left remain closed, we have no way of knowing what’s on the other side.  My guess is the home theater room.   On the bottom left is a note to Prosthetics/Make Up re: Weir’s skull/brain swell.  I remember seeing the “brain swell” demonstration and being impressed (and slightly nauseated) by the very realistic brain that expanded as air was pumped inside.  If I remember correctly, it was the work of Todd Masters and Masters VFX.

Infirmary outside operating room

Infirmary outside operating room

This is the area Ronon walks out of to visit Weir and deliver his bedside talk – one of my favorite scenes of the two-parter.

Damaged hallways

Damaged hallways

This was shot in the VFX stage, the biggest on the lot.  This is where we shot the space jump.  There’s a note: for the greenscreens and “Atlantian floor treatment, bordered by green” because the view of the devastation below is a visual effect.  Up top, construction is asked to pockmark the wall with “asteroid” (meteorite) hits.  Wonder where they got the meteorites?

Hallways - outer city

Hallways – outer city

This, the VFX stage, was so massive it actually held several sets simultaneously including, at one point or other, the village, the hive ship, and the various Earth ships.

Chair room

Chair room

And before we took over the space, it was the set of one of the Blade movies – which is why we would occasionally refer to it as The Blade set.  Love the attention to detail on the snowflake design bordering the chair.

Atlantis - halls and corridors

Atlantis – halls and corridors

There’s a note regarding “Gurney will roll into McKay’s Lab/Infirmary & Operating Room”.  This is, of course, part of the frenetic opening sequence in which a badly injured Elizabeth is wheeled through the halls and into the infirmary.  So frenzied, in fact, that we didn’t notice that part of the medical equipment being wheeled through the shot off the top wasn’t medical equipment at all but actually a camera.

Replicator City - corridors

Replicator City – corridors

Again, similarities to the real Atlantis are intentional on the part of the Asurans – but certain visual cues suggest a different location. SPFX/PROPS are reminded what they need to bring to the party for the scenes in which the replicators hit the AR fields: weapons and, of course, aluminum shavings.

Holding cell

Holding cell

An interesting set.  While there was certainly enough space between the bars to accommodate our cameras, one could argue there was also enough space for a determined prisoner to slip through.  Which is why there were always guards posted on duty.  Still, I would argue you wouldn’t need guards if that cell would have been just a little more secure.  What were the Ancients thinking?

Asuran City - ZPM room

Asuran City – ZPM room

The south wall was presumably an issue so we just got rid of it.  Bless the set’s modular design.

Puddle jumpers on Asuran rooftops

Puddle jumpers on Asuran rooftops

I always preferred the coziness of the jumpers over the roomier Universe shuttle or utilitarian SG-1 cargo ship.  As I mentioned in a previous post, “gak” refers to the exposed inner-workings/guts of some high-tech device – in this case the ARG.

Puddle Jumper Bay before take-off

Puddle Jumper Bay before take-off

It’s amazing the amount of work and detail that went into shots that would last mere seconds onscreen.  But they went such a long way toward creating this world.  None of this: “Hey, we parked the jumper up on the roof.  You’ll just have to trust us!”.

Limbo set

Limbo set

One of three different looks outside our parked jumper.

Midway Station

Midway Station

It wouldn’t be until much later, in the aptly titled Midway, that we would actually get a tour of the place.  Check out more floor plans of the station here: March 15, 2013: Things Stargate!  Note: “All objects in this area must appear to be strapped or bolted down to sell zero-gravity”.  Check out Carter’s zero-g ballet, compliments of VFX Supervisor Mark Savela and his crew, here: September 4, 2012: Days of Stargate Atlantis Past! SGA’s Fourth Season! Adrift!

Apollo Bridge

Apollo Bridge

Yes, now that you mention it, it DOES look very similar to the bridge of the Orion, the Prometheus, and the Daedalus.  Oh, and the Korolev and Sun Tzu if you must know.  But that’s because Earth built them on the same designs.  Of course you know you’re on the Apollo thanks to the “dimensional brass Apollo plaque”.

Atlantis to M35 117

Atlantis to M35 117

And, since some of you asked, the Art Department packages also contained gate addresses when appropriate.  Point of Origin: Atlantis = Subido.

Atlantis to Earth

Atlantis to Earth

Always wanted to dial Earth from Atlantis?  Well, here ya go.

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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

Destiny Bridge and adjoining corridor

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Under construction.  

