I get this question a lot and the truth is: it really depends. A producer’s duties can range from almost everything to absolutely nothing. The title can be a distinction that accurately reflects an individual’s contribution to a particular production, or it can be little more than a vanity credit offered to placate shiftless idiots.
Producer titles come in various shapes and sizes. There are Producers and Associate Producers and Assistant Producers and Supervising Producers and Line Producers and Co-Executive Producers and Executive Producers. And, perhaps some day, we’ll also see Accomplice Producers and Appendage Producers and Almighty Pansophical Omniscient Producers.
I can dedicate an entire blog entry to these various producers titles, but let’s keep it personal. My name is Joseph Mallozzi. I am an Executive Producer on Dark Matter as well as being the show’s creator and its Showrunner. THIS is what I do –
Prior to the commencement of prep, I will come up with a season-long story and individual character arcs in addition to as as many stories as possible for the upcoming season. I will then convene and oversee a writers’ room in which we attempt to break 13 stories – each a teaser, five acts, a tag, and every scene and narrative beat. On days when the room spins its wheels, unable to gain traction on a story, I will go home and work on it myself, returning the next morning with a fresh tack and, if I’m lucky/inspired, a complete beat sheet. Along the way, I assign scripts and, eventually, provide notes and direction when the writers deliver their outlines. I also provide notes on all scripts.
I write 5 of 13 scripts every season. My writing partner, Paul, writes 5 as well. I will do passes on every script, and these will range from tweaks to uncredited complete rewrites. As we go through prep, I will make adjustments to these scripts, incorporating notes from Executive Producer Jay Firestone, input from the cast, losing or amalgamating scenes to ensure we are able shoot the episode in our allotted time, adding scenes if the episode is timing short, making adjustments to scenes to address actor availability issues.
In short, I start writing once one season ends and stop writing – well, technically never, but for the purposes of a single season – long after we’re finishing shooting, occasionally scripting extra or alternate dialogue for ADR (Automated Dialogue Replacement) as needed.
The goal is to have as many scripts ready as possible by the time we go to camera on our first episode. I like to aim for 9 of 13. This gives our various departments time to prepare and also offsets the possibilities of nasty surprises or mad scrambles down the line. This seems like common sense and yet…
So much time and money is wasted on productions that fly by the seat of their pants, with writers scrambling to write scenes to be shot the next morning or productions prepping off outlines. Sadly, these aren’t the exceptions but the norm in this business. Having even 5 episodes before shooting begins is a luxury most productions don’t have. Why not? Various reasons but I’d say the two biggest are: a) Ineptitude (hiring people who don’t know what they’re doing who hire people who don’t know what they’re doing), b) Not Giving a Shit (people assuming this is the norm and who cares anyway?).
Why is our production different? Because Jay Firestone, the President of Prodigy Pictures, the company that produces Dark Matter, will actually risk the money to pay for a writers’ room and scripts before that elusive official pick-up, thereby ensuring that if the show does get the greenlight , we’re in a position to run an efficient production and make the most of our talent and resources. The result is a happy work environment and a better-looking show because our money is spent on sets and visual effects instead of being frittered away on last minute scrambles.
At the beginning of every season, I will oversee early prep as the production gears up, go over our budget, and generally make certain we have all our ducks in a row before we actually start shooting. I’ll interview directors, put together a list with Jay and our Line Producer Norman Denver, go over potential recurring guest stars with our casting director Lisa Parasyn, cast any recurring guest stars with Jay, answer any questions the various department heads may have, and interview replacements for anyone we lost during the hiatus.
Once we get into prep on the individual episodes, I will sit in on every meeting, starting with the concept meeting and ending with the production meeting, but including every meeting in between (Art Department, Hair & Makeup, Wardrobe, Background Casting, Playback, Stunts, Special Effects, Visual Effects, and Props). I don’t micromanage my team. They are all incredibly talented, creative people and my job is to give them direction, not orders. I trust them to deliver the goods and they do, time and time again.
In addition, I will tweak and sign off on casting breakdowns, cast our episodic guest stars, sit in on the cast read-thru, have a tone meeting with the director, and answer any questions anyone may have about the script.
Since we work on a staggered schedule that sees us prepping an episode while another is being shot, I entrust on-set supervision to Co-Executive Producer Ivon Bartok who is there from crew call to wrap, a 12 hour day that usually starts at 7:30 a.m. and ends at 7:30 p.m. Occasionally, we start earlier. All too often, we finish later. I’ll usually come in early and set-sit until my first prep meeting, relinquishing my supervisory duties to Ivon who will deal with any issues or concerns that may crop up during the shoot. If any do, I’m only a text away.
My days tend to consist of early mornings, prep meetings, writing, rewrites, countless approvals, and sporadic set visits. As the season progresses, my duties may also include dealing with any network requests.
Once an episode has been completed, I will do my edit. While many producers will go in and spend the day in the editing suite, I don’t have the time. Instead, I will download the cut and watch it when I get home at night, once straight through, then a second time for notes. I provide the editor with copious notes, anywhere from 25 to 100 and, once they’ve been addressed and a new cut is output (usually the following night) I will repeat the process, sending significantly fewer notes on my second pass. The next day afternoon, I will go into editing and spend maybe 2-3 hours with my editor, completing my Producer’s Cut.
As post-production continues, other pieces of the puzzle are assembled: mixes (music and sound effects), color timing. With VFX Supervisor Lawren Bancroft-Wilson, Paul, and Jay, I will approve the visual effects through its various stages, from concept to finished product.
Of course, while all this is going on, I continue to prep, write, rewrite, edit, and approve. From start to finish, almost six months.
And when the last episode has been shot and the final episode locked, I will switch gears and start thinking about next year, coming up with a season-long story and individual character arcs as well as as many stories as possible for the upcoming season.
Oh, and in addition to all this, I try to get word out about Dark Matter, doing interviews, updating a daily blog with photos, videos, concept drawings, and insights. Our fans get to choose episode titles, quiz our cast and crew, and are given access and insights unlike those offered on any other show.
My plan is to rest after Dark Matter‘s fifth and final season, then start all over again with a new series.
