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Posts Tagged ‘Caprica’
Peter Wingfield is just itching for a fight today, but, in fact, he is not the only one. It is a warm and sunny Friday in Vancouver, British Columbia, and one of the last days of filming on the Syfy Channel miniseries Riverworld (Sunday, April 18th from 7-11:oo p.m. EST). Inside the warehouse studio, a two-level platform with stairs has been erected in front of a huge green screen. This is where Wingfield, who pays Sir Richard Burton, and the show’s leading man, Tahmoh Penikett (Matt Ellman), have spent the better part of the day shooting a fight that took quite a bit of time to prepare for.
“Last Sunday was the first time that Tahmoh and I actually looked at this fight,” says Wingfield during a break in filming. “There are several fights in our story and the stunt guys as well as Tahmoh have been really busy all the way through. The stunt choreographer had gone off and created this fight with his guys, and then last Sunday, Tahmoh and I spent two hours at the gym working through what the fight would look like. This week we’ve tried to find time during lunch breaks and such to, not practice it physically, but just sort of talk through the shape of the fight.
“Now here we are on set-today and because of the constraints of the location, we have to change bits of the fight. So things that we learnt, we’ve now got to wipe those from our minds and stick something else in there instead. We’re also dealing with time constraints, so we’re shortening the fight, which is comprised of 60 or 70 moves, in one of the parts.
“This is a big throwdown, knockdown, smackdown conflict, and that makes sense given that it’s the end of our characers’ journey and their final conflict. We have a quick exchange at the start of the story, then we have the journey, and now we get to this point and this fight is absolutely personal. My character surprises Matt, and he could have simply knocked him out and killed him, but doesn’t. Burton chooses to get into a fistfight, the reason being that he wants to cause Matt pain, and he wants to see it, too. Burton wants to relish the physical contact and the suffering. It’s all rather dark and ugly,” says the actor with a smile, “but it’s also a really good, really cool, intense story.”
In Riverworld, Sir Richard Burton is among the countless human beings who, following their deaths, have been reborn on the riverbank of a mysterious new world. Intent on reaching this great river’s headwaters and destroying this place, Burton hijacks a riverboat being captained by Samuel “Mark Twain” Clemens (Mark Deklin). Clemens and his passengers, including an American war correspondent, Matt Ellman, and a 12th century Samurai warrior named Tomoe (Jeananne Goossen), have been searching for Matt’s missing fiancée Jessie (Laura Vandervoort). Carrying on with their search, they must now also deal with this unwanted adversary and any other dangers that await them along the way. Like a few of his fellow Riverworld actors, Wingfield’s character is, in fact, based on a real-life individual.
“In-between putting a couple of audition scenes on tape for Riverworld and receiving a call to meet with the director, Stuart Gillard, I was sent the script,” he recalls. “I read it and did some research on Victorian explorer Richard Francis Burton, who was quite an extraordinary guy. He spoke 25 languages and, with dialects, was probably fluent in 40. Burton was also an explorer and visited several countries. He went on a pilgrimage to Mecca disguised as a Muslim from Afghanistan. This was at a time when if they had known that an infidel was in the holiest of holies, they would have cut him up into little pieces and eaten him.
“Burton translated The Kama Sutra as well as One Thousand and One Nights, what we know now as The Arabian Knights. He seemed to be interested in so many different things. Burton was an explorer in the most general of senses, but not just of the physical lands but the emotion and cultural landscapes as well. He was a poet, too. However, the thing that struck me was the sense of danger about this guy. He was a James Bond-type character, not only going undercover, but dangerously undercover.
“Riverworld is based on the books by Philip Jose Farmer, which use the idea that Burton, along with the rest of humanity, has been reborn again on this other planet. When I read the script it had this interesting Sci-Fi flavor and an alien-created world, but the concept allowed you to bring in these various characters from human history, which seemed like a neat idea. So for instance, we have Mark Twain, or Samuel Clemens, and the Spanish explorer Francisco Pizarro [Bruce Ramsey]. I really liked that because it means you can bring in anybody, and you can also kill them off and then decide to bring them back again. How perfect is that for TV?’
