Posts Tagged ‘Jamie Bamber’

Jamie Bamber, Eric Mabius And Hermione Norris Star In New BBC America Sci-Fi Series

May 17, 2010

BBC America today announced the co-production of a new high concept drama Outcasts.  From Kudos Film & TV – the makers of award-winning and international hit series Life on Mars, MI-5, Hustle and Occupation – Outcasts takes viewers into a new world as it explores humans’ drive for power, politics and sex in a new post-earth era. Created by Ben Richards (MI-5), the new explosive series stars Eric Mabius (Ugly Betty, The L Word), Liam Cunningham (Clash Of The Titans) and Hermione Norris (MI-5, Wire In The Blood).

Production is now underway in South Africa with Jamie Bamber (Battlestar Galactica), Daniel Mays (The Bank Job, Atonement), Amy Mason (Being Human, Torchwood) and South African actress and model Jeanne Kietzmann also cast in the series.

Outcasts is set in 2040 on a recently-discovered planet and tells of the dilemmas, loves and lives of a group of people setting up a new world. This life-sustaining planet is now home to the surviving population from Earth. Here there is a chance to start again, to bring the lessons learnt from Earth and to put them into action on a new planet.

The series begins on the day the last known transporter from Earth arrives, prompting great excitement on the new planet – who is on board? Friends and loved ones? Important supplies and news from Earth? But also many questions – will the new people bring the problems of Earth with them? Will the mistakes that destroyed Earth be repeated? Will the arrival of a new, would-be leader, rock the fragile and precarious equilibrium of the fresh, unified and courageous new world? And, most importantly of all, how do is a new and better world created?

Executive producers are Jane Featherstone, Simon Crawford-Collins and Faith Penhale for Kudos and Matthew Read for the BBC.

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Dollhouse’s Eliza Dushku – A Not-So-Distant Echo

October 28, 2009
Jamie Bamber and Eliza Dushku (Echo) in the seasn two Dollhouse premiere "Vows." Photo copyright of Fox Television

Jamie Bamber (Martin Klar) and Eliza Dushku (Echo) in the season two Dollhouse premiere "Vows." Photo copyright of Fox Television

What would you give to have the perfect man or woman to perform everything from a daring heist to a kinky sexual act? That is the premise behind Fox TV’s Dollhouse, which stars Eliza Dushku as Caroline Farrell, a former college activist who, against her will, has her personality and memory wiped and becames an “Active” or “Doll” for a worldwide organization called  The Dollhouse. As Echo, she is programmed with various personalities depending on the needs of the person or persons who hire her. At the end of the show’s first year, our heroine had started to regain snippets of who she once was, and this (second) season, Echo is fighting to regain her true self while fighting The Dollhouse from within. 

The daughter of an Albanian-American administrator father and Danish-American professor mother, Eliza Dushku was raised with ambition in her blood. At the early age of 10, she was discovered by casting agents for the lead role of Alice in the feature film That Night.

Most recently, Dushku co-starred with Alan Rickman and Bill Pullman in Bottle Shock, a drama about the birth of the Napa Valley wine country. In 1993, the actress landed the role of Pearl alongside Robert De Niro and Leonardo DiCaprio in This Boy’s Life. The following year, she starred with Arnold Schwarzenegger and Jamie Lee Curtis in True Lies, opposite Paul Reiser in Bye Bye, Love and alongside Halle Berry in Race the Sun.

After high school, Dushku returned to acting with the role of Faith Lehane in Buffy the Vampire Slayer. Though initially planned as a five-episode arc, the character became so popular that the actress stayed on for the entire third season and returned for a two-part appearance the following season. The remainder of her original story arc was played out in the first season of the spin-off Angel. Repentant and rededicated, Faith returned as a heroine in a number of later episodes of Angel and the last five episodes of Buffy.

A few weeks ago, Dushku graciously spent part of her day off speaking with me and other journalists on a conference call about season two of Dollhouse. Here is an edited version of that Q & A. Enjoy!

How do you feel the direction of this (second) season differs from the last one?