“Be nice to those you meet on the way up. They’re the same folks you’ll meet on the way down.” ~Walter Winchell, 1932
Back when I was a young freelance writer, looking to break into the wonderful world of live-action television, I wrote a spec script for a young teen series. It was an unsolicited submission (one of those things every industry professional advises against), a shot in the dark – but it had been fun to write and at worst, I figured, I could always use it as a writing sample. Well, about a week after sending it off, I received a call from one of the show’s producer. He’d read my script and loved it. Only problem was they had just a couple of slots left to fill for that season. Following a brief conversation on the script’s strengths and weaknesses, he suggested that, if I didn’t hear back from him soon, I should touch base before the weekend. He stressed the importance of this: my getting in touch with him BEFORE THE WEEKEND. Any later and I risked missing the boat. And so, after a couple of days went by and I hadn’t heard from him, and with the weekend fast-approaching, I gave him a call. He wasn’t in and so I left a message on his answering machine. A day passed. Then another. It was Friday morning and I still hadn’t heard back! Was it possible he’d inadvertently erased my message? It wasn’t outside the realm of possibility. I’d done it myself countless times. To be on the safe side, I picked up the phone and tried him again. And, again, I went straight to voice mail. I left another message and then went about my day, assuming he would no doubt call me back. I waited. And waited. And waited some more. I started to stew. Here was my big break, slipping through my fingers, and all because I wasn’t able to honor a simple request to get in touch with him BEFORE THE WEEKEND. Well, with the minute hand ticking past six p.m., I decided to try one last time, leave a final message. If nothing else, at least he would know I’d made every attempt to honor that request. So I called. He picked up on the third ring – and then proceeded to berate me for pestering him. Needless to say, that opportunity didn’t pan out.
Fast-forward to several years later. I’d established myself as a writer, a story editor, and a director of development for one of North America’s premiere animation studios. Part of my duties of the latter position required me to take show pitches from various producers and freelancers. One day, I walked into the board room and was introduced to the individual I’d be taking a pitch from that day. Turned out he’d developed a popular teen show but, since it had gone off the air, hadn’t done much of anything. As I took my seat at the conference room table and this disheveled, desperate-looking guy started pitching his series idea, I started flipping through his resume and suddenly realized who he was: ole “get in touch with me BEFORE THE WEEKEND”. He obviously hadn’t made the connection. But I did.
Oh, I did.
“I want to mention one of the obvious symptoms [of a sick culture]: Violence. Muggings. Sniping. Arson. Bombing. Terrorism of any sort. Riots of course–but I suspect that little incidents of violence, pecking away at people day after day, damage a culture even more than riots that flare up and then die down. I guess that’s all for now. Oh, conscription and slavery and arbitrary compulsion of all sorts and imprisonment without bail and without speedy trial–but those things are obvious; all the histories list them.” “Friday, I think you have missed the most alarming symptom of all.” “I have? Are you going to tell me? Or am I going to have to grope around in the dark for it?” “Mmm. This once I shall tell you. But go back and search for it. Examine it. Sick cultures show a complex of symptoms such as you have named… but a dying culture invariable exhibits personal rudness. Bad manners. Lack of consideration for others in minor matters. A loss of politeness, of gentle manners, is more significant than is a riot.” “Really?” “Pfui. I should have forced you to dig it out yourself; then you would know it. This symptom is especially serious in that an individual displaying it never thinks of it as a sign of ill health but as proof of his/her strength.” – Robert A. Heinlein, Friday
It’s been my experience working in this industry that you CAN succeed without being a complete and utter asshole. Sure, you hear stories about those who have back-stabbed and blind-sided their way to the top, but every so often karma rears her beautiful head and these same individuals suddenly find themselves at the not-so-tender mercies of those they’ve wronged, ridiculed, or forced to go out and pick up their dry-cleaning or drain their dog’s anal glands. I personally know of two former executives who had no compunction about bullying and belittling those beneath them back when they were at the top of the heap, only to have fortune turn for them in a nasty way. Their eventual falls from glory were all the more spectacular for the number of former associates who went out of their way to ensure they not only went down hard but stayed down for the count. Neither has really worked since.
It’s not that hard to avoid their fate. It doesn’t take any extra effort to be nice to someone whoever they may be, from the established director to the humble driver. They are, in the end, people just trying to make a living. It doesn’t kill you to show them respect. That production assistant you diss today could some day hold your career in their hand. Remember, Michael Ovitz once worked the mail room at William Morris and before she struck it big, Madonna Louise Ciccone served up tasty treats at Dunkin Doughnuts. Former Governor Arnold Schwarzenegger started off as a bricklayer while Matthew McConaughey once shoveled chicken manure to make ends meet. Colin Powell worked at a baby furniture store, Stephen King was a high school janitor, Ralph Lauren sold gloves, and Larry King drove a truck for UPS.
I’ve been fortunate to work with some great people. And some bad ones as well. Nothing gives me greater pleasure than to tell you about the former (like, say, Chris Vance, The Transporter’s Frank Martin – a great actor, hard worker, and one hell of a genuinely good-hearted guy who is simply adored by those he works with). And nothing gives me greater pleasure than to see the latter receive their occasional karmic comeuppance.
“If I ever pass you along in life again and you were laying there, dying of thirst, I would not give you a drink of water. I would let the vultures take you and do whatever the want with you with no ill regrets. I plead to the jury tonight to think a little bit about the island that we have been on. This island is pretty much full of only two things – snakes and rats. And in the end of Mother Nature, we have Richard the snake, who knowingly went after prey and Kelly who turned into the rat that ran around like the rats do on this island, trying to run from the snake. I feel we owe it to the island’s spirits that we have learned to come to know to let it be in the end the way Mother Nature intended it to be – for the snake to eat the rat.” – Susan Hawk, Survivor: Borneo
I got a call from my writing partner, Paul, today who told me that he was going through some of the items in his home office when he came across a couple of books I’d lent him. “Guess I’ll just give these to Joe when I go back to work,”he thought. And then realized: “Wait. There IS no work to go back to!”. Well, yes and no. And yes. And, as it turned out on this day – no. I went in today because Kerry, our Post-Production Coordinator, prior to heading off on her vacation, made it a point to remind me that I had to watch the Day 1 Mix of my episode, The Hunt, by January 5th. That’s tomorrow.
Thus, I got in at little after 9:30 this morning to a very scaled-down production office. Just David manning the phones. The girls from accounting were in, as was Producer John G. Lenic. And, of course, the incomparable Lawren Bancroft-Wilson was holding down the fort in the writing department. I asked him to contact Post and let them know I was ready to watch that mix. What mix? Why, the mix Kerry told me I needed to watch by January 5th. “Oh, that wasn’t supposed to deliver until tomorrow,”Associate Producer Jennifer Johnson informed me. “Originally. But it’s been pushed to Monday.”
