Attention Deficit Delirium

Comic book heaven, this way. (Photo ©2009 by Bryan Reesman.)

I have been a lifelong comic book fan, so whenever a major event rolls into town I show up, all cash blazing. And with the economic downturn, conventions now offer great bargains for comics fans seeking back issues, toys and other merchandise. I love diving into the dollar bins to seek out classic horror and superhero comics from the Seventies, not to mention perusing the trade paperback and graphic novel collections that are 50% off. The deals work out better for the buyers than the sellers these days, so it’s best to take advantage of the sales while they happen.

Held at Pier 94 on Manhattan’s west side, this year’s Big Apple Comic Con — the first to be run by their new owners Wizard Entertainment and in a larger venue than years past (with an admittedly much higher entry fee) — certainly provided plenty of purchasing pandemonium and also featured celebrity appearances, comic artist tables, panel discussions and video game stations. I got plenty of shopping done, had my portrait sketched by famed Hulk artist Herb Trimpe and managed to chat with a few of the celebrities in attendance (photos below). While William Shatner, Kate Mulgrew and Linda Hamilton were there, I did not have any luck in spotting them. There was an impressive mix of sci-fi, TV, adult movie and comic book celebs on hand, from both old and new BSG stars to members to multiple Star Trek generations to famous faces from movies like Star Wars, Terminator, Flash Gordon and Supergirl. While the celebs were there selling autographed memorabilia and photo ops (something I find awkward often times when I just want to say something fan-like), the ones I approached for shots in ADD were cool about chatting and being photographed.

This was my first Big Apple Comic Con, and I enjoyed the spacious yet packed event. However, the distressing news I have learned is that next year Big Apple Comic Con is going head-to-head with New York Comic Con on the same weekend (October 7-10, 2010), which to me and many others is a ridiculous idea. Having two massive comic book conventions duke it out at the same time will not only test vendor loyalties but also make it difficult for fans to choose which to attend. Why not separate them out? There is easily room for two large conventions during the year.

Let’s not worry about that for now and take a look at my personal highlights from Big Apple Comic Con 2009.

The X-Men were on hand, along with a security detail. As if they needed one. (Photo ©2009 by Bryan Reesman.)

Hellboy and Predator, together at last! (Photo ©2009 by Bryan Reesman.)

It's Number Six times three! (Photo ©2009 by Bryan Reesman.)

Adrianne Curry as Wonder Woman. (Photo ©2009 by Luigi Novi.)

Cobra's still in business. (Photo ©2009 by Bryan Reesman.)

Brent Spiner was on hand to chat with fans, conveniently located right at the entrance to the Con. (Photo ©2009 by Bryan Reesman.)

Look, it's Will Ferrell as Green Lantern! (Photo ©2009 by Bryan Reesman.)

The charming and lovely Melody Anderson from "Flash Gordon". (Photo ©2009 by Bryan Reesman.)

Eric Michael Maruscak draws an impressive chalk portrait of Spider-Man and Batman. (Photo ©2009 by Bryan Reesman.)

TV's original Incredible Hulk, Lou Ferrigno, who is still in great shape. (Photo ©2009 by Bryan Reesman.)

Artist Dirk Strangely acting, well, strangely. (Photo ©2009 by Bryan Reesman.)

I'm glad someone spotted "Terminator" warrior Linda Hamilton for me. (Photo ©2009 by Luigi Novi.)

Supergirl herself, Helen Slater, is as fetching as ever. (Photo ©2009 by Bryan Reesman.)

Artist Greg Horn and his colorful calling cards. (Photo ©2009 by Bryan Reesman.)

The affable John Schneider from "Dukes Of Hazzard," who helped make my childhood enjoyable. (Photo ©2009 by Bryan Reesman.)

The master Hulk artist Herb Trimpe at work.

The famous DeLorean from "Back To The Future". The Batmobile was nearby as well. (Photo ©2009 by Luigi Novi.)

The bustling Artists Alley. That's Jim Cheung seated in the foreground. (Photo ©2009 by Bryan Reesman.)

Mike A. and his spookerific skateboards and merch. (Photo ©2009 by Bryan Reesman.)

Thomas Hall (l) and Daniel Bradford (r), the men behind the new series "R13". (Photo ©2009 by Bryan Reesman.)

Stylin' t-shirts galore. (Photo ©2009 by Bryan Reesman.)

Now this is what I'm talking about. (Photo ©2009 by Bryan Reesman.)

I love the look and smell of vintage comic books. (Photo ©2009 by Bryan Reesman.)

Ron Moore refuses to "tech the tech" anymore. (Photo ©2009 by Bryan Reesman.)