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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.

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David Blue (aka Eli Wallace) getting a feel for the place.

1James 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.

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The Captain’s chair.

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Commander Carl Binder

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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)

Bridge chair (left arm)

Bridge chair (right arm)

Bridge chair (right arm)

Bridge standard text

Bridge standard text

Ship Systems (left)

Ship Systems (left)

Ship systems (right)

Ship systems (right)

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Patrick Gilmore (aka Dale Volker) took a crash course in weapons and nav systems.

Navigation Systems (left)

Navigation Systems (left)

Navigation Systems (right)

Navigation Systems (right)

Sorry.  Couldn’t track this one down.  You’ll just have to take my word for it.

Weapons System (far right)

Weapons Systems (far right)

Weapons systems (standard)

Weapons systems (standard)

Pretty amazing, no?

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I had a feeling that trying to sell my car would prove a giant pain in the ass.  As it turns out, the experience has surpassed expectations. Initially, I thought I’d save myself the hassle by contacting my local Audi dealer and trading my Q7 in as part of a new vehicle purchase – but the salesman I spoke to actually convinced me that I’d be better off selling the car privately and then putting that money toward that new car.

And so, following his advice, I did my homework, snapped some photos, posted an ad on craigslist that included details like the low mileage and the fact that I would also throw in both summer and winter tires.  And waited.  And waited.  And waited some more.  At first, I assumed that craigslist had failed to publish my ad, so I went to the Cars & Trucks section and found it.  Yep, there it was – along with the other 500+ automobile ads from other private sellers but mostly dealers who positively swamp the section with their listings.

In hindsight, I should’ve found a way to work my Q7 into an episode of Stargate and then auction it off.  Hey, remember the all-terrain wraith-mobile from Tracker?  Or the five passenger space shuttle with the moon roof that the Asgard use in First Contact?  Or the SUV Sheppard and the gang drive off in at the end of Enemy at the Gate (a scene, now that I think of it that, that may have been cut for time)?  Yes? No?

The other day, someone asked me if I had blueprints of the SGC.  I looked through my old Art Department handouts and these are what I came up with.  From Stargate: Atlantis episode #412, Miller’s Crossing:

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SGC Facility

Shallow Money Pit Hallway?  It was used for the crucial Icarus Base evacuation/corridor cave-in/explosion sequence in the Stargate: Universe opener.   Back in the day, we used to see a lot of that Long Tall Hallway – for instance, the scene in Window of Opportunity where Teal’c keeps getting hit by the door.

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The Gate Room

There’s a note for the Art Department: “Gate address “Pegasus to Atlantis” (attached)”.  In fact, pretty much every episode the gate was used included a gate address breakdown as part of the Art Department package.  If you’re interested – and if you are, then I’m assuming you must be a pretty hardcore fan – I’d be happy to scan and upload a few.

There are also notes for a greenscreen VFX and rear-screen puddle projection.  Simply put, every time someone interacted with the puddle, it was a VFX shot.  In the early years of the show, you rarely saw the puddle unless someone was actually going through it simply because it was too expensive to show.  More often than not, you would play the “puddle effect”, that tell-tale shimmer of lights playing off someone’s face as they looked at the off-screen puddle.  Eventually, we started to make use of a puddle projection that allowed us to glimpse more of the puddle – less at the beginning because the visual wasn’t all that convincing, but more in the franchise’s later years as the visual improved.

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Control Room

There’s a note for Construction to include the “iris plug” in the event director Andy Mikita wanted to feature the gate in any of his planned shots.  When not active, the SGC gate had an iris in place which was fairly convincing onscreen but much less so up close.

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Lab and Hallway to Lab

Sort of like childproofing a room except, instead of a toddler, you’re preparing for a soul-sucking alien guest.  I always liked the observation room/lab set-up but it’s a room we rarely had occasion to use.

There is a reference to “2 hero workstations”.  The term “hero” refers to something that will be featured onscreen/used by one of our characters.  As a result, it should be the more convincing of the various versions in a given scene.  The hero zat gun, for instance, actually had some operating parts (short, sadly, of actual stunning/killing/disintegrating/lock-picking capability) as did one of the hero staff weapon.

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Work Area/Boardroom

Don’t remember the scene but I assume this was a different boardroom than the one located above the control room.  It was there, at the long table, that Hammond would discuss off-world missions with SG-1. What struck me most about the boardroom back in the day was how chipped and weathered that table was – and what pains the director must have gone through to shoot it in a way that concealed all those blemishes you couldn’t help but notice every time you visited the set.

