Category: TV Sci-Fi (Page 21 of 81)

Late Friday movie news dump

It’s been a long four day week, and the hits just keep on coming.

* Even as A-listers are wrapping up George Clooney‘s Haiti telethon, the Sundance Film Festival is now underway in earnest and under new management, although boss Bob abides, naturally. Anne Thompson has a report from the front. Yesterday, she reported on the notable acquisition of the super-fest, director David Guggenheim’s “Waiting for Superman” — which is not about to whole “when will the next Superman movie come out?” thing or even superheroes at all. Sorry.

More Sundance news to come next week, no doubt. Watch this space.

* Movie City News has compiled the results of 225 Top 10 lists and come out with a top 30 of its own. At the top, “The Hurt Locker” far ahead of nearest competitors, “Up in the Air” and “Inglourious Basterds.” At the bottom of the “best of” lists, Lars von Trier’s horror drama “Antichrist,” the most controversial film in a career filled with controversy.

* Speaking of films at the bottom, the Wrap brings us Forbes’ annoyingly hard-to-read list of the biggest fiscal flops of the last five years in more easily digestible form. Topping the list is the recent adaptation of Robert Penn Warren’s “All the King’s Men” which went from Oscar hopeful to complete dud in nothing flat when it came out. There are two films I personally like on this list, “Grindhouse” and “Walk Hard.” Anybody else out there have a favorite on the flop list? In any case, I wonder about the accuracy of the list as it doesn’t include DVD figures.

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TCA Tour: Caprica

Although Syfy’s “Caprica” is a prequel to “Battlestar Galactica,” the fact that the series are separated by 58 years and an apocalypse (give or take) doesn’t mean that the two don’t share similar elements. Indeed, writer / executive producer Jane Espenson immediately offered up two words that link the shows: moral complexity.

“There’s no stark bad guys and good guys,” she explained. “This is a world that is perceived by some of its residents as sort of sliding over the edge, there’s a whole bunch of people who think they’ve got the answer, and it’s not at all clear that any of them have the answer. The guy who believes in technology thinks that’s the answer. The person who believes in religion thinks that’s the answer. And if everybody has moral shadings, we can tell very complex stories as a result.

Espenson’s fellow writer / executive producer, David Eick, clarified another similarity: the two shows take their genre very seriously. “We really do try to involve depth of character, realism, grounded-terrestrial naturalism to a science fiction world,” he said. “That sort of came from what we always admired about the greats and the classics, from Asimov to Heinlein to Philip K. Dick, this idea that science fiction was not just fun and games. We wanted to go sort of the opposite direction of George Lucas, if you will. We wanted to make it less about escapism and more about moral complexity, as Jane was saying, and great characters.”

For those who have seen the pilot to the series, which will air again tonight on SyFy, you may be wondering if its tone and content will remain consistent when the series officially kicks off next week. Apparently, so were stars Eric Stoltz and Esai Morales. According to Eick, both actors wanted some reassurance that the pilot was not going to be a one-off, with the series going in a different direction altogether.

“I think, if anything, we go towards that even more rather than shying away from it,” said Stoltz, “because that’s what interests all of us as actors: playing these ambiguous, conflicted people living not in a black-and-white world and trying to find their way in it. We wanted to be exactly like that, so we’re all striving to make it as good as possible.”

“Also,” added Morales, “the naturalism in what I see from my fellow actors and their acting, it’s very unlike anything I’ve seen on television. The atmosphere of the show as well. The planet feels like it has a presence, a consciousness, in a sense, that I think is taken from the pilot, and it moves. It’s rooted in the pilot, but I think the show will evolve from what you saw in the pilot.”

Rest assured, however, that you don’t have to have to know “Battlestar Galactica” to appreciate “Caprica.” In fact, as Eick is quick to point out, the network’s marketing strategy for the series involves a notable lack of the words “Battlestar” or “Galactica” in the title of the show. Still, it’s not as though there’s a single article that’s been written about the show that doesn’t mention the connection, so why should newbies join in the fun?

“The same reason they come to any well-marketed and, hopefully, well-executed television show,” replied Eick. “That it’s compelling in its own right, that it has ideas embedded in it and a visual style that looks inviting and exciting. On that front, I’m not terribly concerned. From the standpoint of the execution within the show once you’re in, new viewers will find that there’s virtually no tether to ‘Battlestar Galactica’ from a storytelling standpoint whatsoever. There are the occasional Easter eggs and nods and acknowledgments for the faithful to enjoy or maybe deepen some of their appreciation for it, but I think legitimately the show stands on its own. Other than the fact that, if you happen to know ‘Battlestar Galactica,’ you know that that show had its roots in some of the stories we’re telling now, there really is no relationship between the two shows whatsoever.”

“Imagine you were watching a show that you knew nothing about and they were developing sentient robots,” added Espenson. “You might very well get a glimmer that these sentient robots are going to be trouble down the road. You don’t need ‘Battlestar Galactica’ to tell you that. In a storytelling sense, (‘Caprica’) tells you that.”