ELIZA DUSHKU – Well, there’s so much being cracked open and explored, especially with Echo having this new place that she’s in, in terms of what we picked up from last year. She had all these personalities downloaded into her in one swift punch, and they’re not going away. This year, Echo is still tapping into these personalities. Sometimes it’s of her control, other times it’s not. Overall, she’s absorbing things from her engagements as well as The Dollhouse and she’s really becoming self-aware. However, it’s not necessarily as Caroline, but as Echo, as her own person, so she’s definitely more complicated. This season it’s a little darker all around. We’ll explore things such as the origins of some of the other Dolls as well as other characters. We’re also bringing in a number of guest-stars and other fabulous people, so there’s a lot of exciting stuff happening this year.

What trouble will Echo run into during her attempts to save everyone?

ED – I’m sure every kind and all kinds because it’s a Joss Whedon show. We’re starting episode seven and there are so many directions as well as layers. It’s all over the map. Of course, one of the main storylines is Agent Paul Ballard’s [Tahmoh Penikett], who spent last season trying to get into The Dollhouse. Now that he’s in and Echo’s handler, he’s working with her and they may possibly be trying to bring The Dollhouse down from the inside. We also get some backstory involving Dell [Olivia Williams] and her superiors along with other Dollhouses around the country and the world. We get an idea of just how big the Rossum Corporation is, and Summer Glau [Terminator: The Sarah Connor Chronicles] will be joining us as well. She’ll play a programmer from the D.C. Dollhouse, and we’ll get an idea of the way the other houses are being run.

How does a Watertown (Massachusetts) girl become Joss Whedon’s muse?

ED – That’s such a funny and good question, and I have no idea. When I made my audition tape for Buffy the Vampire Slayer, I went to the Arsenal Mall [in Watertown, Massachusetts] and bought my outfit at Contempo Casuals. I remember telling the clerk that I was making a tape for Buffy and they were so excited. And then I was actually emancipated by a Boston judge, who was also a Buffy fan. Obviously it’s a show that dealt with vampires who come out at night, and I was still technically a minor, so I had a great judge who emancipated me so that I could go out to Los Angeles and do the show. Fortunately, I was already out of high school at that time. I guess I’ve always gotten by with a little help from my friends, in Boston and everywhere else.

What do you like about working with Joss and doing his shows?

ED – First and foremost, I love the guy as a friend. Joss has been a friend, a brother, a teacher, a mentor, but the other obvious thing is just his talent. Joss’ skill is so beautiful to me, and he’s just wildly creative as well as smart, a feminist,  funny, dark, scary and twisted. Joss combines all that and more into such a sweet little package, and he gets me every time.

As great as the show is, as talented as the cast is, and as clever as Joss and his team are, obviously you want people to watch the show, and I’m just wondering, do you think Fox has put the show in a position for that to happen, airing you on Friday night after a comedy?

ED – Well, I think they realized last year that people who wanted to find the show did, and, obviously, there has been a lot of talk about DVR and TiVo and how we really are alive for a second season because of that in a major way. I can see how they would say that people found the show last year, so we’re just going to leave it where it is and hope that that continues.

Ratings are obviously important, but, you know, having a professor for a mother, she always taught us about qualitative versus quantitative research. I know we’re making a quality show and that we have quality fans and people who tune in experience something different and out of the ordinary. There are so many shows on TV that are instant hits; we’re not that, but we have a core following, and I think that people check the show out and aren’t intimidated by it. In fact, they find themselves being sucked in pretty easily. It’s sharp, intelligent fun. Sometimes it’s off-the-wall TV, too, and I know that when I’m spending an hour of my life sitting down to watch the boob tube, I love getting a rich experience out of it. And I’ve always found that to be true with Joss, in particular, as well as his shows. Having been given a second season, we’re just so grateful to the fans and to Fox for giving us another chance, and we’re making the most of it.

You and Summer Glau shot a promo last year, and back then your two shows kind of were fighting for the last spot in the line-up. Now that she’s part of your show, what’s the dynamic like between you and her?