As keynote speaker for the recent New York Television Festival “Development Day,” Battlestar Galactica and Caprica creator Ronald D. Moore addressed many different aspects of creating and sculpting the new incarnation of BSG. He also discussed how he broke into the business and the eight years he spent working as a writer and producer on Star Trek: The Next Generation and Deep Space Nine. The best and funniest moment during the 55-minute discussion emerged when one fan asked Moore why the decision was made in Battlestar to use technology that was similar to, and in some cases behind, our own. His response to the question was illuminating not only in that the audience learned how good the esteemed writer was at doing impersonations, but also how ridiculous sci-fi gets when it becomes diluted by Hollywood formula and how it inspired him to build a better show.

Ron Moore on the reason to not let technology overshadow the characters on Battlestar Galactica:
“That was in the original inception of the show, and that was really a reaction against Star Trek. It’s easy for me to bash Star Trek because I lived and breathed it so long, but I loved it, so let’s make that clear. I don’t hate Star Trek by any means, but I got very frustrated with the amount of technobabble I had to write on it. It became the solution to so many stories and plotlines. You would just be writing these endless pages… It was so mechanical that we had science consultants who would just come up with the words for us. If you look at those scripts you’ll see that.

"We're tired of you teching around. Write a script with a good ending."

Picard would say: ‘Commander La Forge, tech the tech to the warp drive.’

Geordi: ‘Captain, the tech is over teching!’

‘Well, the auxiliary tech to the tech, Mr. La Forge.’

‘No, Captain, I’ve tried to tech the tech, but it won’t work!’

And then Data pops in and says: ‘Captain, there is a theory that if you tech the other tech…’

It’s a rhythm and it works anyplace. It’s not about anything except going through this dance of how they tech their way out of it. It became so frustrating and so annoying, I just swore I was never going to write those scenes anymore. I just decided from the outset [of Battlestar] that I wanted a phone to look like a phone and wanted a retro technology. I justified it in the story because they had this back story with the Cylons — the technology had rebelled and they had gone backwards. I thought it was interesting to go that route and make the technology relatable in the same way that their coats and ties were relatable as well.”

"Hey, I was making a living. What the tech else was I supposed to do?" (Photo ©2009 by Bryan Reesman.)

Literally one of the most recognized composers working in Hollywood today.

For the last five years Bear McCreary has been in space. Deep space. As the man responsible for scoring one of the most acclaimed television series in many years, and one of the most heralded sci-fi shows ever, his expansive, cinematic work has been heard by millions of fans worldwide. Even more impressive, though, is their adoration and devotion to him. Most composers are heard not seen, but his followers know exactly what he looks like. They avidly read his blog, interface with him and recently fêted him at Comic-Con and the Southern California concerts where he and the Battlestar Galactica Orchestra played the show’s music live to enraptured audiences.

As all BSG fans know, the epic series wrapped up on Earth, and while he is going back to the stars for the new Battlestar spin-off Caprica, McCreary will be more grounded on that planet. His other new television work will keep him planted on Earth, much like his recent Sarah Connor Chronicles gig. Between the new NBC medical procedural Trauma and the Fox action adventure Human Target, plus a possible return for the fourth season of Syfy’s wacky inventor show Eureka, McCreary will be exploring more terrestial adventures, although they will be as equally fantastic as the interstellar ones he has been used to scoring. And given his work in the Rest Stop and Wrong Turn franchises, who knows what other horror film work may come his way as well.

When he had a moment to catch his breath from all of his frenzied activity, McCreary sat down to answer some questions for A.D.D. As with past interviews I have done with him (for Mix Magazine and for Grammy.com), Bear proved to be ever thoughtful and engaging.

The music for Caprica is more subdued and airy than much of your Battlestar Galactica work. What have been the new challenges presented to you with this show, both in maintaining sonic continuity with its parent series and branching out in new directions?
I can’t say it’s been a challenge as much as a release. Caprica is much more restrained, lyrical and classical.  I have stripped away much of the tribal, primitive and divine elements from the Galactica score, and used more chamber orchestra and [classical] woodwinds than I ever did on BSG. After all, the events of this series take place in an entirely different environment. Caprica City is a familiar society at its most decadent and opulent peak, hardly a rag-tag fleet of refugees struggling for resources. The audience knows that doomsday looms on the horizon for the citizens of Caprica City, but the characters themselves do not. However, there are subtle hints of the ethnic percussion and soloists that defined Galactica.  I hope the result is a score that stands on its own, but resonates even more deeply with Battlestar fans who catch all the references. One scene, in particular, features the sole melodic connection to BSG, and it’s a real tearjerker.

The "Caprica" DVD cover.

What was it like to be mobbed fans at Comic-Con and to be treated like a rock star?
It was pretty surreal.  I couldn’t take ten steps in San Diego that week without being asked to sign photos or have my picture taken. Then to be up there on stage with the screaming audience out there, and being able to make music with them… It was an experience I’ll never forget.