“I have a lot of friends who have never seen “Battlestar Galactica,” don’t like sci-fi, and they watch it because of me,” admitted Magda Apanowicz. “But when they actually end up watching it, they love it. Like, they’re shocked, and they’re, like, ‘There’s so much that you can take away from it. There’s so many different storylines that you can relate to.'”

“We just have fun, guys,” said Morales. “We hope you do, too.”

Bendis’s collaborator for FX’s “Powers” pilot revealed

Who says persistence doesn’t pay off?

On Sunday, I spoke with John Landgraf, FX’s President and General Manager, to get the latest update on the network’s attempts to transition Brian Michael Bendis’s “Powers” from comic book to the small screen. Not only did he confirm that the pilot was indeed still in the works, he also let slip that Bendis was now collaborating with an outside writer, describing this other individual as “a really, really good writer who got really excited about the project. The new writer and Brian have got a good take on it. They came in about two months ago and pitched what they were doing, and it was great.” What Landgraf did not tell me was the name of this writer, as he wasn’t sure if he was allowed to release the information yet, but he assured me that he would get in touch with me once he could.

Well, he just did…and, frankly, I couldn’t be much more excited about it. Bendis’s collaborator is none other than Kevin Falls, the man behind NBC’s late, great “Journeyman.” Given how well Falls kept the mythos and storylines of “Journeyman” weaving in and out, he seems like an excellent pick to work on such a complex series as “Powers” is likely to be. I’ve already dropped a line to Mr. Falls’ folks, in hopes of chatting with him about the gig, so keep your fingers crossed just as tightly this time as you did last time. (It worked pretty well, after all.)

What say you? Are you as jazzed as I am…?

AMC greenlights two new pilots…and, yes, one of them is “The Walking Dead”

Only days after further talking up their upcoming new series, “Rubicon,” at the TCA press tour, AMC has announced two pilot orders: “The Walking Dead,” based on the comic book series written by Robert Kirkman, and “The Killing,” based on a Danish TV series entitled “Forbrydelsen.” Both pilots go into production in second quarter 2010.

“The Walking Dead” tells the story of the months and years that follow after a zombie apocalypse, following a group of survivors who travel in search of a safe and secure home; the series…well, the comic book series, anyway…explores the challenges of life in a world overrun by zombies who take a toll on the survivors, where the interpersonal conflicts sometimes present a greater danger to their continuing survival than the zombies that roam the country. Kirkman has signed on to serve as an executive producer on the series, and Frank Darabont (“The Shawshank Redemption,” “The Green Mile,” “The Mist”) has signed on to write, direct and executive-produce. Other EPs on the project include Gale Anne Hurd and David Alpert.

“The Killing,” meanwhile, ties together three distinct stories by a single murder and as the detectives assigned to the case disagree about the best course of action, they chase down a variety of leads and suspects; along the way, there are major repercussions for the victim’s family, the detectives, the suspects, and the local politicians connected to the case. The series is to be written and executive-produced by Veena Sud (“Cold Case”), along with Mikkel Bondesen (“Burn Notice”) and Kristen Campo.

“’The Walking Dead’ and ‘The Killing’ are alone in their class in terms of the quality of the storytelling,” said Joel Stillerman, AMC’s senior vice president of original programming, production and digital content, in a press release issued by the network. “Both have remarkable talent behind them, and present that rare opportunity to raise the bar significantly within a genre. It is a very exciting next step in our continuing commitment to presenting smart, sophisticated storytelling with broad appeal.”

More “Powers” talk with FX’s John Landgraf

You may remember that, back in August, I spoke with John Landgraf, FX’s President and General Manager of FX, to get the latest update on the network’s attempts to transition Brian Michael Bendis’s “Powers” from comic book to the small screen. At the time, he could only reconfirm that it was in development, adding, “We’ve seen a draft of the script, we’ve given the notes on it, and we’re waiting on another draft.”

So what’s the latest update? Is “Powers” dead at FX?

It is not.

“We have a new writer who came in and who’s working with Brian Bendis,” Landgraf confirmed. “He’s a really, really good writer who got really excited about the project. He came in, and they pitched us a new take. Because part of what you’re trying to do with ‘Powers’…and I think I said this to you when I talked to you before…is that you have a great property, a really robust property, but it has to be adapted to become a weekly television series. So you’re asking yourself the question, ‘What stays and what goes?’ For example, the Retro Girl murder story: should that whole story be told in the pilot, or do we introduce it and tell it later? But the new writer and Brian have got a good take on it. They came in about two months ago and pitched what they were doing, and it was great.”

Unfortunately, you may have noticed the same thing I did: Landgraf’s pointed avoidance of revealing the name of this “really, really good writer.” Alas, he’s unable to reveal said writer’s name at present, but he assured me that, when he’s able to do, he’ll be in touch. Yeah, I know, that’s what they all say, but since he remembered our discussion from August, I’m keeping my fingers crossed that my continued enthusiasm will result in getting the information, so watch this space!

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