Well, since I was there, I decided to redirect my focus to some early, early Spring cleaning. Back in SG-1’s fourth season, when I first joined the franchise, I started decorating my office with Simpsons figures. They would invariably draw the attention of curious tour guests, small children, and Richard Dean Anderson, any of whom could be found in my office on any given day, playing with my collection. When Paul and I took over as Show Runners for Atlantis’s fourth season, I packed away the Simpsons figures in favor of resin and cold cast porcelain statues of various comic book villains – something more thematically in keeping with my new role. Given present circumstances, I thought it would be a good idea to just go ahead and pack ’em up and opt for another theme (say, pug paraphernalia) if and when Stargate does come back in some form in 2011.
I drive a Q7, one big-ass SUV, and it couldn’t contain “my toys” (to quote a couple of my co-workers).
Not pictured: the boxes in the back and passenger seats – or the statues still sitting upstairs in my office. This, of course, will pale in comparison to my book collection. That should necessitate at least three trips.
Anyway, that took me all morning. I didn’t even get to clearing off my desk. Exec. Producers’ Assistant Ashleigh teased us with the possibility that she was a) coming in and b) stopping by that tasty sandwich place in Gastown to pick up lunch. Instead, she elected to stay home and presumably watch Judge Judy, leaving us to fend for ourselves. As a result, I had to eat mediocre Japanese food. AND pick up after myself!
After lunch, I spoke to Brad about the future of the franchise. We discussed “the plan”, Universe mainly, but also talked SG-1 and Atlantis. No word on progress yet but, given the recent holidays, that’s to be expected I suppose. Hopefully, we’ll receive some positive news next week.
Lawren breaks the bad news. No sandwiches. I mean, Ashleigh.
Lisa from accounting stops by to wish me a happy new year. Then delivers three swift punches to my kidneys and, while I’m doubled over fighting to catch my breath, warns me to pay my outstanding petty cash balance. Then kicks in my t.v. screen and leaves. Great to see her.
Special Features Producer Ivon Bartok also dropped by. Since we’re both looking at some free time ahead, we’ve been talking about starting an Oprah’s Book Club type thing. Except that instead of books, we’d watch movies. And instead of discuss them, we’d just sit around and drink.
Executive Producer Carl Binder was with us in spirit.
Since the New Year rolled in, I’ve been afflicted with a host of mysterious maladies, the latest being an allergic reaction to…something? Given the timing, I’m guessing 2011. Anyway, I’ve been drinking plenty of liquids, avoided dairy, switched my laundry detergent, and avoided all non-cooking reality shows. No dice. I mean, what the friggin’ fudge, man?! I’d planned to go see my doctor today, but he was booked, so I guess I’ll try my luck tomorrow afternoon. Between that and calling someone to fix the automatic garage door opener, looks to be a pretty exciting day. Which means an equally exciting blog post for all of you! Excited?!
Given my position, I’ve always been uncomfortable referring to myself as a fan of a particular actor or actress. Sure, there are performers whose work I admire and enjoy, but I would never go so far as to call myself “a fan”. That said, I will say this: I am a fan of Amanda Tapping. In fact, I’m a HUGE Amanda Tapping fan. And I’m not the only one. No, I’m not talking about all those Samantha Carter supporters out there. I’m talking about pretty much anyone who has had the pleasure to work with Amanda over the years. She’s immensely talented, ever-professional, and just plain delightful.
But enough of me talking about Amanda. Let’s let Amanda talk about Amanda. Here’s her Q&A. At the risk of inundating her, I trimmed the initial 20+ pages of questions down to half that before sending them her way – so if you didn’t get your question answered, my apologies.
Over to Amanda…
Ngan writes: “1. What’s your take on Sam’s and Jack’s relationship? Dating, Engaged, Married?”
AT: Sleeping together…once he’s retired. Crazy, mad, passionate love. Way too much sexual tension for it not to pay off. Then, they’ll take it from there. Dating….Fishing….Dating…..
“2. Do you want to see an acknowledgement of their relationship in the next movie? If so, will there be one?”
AT: I’d like to see some pay off for all their years together. But, I don’t have any say in that.
“3. What are the chances you can get either RDA or Michael Shanks or Chris Judge to guest star in an upcoming Sanctuary episode?”
AT: I would welcome any and all of them. I do think it’s important that Sanctuary be seen as an entirely separate entity in its own right. But having said that I’d would work with any of the boys again in a heartbeat.
Laura writes: “Which was the hardest episode for you to film?”
AT: Of Stargate…..hmmmmm…. That’s so hard. Heroes because of the subject matter. Point of View. Any of the twining episodes. Of Sanctuary…Requiem.
“Did you ever watch any sci-fi TV shows/movies before you were cast in SG-1?”
AT: Battlestar. Star Trek: The Next Generation. Dr. Who. Blade Runner. Little House in the Prairie…The Space Years.
Tim Gaffney writes: “As an actress, what is the biggest difference/challenge between working on an actual set with buildings and objects you interact with and working on a virtual set where you essentially have to imagine them. It seems like it would take a lot longer to film on a virtual set because the actors would miss their marks more often than on the physical set. And could you answer the question as an executive producer as well.”
AT: Good question. As an actor it’s actually a lot like doing theatre. Very minimalist theatre. The words, the characters, the relationships, the moment all become heightened. There are no distractions. We have props and key set pieces, so that helps. But it is up to the DP, Camera, the Director and the actors to make the physicality work. It’s definitely a team effort. It doesn’t really take a lot longer to film once everyone has figured out where everything is!
Caitlyanna writes: “1. What are some of your favorite memories working on Stargate? Favorite episodes?”
AT: That is such a hard question to answer because working on the show in general was so much fun. It was the afternoon giggles. The laughing until tears streamed down our faces. The general comfortable feeling of family and goofiness that the show fostered. It was so easy to be there. The cast, the crew, the producers, the writers, all were in on this lovely atmosphere. We prided ourselves on being the fun show that guest starts wanted to be on. I guess my favourite episode is Heroes, because it was everything that was great about our show. It showcased everyone well. And it was so intense.
“2. How hard is it to work on an almost all green screen set on Sanctuary? (Love the show by the way.)”