Having done all this research, there was only so much of it that the actor could apply to his portrayal of Burton. “The thing is, there are several different [research] sources that are not identical,” explains Wingfield. “You’ve got the real person, then the character in the novels, and finally Burton in this miniseries. While they’re related to each other, they are not the same. The novels aren’t about the real Richard Burton. They are taking the idea from the historical facts of his life and how he might have lived in this fantasy world. Meanwhile, the miniseries is not a literal translation of the novels, but rather a reinvention of them. So there are some things that you can take with you, and others that are not the same.
“Ultimately, the story that I have signed up for and that I’m telling is of Richard Burton on the miniseries,” continues the actor. “All the information that is significant is in the script of this four-hour TV movie. So there’s a lot of juggling going on. I’ve taken inspiration from a number of different places, but the facts that I have to work with are just those in the script. And to me what is, I think, the most powerful and demanding of these facts is the darkness of my character. Burton is a scary guy. He’s a really dark and violent man, and yet he is also tremendously witty as well as charming and sexy. I mean, he has love scenes with the two major female characters in the story, and they’re both very different and tell you a great deal about the character.
“I’ve always felt that love scenes, just like fight scenes or a dance, reveal aspects of a character. Very verbal or very intellectual characters have some sense of control over what they’re saying and what they reveal to you when they’re speaking. However, when you watch them doing something physical, particularly something where they have to some extent lost control, such as a love scene or a fight, they reveal different things about themselves.
“One of the great joys about playing Burton is that there are two dissimilar stories involving the two women with whom he has liaisons, and I was quite interested in just the visual imagery of that. One of them is a very verbal scene, and the other is completely without words. I spoke at length with our director about this, because we wanted to be telling very different sides of Burton’s story. And that’s been both the challenge and the thrill of playing him, those extremes that are within him. He has a high level of culture and education, but then there’s a brutality and connection with an almost animal-like quality and rage inside him. It’s been quite a trip for me [acting-wise]. I’ve tried to make him the most complex character that I’ve ever played because, again, I feel the Richard Burton who genuinely lived was an extremely complicated individual.”
Although this is Burton’s first encounter with Matt Ellman and vice versa, Wingfield’s character seems determined to get rid of him. Why? “I didn’t realize when I began this project how simple the heart of this story is,” he muses. “It’s a love triangle. When it all comes down to the final showdown, it’s a woman who has very different sides of herself fueled or expressed by Burton and Matt. However, both men recognize something in each other. Yes, they have a conflict because of this woman, but they also see the world almost the same and yet slightly differently.
“It’s that slight difference that has taken Burton and Matt in opposite emotional and spiritual directions. From the outset, Burton has been described as a bad guy, but having read the script I thought, ‘In what world is he the bad guy?’ There is a part of Burton who wants to see the world the way Matt sees it, and there’s also clearly a part of Matt that wants to see the world the way Burton does.
“So once they’re in absolute conflict with each other, there is a sense of recognition insofar as the equality of both these warriors. Here are these two adversaries who are worthy of the fight, and that has very much developed throughout the filming of Riverworld. I didn’t see that initially. However, as we’ve gotten towards the end of shooting I could see that that was where it was going. I looked back at the story we told during the filming and realized it was there all the time.”
Wingfield recently guest-starred on the TV series Human Target and Caprica, and can be seen in the upcoming Syfy Channel Saturday Night Movie Stonehenge Apocalypse. Prior to shooting Riverworld, he played a multi-episode arc on 24 as well as reprised his role of Dan Clifford back in his native UK in the TV medical drama Holby City. The actor also appeared as Dr. John Watson in the first season finale of the hit Syfy Channel series Sanctuary.
“That was a great character,” says Wingfield. “In Sanctuary, John Watson was supposedly a real person who had inspired Sir Arthur Conan Doyle to write Sherlock Holmes on the stipulation that he would also write the detective a sidekick and call him John Watson.
“So he was a brilliant man from Victorian times and Watson and Dr. Helen Magnus [Amanda Tapping] had a history together in that they were part of a group called “The Five.” In this episode, the four surviving members reconvene and we learn that through his brilliance and ingenuity, Watson has kept himself alive by creating a machine that could fight off aging.