How did it feel to perform your music with the Battlestar Galactica Orchestra live in front of a large audience?
It was interesting, especially because it wasn’t really a symphony orchestra.  It was more like a huge rock band. It was hot, sweaty, loud and out of control.  The audience lost their voices from screaming so hard.  That doesn’t happen at the symphony! And yet, despite all that, when I turned to the concert grand to play my introspective classical-inspired compositions, the audience silenced and soaked in every note.  When the piano pieces ended, they burst back into screaming applause.  I’ve never seen an audience so into the music. And one of the other highlights of our concerts in San Diego last month was having about half the cast show up on stage.  We had our official MCs, Edward James Olmos and Grace Park, but were also joined by executive producer David Eick, director Michael Nankin and actors Michael Hogan, James Callis, Tahmoh Penikett, Richard Hatch, Michael Trucco, Michelle Forbes and Nicki Clyne.  They had all turned up to see the concert and support the musicians.

What was it like to play a piano duet with Katee Sackhoff? How accomplished of a musician is she?
She’s the first to admit that she hasn’t taken any piano lessons in a long time.  However, she is a very musical person, and quite a good singer, although we didn’t get her singing at all this time.  Her musical instincts are spot on, and it was a lot of fun to have her join the band.

McCreary duets with Starbuck herself, Katee Sackhoff. (Photo credit: Andrew Craig.)

Beyond Edward James Olmos, who seems to adore you, do you have other well-known Hollywood fans?
Sure, I have lots of well-known friends.

The BSG family seems pretty close knit. Do you think you will all stay in touch?
Absolutely, we will all stay in touch.  We try to get together as often as possible. And the transition to post-BSG life was made a little easier because Galactica cast and crew are involved in nearly every project I’m working on.  The Human Target pilot featured Tricia Helfer and Donnelly Rhodes, Trauma is directed by [Caprica producer] Jeff Reiner, and of course Caprica itself is written, produced and directed by many of the same people [from BSG].  So, I still get to work with some of them on a regular basis, which helps.

What are you going to miss most about scoring Battlestar?
Ironically, the thing I will miss the most is also the thing I’m most glad to have escaped: the familiarity and comfort. The BSG themes had become second nature to me. I’d been living with them for five years, and the musical universe had become a safe place for me. I could look at a scene, and instantly know which character themes I’d want to use and how they were going to be set. I will miss that level of comfort, however, I’m also thankful that I’m moving on to other projects that will push me into new creative directions.

The composer with a musical weapon of choice: the accordion. (Photo credit: Andrew Craig.)

Will you be doing any more work on Eureka?
We just got the pick up for Season 4, and I have not yet been asked to return, which is totally normal. Usually the composer’s contract is the last to be renewed. I’m certainly hopeful that I’ll get to come back and keep scoring. It’s an incredibly fun series.

Were you disappointed when The Sarah Connor Chronicles was canceled?
It was an intensely satisfying show to work on, and I’m very disappointed that I can no longer look forward to watching the adventures of John, Sarah, Cameron (or Allison?) and Derek (or other Derek?). The series’ cliffhanger really mixed things up, and [producer/writer] Josh Friedman had already told me some of the planned events for Season 3.  It would have been awesome.  As for my music, its hard to say where it would have gone, but my guess is that it would have become even darker and more sinister in Season 3.  I would have loved to move forward with the series, but I’m very proud of the work we all did in our season and a half.  The soundtrack CD we put out is also really solid, and I think rivals the BSG discs, but with a completely different tonality.

You are working on the forthcoming NBC series Trauma, which is like ER in the field. What has it been like to shift from a major cable show to a major network show where audience numbers and expectations run higher?
Terminator was really my first big network show, so I’m used to the deadlines, expectations and pressure. Honestly, they’re no different than on Syfy Channel shows, just on a larger scale.  However, studio interference can be a major creativity-killer. Thankfully, the executives and producers involved in Trauma have an enormous amount of faith in me and are giving me incredible creative freedom to create the sound of this show.  So far, I’m really enjoying it and not experiencing any additional stresses.

What are you learning working on Trauma? How does it compare with your other new network series Human Target?
The two series are apples and oranges. Trauma is written for a sweaty and dirty rhythm section and has a very rock and roll sensibility. Human Target, on the other hand, is an orchestral series, and bursts out of the gate with the kind of polished and bombastic orchestral score that people generally don’t associate with my name.

How did scoring the video game Dark Void differ from your film and television work?
At first, it was very different.  I had trouble wrapping my brain around the idea of adaptive music.  However, once I got past that initial creative block, I found the experience incredibly liberating. I let my imagination run absolutely wild, and I think it shows in the score. It’s the most fun I’ve ever had writing music since I was in high school.  With any luck, the soundtrack album will be that much fun to listen to.