AT: Thank You!!!!! It is actually quite fun and quite liberating to work on a green screen set. Once you get used to the intensity of the green, you live in the moment. Your job is to sell the reality of the situation and the space. And it becomes more about the words and the scene. I really appreciate it a lot more now.
“3. What’s your favorite thing to do when you’re not acting?”
AT: Hanging out with Olivia. We paint and play music. She has an incredible imagination and I love going on adventures with her. We walk a lot in the woods looking for fairy castles. It’s precious time and it goes by so quickly. She’s reintroduced me to “wonder”.
Sheryl writes: “You are a wonderful role model for young female actors. What 1 piece of advice would you give them to watch out for when dealing with casting, producers and directors?”
AT: Be True to yourself. Don’t ever feel like you’re being compromised. Make strong choices and be prepared in auditions and on set. Don’t be afraid to ask questions, but make sure they are important and relevant. It’s also important to understand where you fit on a set. They are busy and complicated places and we actors aren’t always the most important element. We need to have respect for the whole process. Spend time on set, sitting and watching what everyone does and how it all fits together.
Sandel’ writes: “There are a few interviews where you have mentioned Sanctuary’s Requiem and how you had to act like you’ve never acted before. How would you compare your experience in Requiem to the different instances in SG-1 where you portrayed all of the alternate Sam Carters?”
AT: Funny to get this question after answering Laura’s question. 🙂 It’s cool that we think alike! Requiem was very much like the alternate Carter episodes in that I was playing a very different version of my character. It’s always fun to change things up and find the dark side. I just felt that with Requiem I stretched my wings even further. I think part of it is having more life experience under my belt. And part of it is feeling braver as a person. It just felt like a new level for me personally.
StellaByStargate writes: “The late Don S. Davis once said that to prepare for his character he liked to know everything about them…from their favorite color to their politics . When you prepare yourself to portray Sam, especially over the past few years, do you have a specific backstory in mind for the part of her life we don’t see, and if so, could you share some idea of what it is which helps you shape your performance?”
AT: I wrote some backstory at first, but so much was given to us in the first season. The writers also worked hard to develop our characters over the years. I did a lot of research into the military and into astrophysics. I wanted to feel comfortable as a soldier and as a scientist.
Suziesbluefeather writes: “You were super cute last Halloween on Ghost hunters. How scared where you really and did it effect your beliefs in the supernatural any?”
AT: Super cute!! Thank you! I was really scared a few times. The whole atmosphere on the island and in the fort was creepy. And we were so cut off from everything. We took a bus to the dock and then a ferry to the island and then a tram to the fort. So there was nowhere to run! Plus it was so cold and that made it even scarier somehow. The tunnels below the fort were, for me, the worst. I couldn’t help but imagine all those men held down there. How scared and cold and angry they must have been. It definitely had a very strange vibe. I couldn’t sleep when we got back to the hotel.
Bristow1941 writes: “ I was curious how much gender bias you find in your new role as a producer now that Sanctuary is off the ground as producers seem to have remained much more of a male-dominated role in television. What are the most successful strategies you have used to have new business associates understand the value you bring to the team (experience, female perspective, etc.)? Also how would you described your management strategy for the Sanctuary production? I’m always curious to learn from the experience of successful female executives and managers.”
AT: I am blessed in that I work with two incredibly evolved and sensitive men. I have never had to prove myself to Martin and Damian. We have known each other long enough to know what our individual strengths and weaknesses are. We have an amazing chemistry together and we are a good team. I feel the need more as “the actor” on the show to prove my worth as an executive producer. That applies to men and women. I have to overcome the “vanity title” perception that some people have. That is dispelled once they see me work and the commitment and ethic I bring to the table. This is not to say that I haven’t encountered sexism in my career. I have. I have been referred to as “the chick” and have been spoken to as if I am stupid. I believe in grace and dignity and in humility. I’ve learned that there is more power in those virtues than there is in railing against injustice. I am learning, slowly, to be calmer and to take a breath before reacting. I hope I lead by example on set. I think my “style” is one of mutual respect and admiration. I believe at the end of the day, that it should be fun to be here. And I hope people understand that they are valued.
Katja writes: “What is your fondest memory regarding your fans at conventions/events and why does it stand out?
AT: I have had incredible convention experiences. Fans are always so willing to share with me. I am touched by the trust people put in me. The fact that they feel safe enough to share their life experiences and their hearts with me. I couldn’t give a single example without feeling like I was betraying someone’s trust, but suffice to say, I have been blown away by the amazing stories of courage. I am also touched by the families that I have met. Mothers and daughters, Fathers and daughters, different generations all bonding over the show. It’s incredible.
“You are known as one of the most down-to-earth actresses in the sci-fi world and very much loved, do you ever worry about disappointing your fans?”
AT: I always worry about disappointing the fans. I have a huge amount of respect for fandom. Always have, always will.
“I miss the show terribly, do you think that you would continue to participate in the movies for as long as possible?”
AT: I will be there for as long as they want me to.
Astrid writes: “I have a feeling that the writers/producers get help with the military stuff they need to create (like dialogue and what kind of outfits you should wear). Did You actors receive any special education about the military way of things? Were You educated on the different (Earth) weapons you were supposed to handle?”
AT: We were very well trained in the military aspect of the show. We had advisors and armourers. We covered everything from military protocol to the handling of various weapons.
MaggieMayDay writes: “For Amanda, what would be a “dream role” outside the realm of sci-fi?”
AT: Eleanor of Aquitaine in The Lion in Winter.
DasNdanger writes: “I admire Chris Heyerdahl’s work very much, especially as Todd, and now as ‘Foot and Druitt. He has a magnificent presence on the screen, and there is great chemistry between Druitt, and Helen. Will Druitt’s role become more prominent in the show, especially in relation to his family, and if you care to share, what is it like acting a scene with Chris?”
AT: Druitt will remain an important element on the show. He’s so important to Helen. Acting with Chris is wondfierously astoundazing. In other words, there are no words. He’s a dream. Instant connection, instant chemistry. He’s not afraid to try anything and as a result pushes his acting partners to do better work. I adore him.
AmmoMonkey writes: ““I was recently watching old episodes of the X-files and noticed you alongside Mitch Pileggi in the episode Avatar. How was it to work together again on Atlantis? Though of course with significantly more screen time!”