“It was such a fun part to do. I’d known Amanda Tapping from Stargate SG-1 years ago, but I hadn’t worked with Chris Heyerdahl [John Druitt] before and it turned out to be a real pleasure. There are some actors who you just connect with and it works, and Chris and I had a relationship where we immediately trusted one another and could play with the scenes – not just get through the lines, but mess with them and change the intention. So they would always remain alive, interesting and fun.
“There was this one really powerful scene that we were shooting. It must have been two in the morning and the end of what had been a very long day. And I remember it with great affection because once we finished, the crew, who had probably done a 17- or 18-hour day, were all totally focused and concentrating on this scene. Over the next few days, one after the other said how great it was to have been a part of shooting it. That doesn’t happen very often.”
While working on Riverworld, Wingfield had the chance to spend some time with his young son. Of all the roles he has had, the actor considers this one to be his most important. “Fatherhood is the only thing of significance I’ve ever done in my life,” he says. “It’s the real thing, and all the rest is just mucking about.
“I love being a father and it’s tough in this business to be a solid fixture in your child’s life. I have a fabulous wife, though, and whenever he’s able to, my son comes to visit me if I’m away filming. He’s had his Spring break while I’ve been doing Riverworld, so he was up here in Vancouver for a week, which he absolutely adored. We still have family here – his grandparents, aunts, uncles and cousins – and he spent a couple of days here on-set hanging out with me along with the rest of the cast and crew on a paddlewheel steamboat. His favorite department is props because he gets to see all the guns and swords. He especially enjoys hanging out when we do the special effects, like blowing stuff up and setting fire to things. It’s tough to impress nine-year-old boys, but if you can blow stuff up they’re usually interested,” notes the actor with a smile.
As noted above, all photos by James Dittiger and copyright of the Syfy Channel, so please no unauthorized copying or duplicating of any kind. Thanks!
SPOILER ALERT!! – When a dark secret from Amanda’s (Paula Malcomson) past resurfaces, she turns to Clarice (Polly Walker), who seizes the opportunity to gain Amanda’s trust. Meanwhile, Daniel (Eric Stoltz) and Joseph (Esai Morales) get closer to finding their deceased daughters’ avatars. The Imperfections of Memory airs Friday, March 12th @ 9:oo p.m. EST on the Syfy Channel.
Miss any episodes of Caprica? Catch up with a mini-marathon starting at 2:00 p.m. EST, Friday, March 2nd on Syfy.
Click on the following link for a preview of this episode – https://rcpt.yousendit.com/832216941/19838b5b5126daed854c2936e487e855
As noted above, photo by Eike Schroter and copyright of the Syfy Channel, so please no unauthorized copying or duplicating of any kind. Thanks!
SPOILER ALERT!! – Rival industrialist Tomas Vergis arrives on Caprica demanding a meeting with Daniel Graystone (Eric Stoltz), threatening to reveal proof that Daniel stole the chip that is key to the U-87 Cylon and Graystone’s military contract. Vergis whirls up a publicity storm that steals the heart of the Caprican public, and surprisingly serves up a friendly offer to Daniel that could save Graystone Industries. But there’s a catch to his proposal that could haunt Daniel for years to come.
Sister Clarice (Polly Walker), panicked that off-world STO leadership has been backing a rogue named Barnabas Greeley (James Marsters), steps up her plans to acquire Zoe Graystone’s (Alessandtra Torresani) avatar program…and may find her answer through befriending Amanda Graystone (Paula Malcomson). Meanwhile, wanting to fulfill her own promise to Zoe. Lacy Rand (Magda Apanowicz) goes with Keon (Liam Sproule) to meet the enigmatic Barnabas, opening herself up to a new world of danger.
After the revelation that the avatar of his daughter Tamara (Genevieve Buechner) is still lost in V-World, Joseph Adama (Esai Morales) starts his quest to find her in a virtual world he knows nothing about. Know Thy Enemy airs Friday, March 5th @ 9:00 p.m. EST on the Syfy Channel.
Click on the following links to preview this episode – https://rcpt.yousendit.com/828084765/aebd9b38654335c84757a62c819e8bcd
As noted above, all photos by Eike Schroter and copyright of the Syfy Channel, so please no unauthorized copying or duplicating of any kind. Thanks!