ED – Summer is great. I love her. We’ve had such a good time during the past two episodes. She has come in with her A-game and is such a sweet, positive and fun actress. Summer is great to play off of. Our characters have some backstory that we have to fight out, and so that’s a lot of fun. Also, anyone who’s from Joss’ past and who he’s bringing back to work with, I assume he had a great working relationship with them. He wouldn’t bring any bad eggs into our house, so I can always pretty much safely know that we’re going to have the cream of the crop coming back and coming in.

You mentioned that Echo was kind of all over the place this year as a character; as an actor, how do you approach that?

ED – It’s easier this year because we don’t have as much of that sort of ‘dumb down Doll’ with Echo. She has all these personalities and is the sum of all these parts, including Caroline. At the same time, she’s not really any of these personalities, but is, in fact, Echo. There’s something grounding in that, and there’s a strength in the personality that she’s forming through that. Echo is picking and pulling information from all these different people that she’s been, and as a result she’s coming to understand and form her own ethics and morals. This character is constantly absorbing, thinking and processing, whereas last year she was switching from this dumb down Doll to a singular personality imprint, and it was always a different one. This season, there’s something going on inside Echo that’s not just what you’re seeing on the surface and it’s fun for me to play.

It seemed that you guys had such a strong fan base even before the show premiered. Do you guys pay attention to the blog sites and what the fans are saying when you’re coming up with how to shape the episodes and the series as a whole?

ED – I know that Joss and I have always paid attention to the fan love, and we love the fans right back, absolutely. I don’t know how much he takes tips from the fans when it comes to storylines. On the contrary, from what I’ve seen, when he sees someone falling in love with a character, he’s been known to assassinate that character or do something else terrible to him or her. Maybe that’s a blessing in itself, but Joss definitely has a mind of his own. Within the group of writers, they aren’t really conformists, I can confidently say. So whether it’s fans or critics or studios for that matter, they do their best work when they’re sort of left alone and they reveal things as and when they feel they should be revealed. And that goes for me and the other actors as well.

Sometimes it’s really exciting for me. I don’t want to necessarily know what’s going to happen three episodes down the road because it may affect the way I’m playing Echo today. I enjoy the thrill, the adrenaline that comes from reading the next new chapter, and the next layer that Joss reveals is one of the most exhilarating things that I’ve experienced as an actress.

Is there a particular role or character in an upcoming episode that you’re going to play that was hard for you to get into, and if so, why?

ED – Well, I’ll tell you, playing a mother was certainly something I hadn’t expected. I’m an aunt, and I’ve always loved other peoples’ children and babies, but playing a mother and trying to tap into that maternal instinct was a challenge, but also a thrill, and a beautiful thing, too.

Do you sit down with a script and break it down insofar as how aware Echo is of what’s going on with her, or do you just sort of do a scene and see what feels right in how to play it?

ED – We’re absolutely breaking it down more this year because those realized moments with my character are much stronger. It’s actually been deeper work for me, but, again, it makes the character more interesting and challenging for me to play. I have to say it’s been a blessing this year to also be shooting in HD [high-definition] because we have more time,which means i get to spend a lot more time with the material and these characters and their glitches, etc. I feel like that’s paying off for me a lot this year, and that my performance has gotten stronger and more honest.

In the season opener with Jamie Bamber there’s that scene in the office where he catches me, then bashes my head off the table, and then I end up in that sort of tailspin. I sort of famously now burst into tears in the middle of that scene because it was so emotional, and I now feel this real connection to the character that came from the inception of the show. Joss and I have tried to make this character a little bit based on me where it’s this struggle, this battle of who I  am. Even with all the pressures of society and things pouring in on me, where does that break and where is my authentic self, and how it feels to stand and live in that. So it’s very personal as well as exciting, terrifying and gratifying.

Do you feel like Dollhouse is really about the experience of being an actor living and working, in particular, in Los Angeles, and people expecting you to kind of fulfill their fantasies and the dark side of that? Is that something you feel when playing Echo?