AT: When I saw Mitch on the Atlantis set, the first thing he said to me was (in a loud voice in front of the crew), “Hey last time I saw you, you were naked!!” 🙂 He’s a character! I think he such a lovely actor and such a lovely man. No ego, no bullshit. He’s the real deal and therefore it’s a treat to spend time with him on and off screen.
Morjana writes: “1) Does Helen Magnus have any siblings?”
AT: No
“2) In “Unending,’ Sam Carter chose to learn how to play the cello. If you had the opportunity, what musical instrument would you like to learn how to play? And, do you already play one?”
AT: Piano. I would love to be able to play Piano. I play Guitar….ish.
“3) Thinking of your favorite movies, which one if it were to be remade would you like to be cast in? (PS, I totally see the cast of Stargate SG-1 in Casablanca…)”
AT: Haha. That would be cool!
“4) Do you have a portrait of yourself displayed in your attic?”
AT: Um….no. I don’t actually have an attic….or a portrait of myself. Great question….weird :)…..but great!
LibKat writes: “I remember that you directed an episode of SG1 back in season 7. Is that something you would like to pursue further? Do you think it would be more difficult to direct Sanctuary since so much is virtual?”
AT: I am slated to direct this season. It is more difficult with the green screen. Panning the camera takes on a whole new meaning. I directed a day for Martin last year and it was tough. There are so many variables to consider, like how to shoot virtual reflections for example. It’s going to be an interesting challenge.
J BlueCello writes: “1. In the Stargate SG-1 episode “Learning Curver” (written by Heather E. Ash) where Brittney Irvin played the 11-year-old reactor expert from Orban who works with Sam to help build a reactor using earth materials, Sam Carter tells “Merrin” that “Half the interesting things in my life didn’t happen till I turned 15.” Merrin asked what kinds of things, and Sam dissembles. What “interesting things” do you think Sam meant?”
AT: I think Sam in her awkward way was referring to boys. As soon as she said it she got embarrassed … and she wonders why she is still single! Sheesh.
“2. Many actors comment that playing the villain is more fun than playing the good guy. In Stargate SG-1, we had Black Ops Jack O’Neill who had done some “d**n distatesful things”, Teal’c who had killed many as Apophis’ first prime and many Goa’uld who tortured and killed countless victims, not to mention The NID/The Trust. Did you ever tire of playing Sam “Mary Poppins” Carter, and if so did the AU/RepliCarter Sam Carters help alleviate that? Did you enjoy Sanctuary’s “Requiem” more than the usual play of Helen for the same reason?”
AT: Absolutely. It’s always fun going dark side. It’s very liberating to unshackle yourself from social constraints with relative impunity.
“3. How on earth did you film the scene where Martouf joins all the various Sam Carters in the room in “Ripple Effect”???”
AT: It took along time. I ran back and forth changing outfits with the doubles. We had to position every Sam very carefully so they didn’t walk through each other. We used motion control and did the scene over and over. Peter DeLuise was very patient!
Kraut writes: “Dear Ms. Tapping, what are your plans for future projects, a) in terms of genre (Sci-Fi or something else?) and b) in terms of new challenges – specifically, will you be directing and producing more? And if so, what do you like best about working behind the camera, as opposed to in front of it?”
AT: Immediate plans are all about Sanctuary. We are just starting season two. Damian and Martin and I are developing other projects, but Sanctuary is our priority. I will be directing this year and continuing to executive produce. I like having a hand in the other creative aspects of the show. Everything from breaking stories to casting to post production. I’m loving this journey!
Flygirl writes: “1. Since you wear both actor and Executive Producer hats for Sanctuary, how do you manage to juggle both roles, so effectively? Good planning? Good karma?”
AT: Sometimes I’m not so effective. I drop the balls. I have amazing partners at work and at home, who help me when I fall. It’s all about time management and prioritizing. I’m learning…..
“2. If you had the opportunity to produce and direct a movie about a key female figure in world history (living or dead), who would you pick as your central character?”
AT: Oh man, that’s hard. There are too many inspirational women to pick just one. Off the top of my head…Mother Theresa…selfless and committed and compassionate. It’s so hard to imagine her life, and yet she lived it with such grace.
Anne-Marie Sloan writes: “For you, what was the best part about working on Stargate???”
AT: The sense of family amongst the cast and crew. We really enjoyed the ride.
Tyler writes: “I was curious to know if, given your experience in Stargate and Sanctuary, you’ve developed a real-life interest in science and technology and what you think about having provided a positive image for young people who want to pursue a career in science (I actually 11 years old when SG-1 started and watched it all the way through an astronomy major in college).”
AT: 11 years old?!! Damn, I’m old! Congratulations on the astronomy major! I always had an interest in science. Stargate sparked a further curiosity. It’s amazing how much I retained from doing the show. I’m no expert obviously, but I can hold my own in a conversation. I love that the show had such a positive impact on young people. It’s humbling.
MyNameIsNada writes: “If we had a chance to glimpse Carter’s life ten years into the future, where do you see her? Do you think it is more likely that Carter lives out a long, satisfying life at the SGC, or to go down as a fallen hero, along the lines shown in SGA’s “The Last Man”?”
AT: Carter would definitely go down with ship, so to speak. But if that didn’t happen, I could see Carter at the SGC. I could also see her teaching. She has such a healthy appetite for knowledge and I could see her trying to foster that in others.
NZNeep writes: “Hey Amanda, I love the idea of a true green set. The no paper cup thing is awesome. What other green initiatives do you have going on set?”
AT: No small plastic water bottles on our set. I’m giving the crew stainless steel water bottles as a start of season gift this year. We encourage the crew to bring their own plates and cutlery for lunch and their own coffee mugs. Its amazing how much of a daily environmental impact that has. We have recycling stations on all our stages. We are trying to make it as convenient for people as possible. If you can do without a paper script and just get one electronically, we encourage that. We are trying to create less waste. We recycle and repurpose our sets. And of course we do a lot of virtual sets, so we don’t use as much wood and building materials as most shows. That’s just for a start. We are constantly looking at ways to reduce our footprint, and the crew is so on board with it. We still have a ways to go, but we are proud of the effort everyone is making.
Tina writes: “What was the best prank ever pulled on the Stargate set?? “
AT: – Christopher Judge duct taping people to the chairs in the briefing room.
-Convincing Chris that there was a bear coming over the hill towards us on location. Michael was brilliant. The look on Chris’s face…priceless.