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Mess Hall

Home of the infamous blue jello and WoW Fruit Loops.

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Sheppard’s Quarters

Where’s the t.v.?

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Holding Room

For the “other” guests.  If I remember correctly, this was Vala’s room.

I know, I know.  I’ve really got to get around to scanning and digitizing the rest of these files.  In the meantime, interested in checking out anything else?  Destiny?  Atlantis?  Those various gate addresses? Wraith facilities or Sheppard’s family home?  Let me know.

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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.

Over at Forbes.com, Paul Tassi asks: “How did a show that’s been off the air for eight years raise two million dollars in barely half a day?”, and then proceeds to break down exactly how they pulled it off [http://www.forbes.com/sites/insertcoin/2013/03/14/how-exactly-did-veronica-mars-fund-a-movie-in-ten-hours/].  It offers great insight – and food for thought.

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…”

1. The fanbase must be religiously devoted

Check.  There’s no doubt the Stargate fanbase is still strong and more than willing to support the franchise as evidenced by their continued involvement on fansites like Save Stargate Universe | Facebook, GateWorld | Your Complete Guide to Stargate!, and Stargate Solutions.

2. Get everyone on board ahead of time

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!

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IMG_3702Look 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…

1ENEMY 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.

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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…

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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!

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While we were shooting Atlantis’s final episodes, fans were fighting to save the series.

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Sheppard’s sweet ride

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It looks better without the bullet holes.

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To: Das.  Love: Wraith.  The incredible Neil Jackson

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A couple of Sopranos alums guest star: Frank Vincent and Steve Schirripa.  Both were stand up guys.

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Also putting in cameos: the late Joel Goldsmith (left) and former MGM Senior Executive VP and huge Stargate supporter Charlie Cohen (middle).

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Director Robert Cooper demonstrates sleight of hand, setting up a shot and skimming some poker winnings.

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John Sheppard, P.I.

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1So, while Akemi’s been busy making outfits for the dogs (see above), I’ve been busy working on that female protagonist-driven drama series I mentioned the other week.  My research is almost complete.  I’ve hammered out a solid outline, and I started writing the script yesterday.  So far, so good.  But before I can declare smoooooth sailing, there are some details that still need working out – the type of details that require the proper information – the proper information that, for some reason, isn’t readily available online.  Seriously.  I can find those annoying Harlem Shake videos without even looking for them, yet can’t find specific information pertaining to the inner workings of the Witness Protection Program and the obligations of federal witnesses in the event of a re-trial.  Anybody?  Anybody at all? Or, better yet, anyone happen to be related to, or friends with, a U.S. Federal Marshal?  Hook me up!

Only a handful of episodes left!  Days of Stargate Atlantis Past continues with…

1IDENTITY (518)

Keller on the woods and on the run?  This must be a Carl Binder script! A lot of fun in this one with stabbings, planned executions, and even a cameo from Carl himself (as Jennifer’s proud dad in a graduation photo briefly glimpsed).

At this point in the series, it seemed like every episode would engender some sort of controversy whether it was the McKay-Keller relationship (Brain Storm), the Atlantis expedition’s defense of their actions in the Pegasus Galaxy (Inquisition), the bittersweet passing of a colorful antagonist (The Prodigal) or, in the case of this episode, the shooting of a local executioner.  You know the scene: Keller, having been sentenced to death, is trundled off and forced to lay her head down on a tree stump.  The executioner raises his axe to deliver the death blow when – BLAM! – he gets shot and goes down.  Sheppard and co. charge out of the brush and rescue Keller.  There were some fans who were outraged by the seemingly cold-blooded killing of the axe-wielding local.  ”But he was about to decapitate Keller,”I couldn’t help but point out.  ”So what?”was the uniform response.  ”He was just doing his job!” Er, I suppose you COULD look at it that way…

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So THAT’S what they’re looking at on those big screens.  And here I thought it was old episodes of Gilligan’s Island.

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Get your tickets to the gun show!

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Paul McGillion and Dawn Olivieri best of buddies.

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Until Dawn feels she’s being upstaged.

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Jason Momoa always had a way of making everyone feel welcome on set.

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But after a while, the guitar playing can get on your nerves.

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And so can complaining about it.

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