SPOILER ALERT!! – After his public promise to forgo future holoband profits, Daniel Graystone (Eric Stoltz) finds himself fighting for his professional life.
The avatar of Tamara Adama (Genevieve Buechner) wanders scared and lost in the V-World, unaware that she died nearly a month ago in the MagLev bombing. Falling in with a group of gamers, Tamara discovers a new side to the V-World…New Cap City, a world of escape where people live alternate lives of violence and crime in search of the game’s elusive meaning. Forced into aiding a digital crime spree, Tamara befriends a young gamer and discovers a devastating secret that threatens everything she knows.
Joseph Adama (Esai Morales), realizing that he hasn’t been emotionally present for Willie’s (Sina Najafi) grief, tries an impromptu fishing trip to bond with his son. The trip reveals new layers of torment for Willie and leads Joseph to conclude that, for both their sakes, he may need hs Tauron roots more than he realized. There Is Another Sky airs Friday, February 26th @ 9:00 p.m. EST on The Syfy Channel.
Click on the following link for a preview of this episode – https://rcpt.yousendit.com/824071569/847c792f8807db165712bacf111aab77
As noted above, photos by Eike Schroter and copyright of the Syfy Channel, so please no unauthorized copying or duplicating of any kind. Thanks!
On January 22nd, 2010, the long-awaited Battlestar Galactica prequel Caprica premiered on The Syfy Channel. A few days before, series co-creator/executive producer David Eick and cast member Paula Malcomson, who portrays Amanda Graystone, spent some time on the phone speaking with myself as well as several other journalists about the series. The following is an edited version of our conversation. Enjoy!
Can you talk about the intention to make Caprica different from Battlestar Galactica, because it definitely has a whole different feel to it.
DAVID EICK – I think we’re very intently committed to the idea that this show stand on its own, and that it not in any way feel like an echo, a descendent or an extension of Battlestar Galactica. You’ll note that the title is not Battlestar Galactica Caprica, but simply Caprica. The relationship that it has to Battlestar is purely inconsequential. It’s kind of in an Easter egg sense of fun for the fans and audience that followed Battlestar Galactica. However, if you never saw a lick of that show, it will have no impact on your ability to really get involved in and relate to the characters as well as the drama that we’re doing on Caprica.
People can pretty much watch Caprica in a lot of different places other than on the Syfy Channel, such as on-line. Is that part of your design or does that come from the network?
DE – Well, it was a network design, but I believe – and I’m not certain about this – that it’s a release strategy or a distribution strategy that other networks have tried as well. I think Glee may have done something like this where the pilot premiered and after a period of time went by, the pilot re-premiered as a launch to the TV series. So I think in a multi-platform universe as it were, where people are consuming dramatic material on their televisions, DVD players and the Internet, it’s really kind of smart and ahead of the game to figure out new and unorthodox ways to launch a TV show. But, yes, that was definitely the network’s call and we were happy to get onboard. In fact, it gave us an excuse to spend even more money on the pilot, and the version that ultimately aired was sort of tricked out with a bunch of new shots and visual effects as well as a couple of scenes we even re-shot. So it’s been worth it all around.
Paula, it seems from watching the first few episodes that your character has a lot of really tough moments to play, and she makes a lot of choices that might make her unsympathetic in the eyes of a lot of viewers. I’m wondering how you struggled with portraying that and making her a likeable character?
PAULA MALCOLMSON – It’s definitely something that occurs to you in the back of your mind, but as an actor you have to sort of put aside your own judgements in terms of whether your character is necessarily good or bad. I think being a good actor is sort of understanding the complexity of the human psyche and also knowing that none of us are perfect. So it was tough and I did think about it, particularly that many people would perhaps find Amanda unsympathetic. I just really tried to tap into the character’s loss and pain as well as the fact that she has made mistakes and then go from there, you know?