ED – Yes, I absolutely think there’s a layer or more of that. When Joss and I had our infamous lunch, that was one of the threads and one of the themes, but I think it also translates to young women all over the world. I was the only girl in a family with three boys, and I remember my mother reading this book called Reviving Ophelia about adolescent girls and the way young women are broken down starting in their teens, where they’re starting to get hit from all sides by images in the media and how things start to change in their lives, especially when it comes to their fathers as well as their peers. It’s like the spirit of a young woman is so fragile and can be so toyed with and broken. My mother was always aware of that and really tried to fight against it and to teach me how to be comfortable in my own skin and all of that. So when I sat talking about that stuff with Joss, it’s so extraordinary that, as a man, he tapped into that in such a profound and intelligent way. I can’t think of anyone else that gets that and can create a fantasy show that encompasses such a universal and serious thing in our society. So it’s definitely parallel to me and, I feel, to women all over the world.

How much closer will Echo get to rediscovering her true self this season?

ED – Every single episode it’s been a little bit more. Again, we’re on episode seven now, and in this one we’ve been building to a real extreme. I’m scared to say too much because I don’t want to ruin it for the viewers, but Echo really is becoming an entirely different character in many ways. She’s getting further away from Caroline, even though she is Echo’s original self. Caroline is there, but Echo is discovering things about her that are unsavory or that are not Echo.

The development of my character has been so exciting and fascinating because of the way Joss and the writers pick pieces from each of her experiences and weave them into this new character. So you’ll be seeing a whole new Echo this season who is the sum of all the parts that she’s been.

They just released a film you did called Open Graves that kind of flew in under the radar. Can you tell us a little bit about it?

ED – I shot Open Graves in Spain about two-and-a-half years ago, and as is sometimes the case in this business, there are times that movies don’t come together at the pace or with the expectation that was initially intended. I actually haven’t seen the movie. It premiered on TV when I was in Italy, but I have yet to even watch it on my TiVo. The movie was a cool experience. I was interested in working with the director [Alvaro de Arminan], who had worked very closely with [producer/writer/director] Pedro Almodovar, and I thought the script had some interesting and different Sci-Fi/Horror twists to it. I enjoy working in that genre but it never quite gelled into the movie that I had anticipated, but, again, it happens, but you keep going. You don’t quit, and I certainly won’t quit that genre.

How much of a factor does (the Dollhouse episode ) Epitaph One play into season two, because it wasn’t originally broadcast but is part of the DVD set. Joss Whedon was saying that he’d like to revisit that in the future. Could you tell us a bit about that, please.

ED Epitaph was so well done and it brought me to tears. Truly, when Joss told me about it, I wondered how the hell he was going to do it, but I was just so impressed and proud of him and everyone involved. It was such a beautiful episode and I think it’s a shame that it didn’t air here [in the States]. But also the fact that it didn’t air was sort of the reason we came back, because they didn’t end the story. Getting picked up for a second season, the network probably wanted to pick up where we left off.

I know that in the first episode of this season, Joss originally planned on weaving some of that [Epitaph] into it, but there was already so much to cover. We had Amy Acker [Dr. Claire Saunders], who we’re not going to be able to have with us for the entire season, so we had her character’s storyline and we had to have a big, fierce engagement. So we took anything to do with it [Epitaph] out, but I do know Joss wants to slice in some stuff into future episodes. I loved the way the future looked, so dark and terrifying, and I hope we see more of it.

As noted above, photo is copyright of Fox Television, so please no unauthorized copying or duplicating of any kind. Thanks!

Summer Glau Moves Into Joss Whedon’s Dollhouse

August 27, 2009

SUMMER Glau (Firely, Terminator: The Sarah Connor Chronicles) reunites with Joss Whedon when the actress joins the cast of Dollhouse this fall in a recurring role as Bennett, a Dollhouse employee who shares a past with Echo (Eliza Dushku). The second season of Dollhouse premieres Friday, September 25th @ 9 p.m. EST/PST on Fox.