IggyMing writes: “1. I love your strong, intelligent portrayal of Sam Carter. I’ve read in interviews that you’ve described yourself as a feminist. Would you say that your feminist beliefs has had a strong impact on how you’ve portrayed Sam and Helen, and also the kind of roles that you accept? Thanks, by the way, for describing yourself as such, and not shying away from using the “f” word. As well, thanks so much for showing women as strong, intelligent, well-educated, sexy, kind, and compassionate individuals. I’ve always thought of Sam as being a strong role model for all women.”
AT: Wow. Thank you. I am not afraid of the word feminist. It’s been hard fought. The women of my grandmothers generation weren’t considered a “person under the law” when they were born. Astounding. We are well aware that women are still struggling around the world for equality and in some countries for their own safety. So it’s not a bad word to me. I’ve been lucky in my career that I’ve generally been cast as smart strong women. Sam and Helen have both been gifts for me as an actress. So much depth and courage. Sam is a great role model for many reasons. She helped make Amanda a stronger person.
“2. Joe mentioned the lack of recognition from the Canadian entertainment industry regarding science fiction shows, and SG1 in particular. As a Canadian actor and producer, do you feel that the Canadian industry as a whole has not embraced SG1 and Sanctuary as much as it could? Are you indifferent about this, or does it bother you?”
AT: It definitely bothers me. I don’t think Stargate was ever embraced by the Canadian industry. It was always seen as that American show even though it was filmed in Canada and the majority of people working on it were Canadian. We are finding the same thing with Sanctuary to an extent. Even though we are a 100% Canadian show. It may be a Sci-fi stigma, I don’t know. But it is something that we struggle with because amazing work is being done in this country by our writers, producers, crews and actors and our industry, to a large extent, does not validate it.
“3. As a Sam/Jack shipper, I would love to see some on-screen confirmation of their relationship. How do you feel about this… Do you think that they are already in a committed, romantic relationship? If so, do you think they’ve been together since the end of season 8? In movie 3, will you be portraying Sam as someone who is in a relationship with Jack (either subtly or not-so-subtly, depending on the script)? “
AT: Ah, it’s such an ongoing issue. Part of me wants to see it wrapped up and part of me loves the fact that it is still tantalizing. I would like to think that they, in the very least, found a really satisfying way to relieve some of that sexual tension. The script will definitely dictate how the relationship will be played.
Bailey writes: “Do you find yourself evaluating your own peformances differently, now that you are a producer?”
AT: I generally don’t watch my work. I find it too difficult because I am way too self-critical. In post production I try to look at the bigger picture and have sort of found a way not to criticize the way I look too much. It’s hard not to be constantly evaluating yourself, but it can be detrimental as an actor because you end up becoming too self aware and that kills the performance.
Artdogspot writes: “1. Aside from “Moebius”, is there an episode in SG1 that you can point to and say – “Thank God, Carter finally got to be funny!”?”
AT: Carter very rarely got be funny. What made her funny was the fact she was fairly dorky with humour. I think the later seasons showed her lightening up and becoming more comfortable in her own skin. She was a little funny with Pete.
“2. Congratulations on Sanctuary. It is great and I am so pleased you get to call the creative shots. Between the production responsibilities, on screen performances, and oh yeah, raising a family – how do you relax?”
AT: Relax???!!!!! Hahaha you’re so funny! Actually I find time with my family to be really relaxing. Walking in the woods has always been a great equalizer for me and I am practicing Yoga more. That is a huge stress reliever. It’s impossible to be too stressed around a four year old….she’s way too funny. So I’m lucky to have an amazing family for balance.
“3. How was it to work with Peter Wingfield and Jim Byrnes? I really enjoyed watching their scenes together on Highlander. Assuming that “no one really dies in Sci-fi”, I wondered if these two could be brought back together on the show somehow?”
AT: They are both amazing actors and people. And yes they will be back. The beauty of playing a character that is 157 years old is that we can go back into her history and show the people that were important in her life. We are working on a story to bring Peter back along those lines. Jim is too wonderful not to have back. We found a way to bring him back into Helen’s life and we ain’t letting him go! Will we be able to have them back together? We’ll see. I agree it would be wonderful.
Izzy writes: “In Enemy at the Gate, I was touched to see the homage to the late Don S. Davis. What were your thoughts when you read the script and saw that Sam would be the one to pay homage to him?”
AT: I cried. I can’t say enough about Don and what he means to all of us.
Fabienne writes: “Hi Amanda, you’ll be honoured with the ‘Woman of vision’ award from the Women in film and Television Vancouver in a few days (which is so awesome !!) how do you feel about that ? Do you still have time to mentor women with Sanctuary ? What did you learn from your participation in this program ?”
AT: I was so blown away by that honour. Arguably the most meaningful award I’ve ever received. Women in Film is such an incredible organization and our community here in Vancouver is so vibrant so passionate and so incredibly supportive. I still try to mentor when I can. Mostly now it is with people who work on the show. I’ve learned that there is always something to learn. I’ve also learned that I know more than I thought I did and that there is great joy in sharing my mistakes and my successes with people. I enjoy sharing my mistakes more because that’s where I’ve learned the hard lessons…and it’s important to be able to laugh at yourself. (Luckily I have a lot of material! :))
Dani writes: “As a producer and business woman, and even as an actor, I am sure you had to do tasks that are outside your usual comfort zone or that you simply didn’t think you could accomplish. How do you go about dealing with such challenges and how do you get motivated to at least give it a try?”
AT: If the past three years have taught me anything at all, it is that life is an enormous leap of faith. I took bigger risks and took on more challenges than I thought possible, but I did it with Martin and Damian and that helped. We scared the crap out of ourselves and more than once felt like giving up, but we didn’t. I just realized that it was time in my career and in my life to take on a new goal.
“You mentioned your fear of heights you had to face for the filming of “Trio”. I too am deadly afraid of heights and was wondering if you could share how you managed to overcome it.“
AT: Uh…I didn’t really. I was so scared up there. It’s irrational and debilitating. Part of getting over it for filming was that people were waiting, the show had to go on. But at one point our rigger had to walk along the beam and take my hand and walk me back. Very embarrassing. I did feel like I was more comfortable at the end of filming that episode than I was at the beginning. But if I had to do it again today, I would be back at square one. I jumped out of a plane years ago, to try and overcome my fear of heights. I did an unassisted jump with an old army issue parachute. I survived and even felt really proud of myself…..until I had to climb up a ladder to the roof. Gulp.