DE – I would also add that I don’t think in the sort of canon of this show or shows like it, that there’s a tremendous amount of concern for what I would call old-fashioned television tropes-like sympathetic characters. I think audiences want challenging characters and ones who are neither black or white but somewhere in the middle and who are going to challenge the audience’s expectation in every way. One of the reasons that Paula plays her character so well is that you’re never quite sure what to expect from her. And there are times when you expect her to maybe lose it, but, in fact, she completely holds it together and vice versa. I think that’s human and real and part of what I think is the hallmark of the show.
David, how much impact did female viewership play in not setting the series in space or relying heavily on space scenes?
DE – Most of the people I spoke to about Battlestar in terms of the fan base were women, so the empirical demographic breakdown of the audience is something that I just chose to keep at bay and not pay a lot of attention to. So I never really think in terms of gearing a show towards a particular audience. In more general terms, yes, I do recognize the fact that perhaps a female audience might be more inclined to watch a story that’s more of a soap operatic kind of melodrama and without the accompanying visual sort of ghetto and spaceships and outer space. Something like that might have more accessibility to a female audience just because of that generalization. But that was never a motivation for not setting Caprica in space. The motivation was to make it as different and unique from Battlestar as possible.
David, when you guys did Battlestar Galactica, you and Ron Moore (Caprica co-creator and executive producer) talked about how the plot of the show evolved organically instead of having everything mapped out in a specific direction. Based on your experience, have you changed that creative process, and if not, why have you stuck with that mentality?
DE -Ron Moore and I had a number of discussions about this very early on. We come from very different backgrounds in terms of how writers’ rooms are run. On Star Trek – and I heard all this third hand and cannot confirm any of it – but presumably the outline process takes place in the room. It’s very precise, very detailed. There’s not a lot of jazz or improvisation invited or tolerated, and it’s almost a military-like environment. That’s not to say that the work was any less good, it’s just that it was run with that level of discipline and structured parameters. I’ve worked with other writers and producers in a variety of different capacities and there was a much looser environment where young writers were encouraged to come up with ideas and contribute. You might throw some suggestions out, and you might find others brilliant. The downside of that is you would sometimes have an episode that didn’t work.
So I think we wanted to sort of combine the best of both these [writing] environments. When it came to how the writers’ room was run on Battlestar, and then later on Caprica, it’s about having a structure or large picture plan usually concocted by me and Ron during the hiatus. That would then be delivered to the writing staff and everyone was encouraged to improvise and add and subtract and change and go crazy and just sort of create an environment where there are no bad ideas. If then we lost our way, we’d circle back to where we really wanted to go. So it really is a combination of running a tight ship and yet allowing for there to be a great deal of improvisation and changes on the fly, purely with the intent of developing the best ideas.
PM – That applies on-set with the actors as well in terms of loosely dealing with the script, so when a surprise or something interesting comes up, we have the luxury to be able to follow that instinct. It’s really the only way to work as far as I’m concerned, otherwise there are no surprises and it’s boring, you know? Just the other day one of the directors said to me, “I never know what you’re going to do,” and I said, “Neither do I.” There’s just something amazing and beautiful about that, and hopefully it works.
Paula, could you tell is a little bit about how you first became involved in Caprica and about your audition process for the role?
PM – I met with Jeffrey Reiner, who directed the pilot, and I hit it off with him. He’s very smart and a huge film buff, so he just seemed like the kind of director I wanted to work with. So it was first of all responding to the material, and then meeting Jeffrey. I initially auditioned for the role of Sister Clarice, but Jeffrey wanted to see me play Amanda. I was hesitant about that, though, because I didn’t know if I could play that character. I was frightened of that, and I realized that that was a really good thing. Then I met David and Ron and everyone else involved. I think was the first person they cast, followed by Esai Morales [Joseph Adama], Eric Stolz [Daniel Graystone] and then Polly Walker [Sister Clarice], so I was delighted with the people who I’d be working with.
David, with the first season of the show almost wrapped, what maybe have you enjoyed most so far about bringing the Caprica story to life?