Additional guest-stars appearing throughout the upcoming second season include Alexis Denisof (Angel), Jamie Bamber (Battlestar Galactica), Michael Hogan (Battlestar Galactica) and Keith Carradine (Dexter). Daniel Perrin (Denisof) is a U.S. senator leading a witch hunt to track down the underground organization. Mysterious, charismatic businessman Martin Klar (Bamber) is Echo’s new husband. Bradley Karrens (Hogan) comes to the Dollhouse hoping to stop a psychotic family member’s killing spree, while Matthew Harding (Carradine), a nemesis of Dollhouse leader Adelle Dewitt (Olivia Williams), stirs up trouble. Additionally, Dr. Claire Saunders/Whiskey (Amy Acker) and Madeline/November (Miracle Laurie) return this season in multiple-episode arcs.

Dollhouse is produced by 20th Century Fox Television. The series was created by Joss Whedon, who also serves as executive producer, writer and director. Tim Minear and David Solomon are executive producers, while Tara Butters and Michele Fazekas are co-executive producers. Additionally, series star Eliza Dushku serves as a producer.

Ron Moore – Journey’s End

May 29, 2009
Battlestar Galactica re-imagined creator and executive producer Ron Moore. Photo by Steve Freeman and copyright of the Sci Fi Channel

Battlestar Galactica re-imagined creator and executive producer Ron Moore. Photo by Steve Freeman and copyright of the Sci Fi Channel

It was back in 1979 that TV audiences first became aware of the futuristic war between humans and the robotic Cylons in Battlestar Galactica. While the series became a cult favorite with fans, it did not fare well in the ratings and after a year the show was cancelled. The same fate befell its short-lived sequel Galactica 1980. Twenty-three years later, writer/executive producer Ron Moore re-imagined the Galactica story with a 2003 miniseries, which led to a hugely successful weekly series. In it, Commander William Adama and his crew of the Battlestar Galactica together with President Laura Roslin fight to protect the survivors of the human race from annihilation by the Cylons. Like the original series, this one has plenty of action and drama, but it is also far darker in tone, which was deliberate on the part of its makers.

“I felt it was important to never lose sight of the basic premise of the show, which is that it was born out of an apocalypse,” explained Moore in a conference call with journalists earlier this year. “Billions of people were literally wiped out and their world taken away from them. Everything they know is gone and what they’re left with are four walls along with a ceiling and the floor, all of which are made of metal. These people are nomads in the truest sense. They’re going from place to place seeking an oasis, a home, this place called Earth.

“In that context I didn’t want to just magically say a few episodes down the line that, OK, these people got over it and life goes on. It just felt that in order to be truthful to that kind of event, the emotional reverberations of it would continue forever and that they would never really get over it. It would never be truly behind these people and always be with them in some way. However, that didn’t mean that they couldn’t laugh and tell jokes every once in a while. You could do stuff like that, but you had to maintain the reality of where they were.

“If, again, you could be truthful to their experiences as human beings in the wake of this unimaginable disaster, then that, in turn, would allow audiences to invest themselves in what we were doing. So they would go with us on this ride, deal with killer robots from outer space and whatever else we wanted as long as we dealt honestly with the human emotions of it. That sort of dictated that there had to be a dark and oppressive type of air to a lot of things. They could never really just let go and have fun again, and even when they did, it was always with this thing hovering in the background.”

Although audiences did choose to come along with the ride, Moore had no idea that his re-imagined Galactica would appeal not only to Sci-Fi fans but also the casual viewer looking for a well-crafted dramatic story. “I didn’t anticipate the critical acclaim of the show, how deeply it would penetrate out into the general audience or that it would be talked about as much as it has been and receive the awards that it has,” says the executive producer. “I just thought that it was a good show. I believed in what we were doing and felt it would be special as well as something that I could be proud of, but that was about it.

“So creatively, I’m very surprised where we ended up with the characters and mythologies. I had none of that at the start. I more or less trusted that we’d figure it out and we did, but I didn’t really have a grand master plan of how it was all going to fit together. The first season was a lot about experimentation and trying different structures in terms of storytelling and what did and did not fit the program. By the end of the season, I figured that I had the answer to that and I better understood where we were going, what it was about and the best way that Galactica could tell its stories.”