Jann writes: “1) How did you, together with Martin and Damian came on the idea to make a tv-show(or internet show) like Sanctuary? And how did it progress from an idea to actually making this show?”
AT: Damian actually wrote it as a spec script back in 2000. He showed it to Martin in 2006, I think. Then they gave it to me. It grew from there through many stages. The Internet didn’t really pan out for a lot of reasons. I think we were trying too hard to do too many things at once. The TV show was a natural progression because of the interest from broadcasters. It has been a very difficult road. But we are really proud to be here.
“2) You also directed some episodes on Sanctuary and one in SG-1? Did you learn a lot of aspects for directing from Martin Wood?”
AT: I will be directing Sanctuary this year; I just filled in for Martin last year. When I first decided that it was something I wanted to do, I went to Martin and shadowed him. He is an amazing teacher and a great director. I think I’ve taken the most from watching him.
“3) Also some of us were wondering when Martin Woods birthday is? We can’t find this anywhere on the internet. Is it a state secret or are you allowed to tell it?”
AT: It is a state secret. Something to do with his past as an international super spy and gigolo.
“4) How is it to work on a project together with Martin and Damian? This is because you know both of them.”
AT: They are amazing. We compliment each other well. Plus they are both incredibly funny, well read, sensitive, caring……etc. etc. They are my best friends. The three of us have been though a lot to get this show to where it is and we have each talked each other off the ledge so many times. I have an enormous amount of love and respect for them both. I feel really lucky to be a part of this journey with them.
“5) Do you already know something more about the 3th SG1 movie?(more than that it is written)”
AT: Nothing. I heard it has been green lit. Which is great!
“6) If I recall correctly you said on AT3 that if Sam won the lottery she would buy acres and acres of land around a certain cabin in Minnesota, would Sam also go into that certain cabin? Together with a certain (retired) General(alone)?”
AT: Certainly! 🙂
IggyMing writes: “Will you be at the Genie Awards this year, taking placing in Ottawa? If so, is there an opportunity for the public to meet with you?”
AT: No I won’t be there. Sorry.
Jess writes: “We know that on SG-1 Sam Carter loves blue jello. How did that get started, and what are your thoughts on the treat?”
AT: I picked it out of the fridge onset on the day. I thought it looked fun. It was also kind of a weird choice for Sam. It made me laugh. It snowballed from there!
Catsmeow writes: “1. Two part question for you about parenthood: What do you like best about being a mom? What have you found to be the most difficult aspect?”
AT: I love it all. It’s grounding and heart opening and liberating and wondrous. I feel like I was meant for this. It’s so comfortable. The difficulty comes in being a working Mum and trying to find the balance. I always feel guilty.
“2. When you spend all day on the set being a particular character (whether it is Carter or Magnus or whoever) how long does it take you to shed that character once you go home? Do you find yourself still thinking and reacting as that character for while?”
AT: I shed her pretty quickly. I made a vow that the moment I walk in my front door I’m fully engaged with my family. So I have to let her go quickly.
“And along more fannish lines… 3. In the movie Continuum, after Carter, Mitchell and Daniel wind up in the altered timeline and are separated – do you really think the three of them obeyed the proscription against contact? Or do you think before they were separated they devised some clever & subtle ways to contact each other?”
AT: I think they are brilliant enough to have devised a way to stay in contact.
Carrie writes: “ I’m wondering (a) if you have any advice for the new cast of Stargate: Universe, especially regarding the technobabble. You pulled it off so effectively, and I’m wondering if there is a secret that should be passed on! Also, (b) does your daughter watch you on TV at all? If she does, what does she think?”
AT: Try to learn, at least in layman terms, what you are talking about. The secret…. Enjoy this incredible ride! The Stargate family is wonderful.
Danielfanforever writes: “Michael and Chris have both said that you’re like a sister to them. Could you please share you’re fondest memory that you guys had on the set of Stargate?”
AT: Again, I have to say it was the day to day aspect of being around them. They are good men and they are funny and smart. I loved the talks we would have. Usually when we were traveling together, after dinner and few drinks we would have these wonderful, intense talks. I miss that.
Meg writes: “What is the best piece of advice someone has ever given you?”
Fun time’s over. It’s back to work for me tomorrow. And, by the looks of the prep schedule, it’s going to be a long day:
0900: Concept Meeting for Ep. #515 “Remnants”
1030: Prosthetics Meeting for Ep. #515, “Remnants”
1100: Art Department Meeting for Ep. #515, “Remnants”
1145: Props Meeting for Ep. #515, “Remnants”
1330: Costumes Meeting for Ep. #515, “Remnants”
1430: Casting Session for Ep. #515, “Remnants”
The VFX/Playback, Sunts/SPFX, and Extras Meetings are mercifully scheduled for Tuesday. Once they’re done, I’ll have the rest of the week and weekend to address the studio/network notes and any input from the other producers, the department heads, and the actors. After that, I’ll hand things off to multi-talented director Will Waring and it’ll be smoooooooooth sailing…up until I start on Project Twilight. Whew! In retrospect, it’s a good thing I’m not going to Comic Con. All that fun – walking the floor, meeting various SF writers, checking out the booths, tracking down that Randy Bowen Juggernaut statue I‘ve been looking for, having dinner with my friends April and Monique, talking to the fans – would have just distracted me from my work.
Hey, Baron Destructo received an email the other day from Mrs. Estella Edwin and her son Joel who are looking to invest $12.8 million dollars. Says Estella:
“I will like to invest part of the money into these three investment in your Country but, if there is any other business that is better than what I am suggestion, I will be very glad to follow your advice.
Real estate
transport industry
School.”
Any other business that is better than real estate, transport industry, and school? Hell, yeah.! Baron Destructo wrote back:
“Dearest human scum and son,
Judging from your suggested speculative ventures, it is safe to assume that you are either incredibly ill-informed on recent global developments or you possess the financial acumen of dry kindling. Whichever the case (and judging from your email, I suspect it is the latter) fear not! We at The League of Aliens and Mutants for Evil are perfectly positioned to help meet the needs of clients such as yourselves. Clients who may not necessarily know the difference between equity and bond funds. Clients who do not necessarily have the know-how to invest in an increasingly volatile market. Clients who possess the grammatical skills of a trained pirate monkey (note: one trained for pillaging over correspondence). All we require of you is your good faith, your willingness to dream, and your 12.8 million dollars.