DE – Well, the biggest and most pleasant surprise was the one that we sort of didn’t allow ourselves to dream could happen, which was to get as lucky as we did with this [acting] ensemble. That phrase about you’re only as strong as your weakest link really applies when you’re dealing with an ensemble cast. And so we were very fortunate to have such strength across the boards from such established and well-recognized actors like Paula, Polly Walker, Esai and Eric, combined with people like Sasha Roiz [Sam Adama], who were going to be brand new to an American audience and are able to hold their own. Those are things you can’t plan for, you just have to hope. We got together in Lake Tahoe way back in January of last year to start breaking stories, so it wasn’t for lack of planning when it came to aiming to make the show good in every way that we could control. But as hard as you might work on casting and such, you just never know until you get there, and we just got incredibly lucky with our cast and crew as well.
As noted above, photos by Chris Haston and Joe Pugliese and copyright of The Syfy Channel, so please no unauthorized copying or duplicating of any kind. Thanks!
SPOLILER ALERT!! – As the fallout from Zoe’s (Alessandra Torresani) involvement in the MagLev bombing grows, Daniel (Eric Stoltz) prepares to defend himself and his company on the hugely popular talk show Backtalk with Baxter Sarno (Patton Oswalt). His plan to distance himself from Zoe finds him alienating his wife Amanda (Paula Malcomson), who is still reeling from her own public detractors. As Daniel steps in front of the camera for showtime, Amanda arrives at the studio, with no intention of staying backstage.
After ordering Amanda’s death, Joseph Adama (Esai Morales) is wracked with a heavy conscience and desperately tries to stop his brother Sam (Sasha Roiz) from carrying it out…but the hitman is already closing in. Meanwhile, Agent Duram (Brian Markinson) uses his GDD resources to circle closer and closer to Clarice (Polly Walker) and the youth of the STO, forcing Lacy (Magda Apanowicz) and Keon (Liam Sproule) closer together and possibly into an unexpected romance. Gravedancing airs Friday, February 19th @ 9:00 p.m. EST on The Syfy Channel.
Click on the following links for a preview of this episode –
As noted above, all photos by Eike Schroter and copyright of the Syfy Channel, so please no unauthorized copying or duplicating of any kind. Thanks!
NBC Universal and La-La Land Records revisit the acclaimed TV series Battlestar Galactica with the release of the soundtrack for the two extended TV events, Battlestar Galactica: The Plan and Battlestar Galactica: Razor on February 23rd, 2010. Both The Plan and Razor feature music by series composer Bear McCreary. La-La Land Records is releasing The Plan/Razor soundtracks through a license agreement with NBC Universal Television, DVD, Music and Consumer Products Group.
Battlestar Galactica: The Plan/Razor composer McCreary’s Galactica score has been described as “sharp and sensitive” (The Wall Street Journal), “a key element in establishing the show’s dark, complex tone” (The Hollywood Reporter) and “rich, raw, oddly stirring…kick-ass and powerful as hell,” (E! Online). It “fits the action so perfectly, it’s almost devastating: a Sci-Fi score like no other” (NPR). McCreary has performed sold-out shows with the Battlestar Galactica orchestra during Comic-Con in San Diego, and in Los Angeles at the Grand Performances series and at The Roxy.
McCreary currently scores the new FOX series Human Target, NBC’s Trauma and two series for The Syfy Channel – Eureka and the Battlestar Galactica prequel, Caprica, both of which are produced by Universal Cable Productions. McCreary’s credits include the Capcom video game Dark Void and the feature films Wrong Turn 2 and the Rest Stop films. McCreary was among a handful of select protegés of late film music legend Elmer Bernstein and is a classically trained composer with degrees in Composition and Recording Arts from the prestigious USC Thornton School of Music.
“After finishing my four season journey scoring Battlestar Galactica and releasing four remarkable albums with La-La Land Records, I am thrilled to be able to return to this musical universe,” said McCreary. “These two scores make any fan’s album collection complete.”
Edward James Olmos (Admiral William “Husker” Adama) directed Battlestar Galactica: The Plan, which was released on DVD and Blu-Ray in 2009, and aired on Syfy in January 2010. The Cylons began as humanity’s robot servants. They rebelled and evolved and now they look like us. Their plan is simple: destroy the race that enslaved them. But when their devastating attack leaves human survivors, the Cylons have to improvise. Battlestar Galactica: The Plan tells the story of two powerful Cylon leaders,working separately, and their determination to finish the task.