A match made in the heavens: Bear McCreary and Steve Kaplan in action in the studio. They have been working together since their college days at USC.

You have worked with recording engineer, mixer and musician Steve Kaplan since day one. How is your relationship evolving lately?
Working with Steve has been one of the great joys of being in the business. He’s a remarkable artist and technician who helps shape my music and gives it a unique sound.  Our working relationship is constantly evolving as I take on more and more projects and we both have to find a way to get everything done.

Your blog has attracted many avid readers. Are you surprised by its popularity?
Honestly yes, I am quite surprised. I thought that the audience for a musically detailed TV scoring blog would be quite small. The more technical I get about the nuts and bolts of my job, the more people seem to flock to the blog. And its had a positive impact on how I write music, because I start thinking about what all the fans will think when they hear it. I hope to continue blogging even though BSG is over.

When he’s not composing or performing, what does Bear McCreary like to do with his time?
In all seriousness, I can say very safely that there has not been a time since 2003 that I have not been composing or performing. It’s been a busy few years. However, when I can steal a few minutes here and there, I like to catch movies or play video games.

What is one of the video games you’ve recently played? Any genre preferences?
It took me about a year to finally get around to playing Grand Theft Auto IV, and it’s pretty amazing. I’ve completed the story line and I still can’t put it down, so now I’m going back and finishing all the little sub-missions. Very addictive.

What are some goals that you’d like to achieve in the future?
I’d like to take a week off.  I’d also love to take the Battlestar Galactica Orchestra on tour to multiple cities.  We just set up our website and are generating fan support for just such a venture.

The Battlestar Galactica Orchestra performs live. Anyone who grew up with the Seventies television series probably never thought they'd see something like this! (Photo credit: Andrew Craig.)

What do you think your fans would be surprised to learn about you?
I must confess that my blog is pretty brutally honest. There’s nothing too interesting about me that fans don’t already know, or can’t find out by looking at my blog.  But I’ll think of something for you… How’s this? My fans don’t know that when I was a kid the only music I liked to play on the piano was ragtime. I devoured works by Scott Joplin, Jelly Roll Morton and George Gershwin. I’m not sure how I ended up from there to orchestra and taiko drums.

And finally, I have to ask: Why did your parents choose the name Bear?
They were hippies.

"Torso in Metal from'The Rock Drill'". 1913-14. © The estate of Sir Jacob Epstein

I recently visited the Tate Modern museum while in London and wandered deep into the Futurism exhibit. I strongly recommend you check it out, especially if you are a fan of Battlestar Galactica or Star Wars. There’s a wild and ominous sculpture from 1913-4 created by Sir Jacob Epstein using a rock drill. It was meant to invoke a robust, sentient “man-robot” from the future — and certainly it could be interpreted as a premonition of how our obsession with and reliance on technology could strip us of our souls — but following the carnage he saw from World War I, the artist later cut the figure down from full-length to bust size, neutering its potential power.

I wonder if new BSG/Cylon designer Eric Chu saw this, or if the producers and designers of the original series ever found inspiration in it? Imagine Sir Jacob’s piece with a shorter neck, then compare it with the image of the BSG baddie below. The first thing I thought when I gazed upon this work was, “Cylon!” But then other people alerted me to the fact that this sculpture also mirrors and predates certain Star Wars battle droids, and then I thought, “General Grievous!” Seems like George Lucas and his people may also been impressed by this piece of art. (See the bottom photo, then compare to an image of the original, full body sculpture found here.)

A sinister Cylon from the new "Battlestar Galactica". © Zoic Studios

Of his sculpture, entitled Torso in Metal from ‘The Rock Drill’, Sir Jacob once wrote: “It was in the experimental pre-war days of 1913 that I was fired to do the rock-drill, and my ardour for machinery (short-lived) expended itself upon the purchase of an actual drill…and upon this I made and mounted a machine-like robot, visored, menancing, and carrying within itself its progeny, protectively ensconsed. Here is the armed, sinister figure of today and tomorrow. No humanity, only the terrible Frankenstein’s monster we have made ourselves into…Later I lost my interest in machinery and discarded the drill. I cast in metal only the upper part of the figure.”

Let’s hope that when we get to the point of contemplating the designs for our own Cylons or battle droids that we take Sir Jacob’s regression one step further and destroy the mold altogether. If there’s anything sci-fi fans should have learned by now, it’s that certain machines are untrustworthy and even dangerous to our humanity, no matter how sleek or cool they look.

That badass battle droid General Grievous from "Star Wars: Episode III - Revenge of the Sith". © Lucasfilm Ltd. & (TM)