Throughout the first two-and-a-half years on Galactica, the Cylons were determined to destroy what remained of humanity. However, in the season three episode Rapture, they changed course, literally as well as figuratively, and began a race with the humans to find Earth. At the same time, a civil war amongst the humanoid Cylons began to gain momentum. By the show’s fourth year, Admiral Adama (Edward James Olmos) and President Roslin (Mary McDonnell) agreed to an alliance with a faction of rebel Cylons, and together in Revelations they made it to Earth. Sadly, it turned out to be a barren wasteland, and the following story, Sometimes a Great Notion, shows how this affected our heroes, including Lt. Anastasia “Dee” Dualla (Kandyse McClure) who went to pieces and then committed suicide.

“We designed this episode and structured the fourth season with the intention that our characters would get to Earth and show the impact it had on them,” notes Moore. “As far as what happened with Dee, I think it was because she always appeared to be one of the strongest characters. Dee was the one who, in many situations, had always been the voice of reason and would try to soldier on. She’d buck up [Admiral] Adama as well as his son Lee [Jamie Bamber] when either of them was down. There was this sense of her being the rock, and it was important to me that when they found Earth was a wasteland, that the psychological damage from that would be profound.

“I mean, this was everything they had hoped for since the miniseries. If you take that dream away, then there’s a consequence and a price to be paid,” continues the executive producer. “Like I was saying earlier, it didn’t seem like they should simply shrug their shoulders and move on. Given the circumstances, it felt that somebody would check out, and there was something shocking about it being Dee because they had relied on her and she had always been there.

“Just because a person has been your rock and bucking you up, it doesn’t mean that they don’t have their own vulnerabilities or breaking point. And that breaking point might surprise you, which is why we chose Dee because it felt like the audience would be shocked, but her response would be true. I don’t think she consciously thought about it. On a subconscious level she soldiered on, but then there came a time when she was like, ‘I don’t want to soldier on any more. I’m going to try to feel good one last time and then I’m out of here.’ And it got a huge response from viewers. Every once in a while you want to reach out and grab them by the throat and say, ‘Have a reaction, get involved. What does it mean to you that Dualla has suddenly and shockingly blown her brains out?’ I thought it was great, and people can have whatever specific reaction they want as long as they’re emotionally caught up in a show and it means something to them.”

Not everyone is pleased about the alliance with the Cylons, and in the Galactica fourth season’s A Disquiet Follows My Soul, Colonial Vice President Tom Zarek (Richard Hatch) and Felix Gaeta (Alessandro Juliani) set into motion their plans to lead a mutiny amongst the fleet. This episode marked Moore’s directorial debut on the program, which was a very positive experience for him.

“I had a tremendous amount of fun,” he enthuses. “It was great to do it [direct] on a show that had been mine for several years and one where I knew the cast as well as the crew intimately. There was a huge amount of support and a lot of people wanting me to succeed. I got plenty of extra-special attention and help figuring things out. It was an environment where I could say, ‘I don’t know what to do here,’ or, ‘I’m confused about this technology,’ and there was someone ready to help me. Things I wanted to do, they would make happen, so it was an incredibly collegial and welcoming type of atmosphere to step into.

“It was also really gratifying because I got to do something that I’d never done before. I mean, you write it [the story] and then someone else realizes it. I would subsequently edit it or be very involved in editing the pieces together. However, I was always missing that middle step, and now I had a chance to shoot the movie in my head. When I write, I write themes to a script and I’m always playing the story out in my head – where would they [the actors] stand, how would the team be blocked and choreographed, where would the camera be – and this was the first time I could actually go and make that movie. I found that extremely fulfilling as well as fun and something I will be doing again.”

At the end of Galactica‘s third season, the identities of four of the five final Cylons were revealed. It was not, however, until halfway through the fourth year in the episode Sometimes a Great Notion did audiences discover that Ellen Tigh (Kate Vernon) was the fifth Cylon. While this character was always a top contender for this coveted spot, there were other names being bandied about by Moore.