Battlestar Galactica: Razor also tells the story of what happens on the eve of a devastating Cylon attack, this time from the perspective of Officer Kendra Shaw – who reports for duty on the Battlestar Pegasus. When mankind’s future is forever changed on that fateful day, Kenda is reshaped into a “razor,” a tool of war, under the ruthless guidance of her commander, Admiral Helena Cain. Battlestar Galactica: Razor tells the untold story of Pegasus and provides chilling clues to the fate of humanity as the final chapters of the Battlestar Galactica story unfold. Battlestar Galactica: Razor originally aired on Syfy in November 2007, and was released a week later on DVD and Blu-Ray.
“When I compiled the Season 4 soundtrack, it became clear that there was not enough room on even a two-disc set to accommodate cues from Razor and The Plan,” said McCreary. “Combining them on one album made perfect sense, because both narratives flashback to the same time period within the larger BSG story and offer different perspectives on the same events. The scores to Razor and The Plan are two sides of the same musical coin.”
Also available from La-La Land Records are McCreary’s soundtracks for Battlestar Galactica seasons 1, 2, 3 and 4, Caprica, Eureka, Terminator: The Sarah Connor Chronicles, Wrong Turn 2 and the Rest Stop films.
As noted above, photo by Justin Stephens and copyright of the Syfy Channel, so please no unauthorized copying or duplicating of any kind. Thanks!
SPOILER ALERT!! – Following Amanda’s (Paula Malcomson) public revelation that their daughter was responsible for the MagLev tragedy, the Graystones must face the wrath of angry Capricans. For Daniel (Eric Stoltz), this includes a confrontation with Sam (Sasha Roiz) and Joseph Adama (Esai Morales), who demands that Daniel reunite him with his daughter’s avatar – the essence of his daughter Tamara (Genevieve Buechner), living on in virtual space. Daniel also realizes he can’t deal with his grief in private – this is all going to play out on a public stage.
At the same time, Zoe Graystone (Alessandra Torresani) adjusts to her Cylon form and hopes Lacy (Magda Apanowicz) will help her escape to neighboring colony Gemenon. Lacy is concerned, however, that she is arousing the suspicions of headmistress (and STO leader) Clarice Willow (Polly Walker). While in the V-World, the girls meet a frightened Tamara Adama who doesn’t understand what she is or how she came to be here.
At the Global Defense Department, Agents Duram (Brian Markinson) and Youngblood escalate their efforts to track down the terrorist group responsible for the bombing. The Reins of a Waterfall airs Friday, February 5th @ 9:00 p.m. EST on The Syfy Channel.
Click the links below for previews of this episode – http://rcpt.yousendit.com/812697514/5892407d0f134c2db322b436a464a2b9
As noted above, all photos by Eike Schroter and copyright of the Syfy Channel, so please no unauthorized copying or duplicating of any kind. Thanks!
SPOILER ALERT!! – In the wake of the MagLev bombing that killed his daughter Zoe (Alessandra Torresani), Daniel Graystone (Eric Stoltz) plunges himself into his work not realizing that a part of her survived the explosion and is closer to him than he could imagine. Consumed with grief, Amanda Graystone (Paula Malcomson) is obsessed with discovering who her daughter really was, and slowly begins piecing together the details of Zoe’s life.
Zoe, now trapped in the robotic Cylon body, turns to her friend Lacy (Magda Apanowicz) for help. At the same time, Headmistress Clarice Willow (Polly Walker) – a secret ring leader of the shadowy “Soldiers of the One terrorist group on Caprica – is also focused on Lacy, putting the girl under pressure from all sides.
At a memorial service for the victims of the trains disaster, Joseph Adama (Esai Morales) confronts Daniel about the loss of his own daughter. Before they can come to an understanding, they are interrupted by a stunning public announcement from Amanda, who is now convinced that Zoe played a part in the terrorist act. Rebirth airs Friday, January 29th @ 9:00 p.m. EST on The Syfy Channel.
Click on the following link for a sneak peek at this episode – https://rcpt.yousendit.com/808901276/85215b00a603399649a976de39f042a1
As noted above, photo by Joe Pugliese and copyright of The Syfy Channel, so please no unauthorized copying or duplicating of any kind. Thanks!