I would like to get started by informing you of a few of the exclusive investment opportunities open to you through our partnership. Please review and then get back to me once you’ve decided which of the following you‘d like to go with:
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Please review and get back to me your earliest convenience.
Contemptuously yours,
Executive Producer Baron Destructo
Cc: Executive Producer Calamitous Jane, Executive Producer Glaxnor the Miscreant, Co-Executive Producer Sinderella Washington, Co-Executive Producer Xxxaptak’qul, Co-Executive Producer Dr. Catastro, Supervising Producer Dr. Disastro, Supervising Producer Dr. Quinn Meddlesome Woman, Producer Ray Mephistopheles, Producer Archfiend Animus, Producer Brutus Badly, Producers the Plague Zombies, Co-Producer Vorzik the Planet Squisher, Co-Producer the Malevolater, Co-Producer Count Sinister, Co-Producer Kugal Baruth, Associate Producer Death Knell, Associate Producer Star Father Celestio, Associate Producer Shatterdam, Assisstant Producer Princess Arcana, Adherent Producer the Mystifier, Satellite Producer the Procrastinator, Votary Producer the Soul Emancipator, Consulting Producer Quickstrike, Immaterial Producer Professor Frosty, Negligible Producer Flamer the Flaming Man, Inconsequential Producer the Pummeler, Inutile Producer the Purple Lamprey, and Line Producer John Tesh.”
I’ll be posting my review of Jennifer Pelland’s Unwelcome Bodies tomorrow and I look forward to hearing your thoughts on this very interesting anthology. Remember, the author will be joining us later in the week so start putting together those questions.
And speaking of putting together questions, illustrator/artist/designer/expert garotter John Picacio will be by next weekend to chat with us and field your queries about his work. Check him out here (http://www.johnpicacio.com/index2.html).
Today’s pics: The dogs enjoy their last day of fun in the sun for a while.
As some of you may know, the gang at SFSignal have a regular feature called Mind Meld in which they posit a question to an assortment of movers and shakers in the field of scifi field – and, lately, for some unfathomable reason, have even included me. The last installment asked the following:
Q: Although science fiction was born on paper, sci-fi presented through visual media (film and television) has significantly higher audiences. Which medium, then, is the driving force behind what science fiction is and where it’s headed, and who is driving it?
My response:
Off the top of your head, name your Top 10 favorite SF authors. Okay, now name your Top 10 favorite SF scriptwriters. I rest my case.
Sci-fi presented through visual media (film and television) has significantly higher audiences because, quite frankly, a lot of it demands little more from its audience than a couple of hours and the ability to focus. Reading, on the other hand, is a much more involved and time-consuming commitment that, unfortunately, appears to be losing its appeal among many SF consumers. Which is a damn shame because it is, without a doubt, the medium that is the driving force behind what the genre is and where it is headed.
Now, don’t get me wrong. I’m not saying that film and television don’t provide a forum for inventive science fiction ideas. They can and do. And they’ve certainly made great strides in the visual representations of possible futures. But the realities of film and television production work against them being a pioneering force whereas the literary arena allows for vaster, more daring, creator-driven initiatives. The reasons are threefold:
1. What was the last truly great science fiction movie you saw? That wasn’t based on a literary property? Yes, it’s been a while, and whatever title you come up with, I’m sure I can counter with a novel or short story that did it first. Sadly, creator-driven works are few and far between in film and television. Studios are far more interested in backing a proven winner which is why sequels and established properties are de rigueur. That said, great SF movies occasionally do get made. Children of Men comes to mind. “But wait!” many will argue. “The movie was very different from the book.” All well and good and some may even prefer the movie over the book, but there’s no denying the fact that the driving force behind both came from author P.D. James’ original vision. Yes, every so often, SF fans can rejoice with the release of a Star Wars (the original) or a Firefly but, sadly, these are exceptions to the rule.
2. Literary writers are limited only by the power of their imaginations (and, on occasion, their editors). Scriptwriters, on the other hand, are limited by things like the unlikelihood of their script ever getting made and the costs associated with film and television production. Getting published is tough; getting produced even more so. Especially if you’re a newbie looking to get an original concept off the ground. In the event you do buck the odds and manage to get it greenlit, there are a vast number of things that can go wrong and kill your prospective movie or television series before it goes to camera. And if lightning happens to strike twice and it does go into production, chances are good that the final product will bear only a passing resemblance to your original vision. Why? Well…
3. Writing a science fiction novel can be an incredibly lonely process and yet, at the end of the day, the entirety of the work – its vision, depth, and execution – belongs to one person. In the case of a movie or a television series, however, many players can lay partial claim to the end-product (or be part of the stampede to disassociate themselves from it if things go sideways). All that rests between that original concept and its big (or small screen) execution are the producers, studio/network executives, directors, and actors who will weigh in with their suggestions on how to improve things. More often than not, said improvements will run contrary to the author’s original vision and, when push comes to shove, it’s the writers that get the shove – right off the project if they prove uncooperative and unwilling to compromise. SF is expensive! Given the kind of money at stake, studios consider it bad business not to exercise some creative control over their investments. Publishers, on the other hand, can afford to take a gamble on the new, the different, and the challenging.
All that said – despite the odds, the visual medium is capable of producing new, different, and challenging SF ideas, although you’re more likely to see it happen on television where the scriptwriters are afforded the opportunity to exercise more creative control over their scripts, as opposed to the world of theatrical features where the screenwriter is more of a hired gun and is lucky if he/she gets invited to set once filming begins (An aside: I know someone who wrote the script for a 100+million dollar feature. On his first day on set, he was introduced to the female lead. According to my buddy, upon hearing he was the scriptwriter, she looked at him “like something she’d found on the bottom of her shoe.” Ah, show business). Still, the freedom enjoyed by writers of prose fiction is hard to beat. But the professional scriptwriter can take solace in the bigger paychecks.
So who’s driving SF today? Hey, for every established author I could name, there are dozens of up-and-comers out there just waiting to break big.
As for where SF is headed? Damned if I, or anyone else, knows. And that’s the beauty of it.
Agree? Disagree? For other far more informed opinions on the same topic from the likes John Scalzi, Lou Anders, and Mike Resnick among others head on over to: http://www.sfsignal.com/archives/006712.html
Today’s video: Whispers forest retreat. Click on the link.