“We considered all of our regulars, including Adama and Roslin,” says the executive producer, “but we dismissed them pretty quickly because I thought that that would take something away from the show and actually hurt it. If, for example, we had said that Adama was a Cylon, it would have felt like part of the journey itself wasn’t right and wouldn’t have had the same meaning that I wanted it to have. We also talked briefly about Dualla as well as Gaeta and, while interesting characters, it didn’t feel like it heightened the stakes, but with Ellen it did.”

While choosing Ellen to be the fifth Cylon was certainly a feather in the caps of Galactica‘s creative team, there have been other not-so-popular ideas along the way. “There are always lots of blinds that you go down when you’re in the writers’ room,” says Moore, “and you either watch it in the editing room and go, ‘Ooops,’ and cut it out, or you cut it out in the script or censor it in the writers’ room. That’s part of the [creative] process, though, and one of the things I like to do with writers is to not have any bad ideas. We’ll take any idea seriously. If it doesn’t work, fine, but you’ve got to be willing to take the risk. The big ideas that have really paid off were risky ones, such as jumping ahead a year in our [story] narrative, and revealing four of the [humanoid] Cylons at once.

“There were some ideas, though, that were kicked off the chuck wagon and left by the wayside. There was a story point that I wrote for the season one finale that is now regarded within fan circles as the great stupid idea of Ron Moore,” he jokes. “I had a premise where Baltar [James Callis] finds a temple on the surface of Kobol, which was a planet we were involved with at the time. He goes inside and the Number Six [Tricia Helfer] in his head tells him, ‘Keep going, you’ll find something.’ Baltar walks into this dark room, where Dirk Benedict [who played Starbuck in the original Galactica] appears and says, ‘Hello, Gaius. I’m God,’ and shakes his hand. We were going to end on that moment.

“Now, setting aside the fact that Dirk Benedict hates everything about this show and probably would never have done it in a million years, more fundenmentally, it was just a crazy concept. Back then I was seeking to find things about breaking reality and fantasy and what is and what is not a story and what is the link between Galactica‘s world and ours. I was playing around and this was a wacky idea that I came up with and put in the script. Well, there was a pretty universal reaction that everyone hated it, and I quickly said, ‘OK, bad idea. That one’s mine; let’s kick it out and move on.’ Sometimes, though, you have to swing for the fences.”

Although Galactica may have ended this year, Moore will be exploring yet another chapter of the Battlestar saga with a new series called Caprica. Set 50 years prior to Galactica, it tells the story of two families, the Graystones and the Adamas, living on the planet Caprica, where experiments in creating an artificial intelligence ushers in a new and dangerous era for humanity.”

Caprica is getting under way,” says Moore. “We’re putting together the writers’ room as we speak. It’s a very different type of show and a very type of challenge. Galactica has set a very high bar, which makes everyone want to bring their A-game [to the table], and I think that’s the spirit in which we approach Caprica. There’s a sense of uncharted territory, and that’s exciting as well as scary. It’s daunting to have to get one of these things off the ground and hope that people will like it, especially when we know it’s going to be compared to Galactica. But that’s part of the reason why we’re in this business, to take on these types of challenges.”

Prior to Galactica, Moore worked on such other shows as Carnivale, Roswell, Star Trek: The Next Generation, Star Trek: Deep Space Nine and Star Trek: Voyager. While not averse to taking on other genres, he always seems to return to the Sci-Fi and Fantasy world, and happily so. “There was a point years ago when I was doing Trek that I thought, ‘You know, I want to do something different; I want to get out of this genre.'” says Moore, “but I always seemed to find something that brought me back to it, either with an idea that was presented to me, like Galactica, or one of my own, such as the various pilots I’ve come up with over the years or movie concepts.

“I just enjoy playing in this genre, but I like other things, too, that are not Sci-Fi or Fantasy. I will, however, continue to do what I think is interesting at the time. I think I’ve learned enough not to try to predict what next great creative thing I want to get involved with. You just have to sort of wait and see.”

Steve Eramo

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